1. Blackmagic Production Camera low light test


    from Tylor Jones / Added

    777 Plays / / 0 Comments

    Shot on Blackmagic Production Camera at 4k raw Rokinon 85mm @ 1.8 Only available light was used (aka my porch light), I crushed the shadows a touch to reduce noise patters. P3 D60 Color Space and Rec.709 gamma done in Resolve. Conclusion: Results were pleasantly surprising. Still not a camera I would choose to go with for low light shoots but worked well in this test. Let me know your thoughts bellow! Thanks

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    • Sony F55 - S Log 3/ S Log 2 Comparison


      from Mick Jones / Added

      2,053 Plays / / 2 Comments

      This is a comparison of the Slog 3 and Slog 2 settings on the Sony F55. This was really for my own curiosity to see the differences compared. I wanted to see the differences across a range of exposures but under the same lighting conditions. Mainly to see how apparent the noise is and a general comparison of the levels across the different exposures. First the shots are displayed one after the other and then I have done a side by side comparison with the waveforms displayed for each side which I find helpful to show the differences in the behaviour of the curves. The obvious problem is there is banding/blocking due to compression of the h.264 vimeo upload. But I have included burnt in waveforms so you can also see the levels across the different exposures and compare. As a by-product of this process I discovered some quite bad blocking and banding in the upper right hand of frame even mastering out to Apple Pro Res 422 HQ that is definitely NOT there when the footage is viewed as native XAVC in Adobe Premiere CC. The camera footage has smooth gradation across the back wall. It is apparent when viewed in Quicktime and also when imported bak into Premiere. Now I'm wondering what the best format for archiving finished jobs will be as I was not happy with the Pro Res master. Sony F55 XAVC 1920x1080 23.98 fps Slog 3/ Slog 2 S Gamut 3.cine iso 1250 f11, f8, f5.6, f4, f2.8

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      • B&W Skateboarding


        from david montcher / Added

        435 Plays / / 0 Comments

        Red Scarlet & Sony FS700 with Odyssey 7Q

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        • ENI "Gamma"


          from JaguarProjects / Added

          5 Plays / / 0 Comments

          directed by Tomaso Cariboni

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          • FS700 & Odyssey7Q Testing - SLOG-2/Rec709


            from Innovating Visuals / Added

            155 Plays / / 0 Comments

            Gamma 2.2 correction for FS700 RAW files to look correct. Using 3D LUTs files from Convergent Design. Camera: Sony FS700 Recorder: Odyssey7Q Codecs: Recorded on both internal Odyssey 7Q RAW Lens: Nikon 24-70 2.8, set at F2.8 Colour Correction: Davinci Lite Filmed and edited by Innovating Visuals

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            • B&W Skateboarding


              from CHEESECAM / Added

              1,022 Plays / / 0 Comments

              Sony FS700 & Odyssey 7Q / Red Scarlet

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              • Gamma Phi Beta Recruitment 2014 - University of Arizona


                from Jack Dalton / Added

                140K Plays / / 0 Comments

                Gamma Phi Beta from the University of Arizona. Filmed/edited by Jack Dalton. Business inquiries - jackdaltonfilms@gmail.com

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                • Why a Session Border Controller...you ask :-)


                  from Stephen Ashley-Brian / Added

                  17 Plays / / 0 Comments

                  A very short résumé of the Session Border Controller and it's relationship to Voice over IP

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                  • Houston Gamma Beta Spring 2014 Probate


                    from Derrick Vu / Added

                    123 Plays / / 0 Comments

                    University of Houston Gamma Beta Spring 2014 Probate (Kappa Class)

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                    • GRADING - www.ndavey.co.uk


                      from ndavey / Added

                      A very short video showing the difference grading can make to DSLR video clips. First you will see what came straight out of the camera. Then the same clip after it's been graded followed by a split screen highlighting the difference.

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