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Re: Camera evaluations - request for comments
Derek Abel <derek@...>
Thanks for doing this Geoff.
toggle quoted messageShow quoted text
Don’t come to Australia for ‘real daylight’ just yet. The weather here at the moment is almost as bad as the UK :-) Derek Abel Filmmaker/ Digital Content Creator (in Australia) 0449534995 www.DerekAbel.com www.FocalRhythm.com www.ZoeShortFilm.com www.HomelessAustralia.com
On 17 Jun 2018, at 18:08, Geoff Boyle <geoff@...> wrote:
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Camera evaluations - request for comments
First, my apologies for cross posting, but if I can’t break my own rules…I’m also posting on Cinerant.
The next camera evaluations are shooting in three weeks and I’ve been thinking about how to change them from previous ones, bearing in mind comments I’ve received.
I’m going to try to move away from marking =/- on the charts, it will be purely stop and shutter angle for this test.
I will light to 200fc and set the cameras to the manufacturers recommended EI.
We will shoot from T1.5 to T 22 at 180 degrees and then T22 at 90 & 45 degree shutter.
The tests will be shot both tungsten and LED daylight. Tungsten being the most “accurate” source I can use. I’d love to take the tests to Australia to shoot across a window of 11 am to 1pm across the weeks it would take to shoot the tests in real daylight! The LED’s will be the most commonly used and should show what happens in a “real-world” environment.
The evaluations will be available to download as EXR’s in ACES space from the ODN, and hopefully, depending on cost and support, I’ll also make some of the original camera files available. I had intended to do this but we lost a number of sponsors this year and may not be able to afford it.
I will also upload QT files to Vimeo, these will be UHD and 422, I’ll let them convert them to H264, and also H264 directly to YouTube.
The compiled files that I upload will be all matched at 18% grey, matching only the green level as I don’t intend to colour correct them in any way. Everything will go through ACES with standard IDT’s and appropriate ODT’s.
This time I will make observations as to which EI I think the cameras should be exposed at to get the best images, this will be basically based around noise levels. So if you set the camera to an EI of 800 but the noise is better at 500 I’ll say so, I’ll also upload a LUT that adjust for you setting the camera to 800 and your meter to 500. This will be a LUT in 2 forms, one that is “naked” and just needs to be dropped into the ACES pipeline in Resolve and the other will include the appropriate IDT’s and ODT’s to “correct” the image on 709 monitors on the floor.
I guess I’m going back to the days when I published GRR’s for various film stocks 😊
OK, beat me up now.
Cheers
Geoff Boyle NSC FBKS Cinematographer Netherlands www.gboyle.nl
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Interview with DCS about why I use ACES
I did an interview with James Mathers of the Digital Cinema Society at CineGear.
The conversation is about ACES from around 3:30 onwards. https://vimeo.com/275354606 Cheers Geoff Boyle NSC Home in Zoetermeer
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Re: Amira gets Arriraw?
Indeed it is true!
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 Jeff Weil Trinity operator/DP Shanghai, China
On Jun 12, 2018, at 12:24 AM, Geoff Boyle <geoff.cml@...> wrote:
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Re: Amira gets Arriraw?
David Hollander
I have given it a try and it works GREAT. Very pleased with the results in a comparison between Arriraw and 4444XQ. I will be sticking to Arriraw from now on... David Hollander DP San Antonio, TX
On Mon, Jun 11, 2018 at 12:29 PM, <jghedge@...> wrote: 3180 euros which is $3750 USD at current exchange rate.
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Re: Amira gets Arriraw?
jghedge@...
3180 euros which is $3750 USD at current exchange rate.
Joe Hedge IATSE 600 DIT
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Re: Amira gets Arriraw?
Ángel V
Hi all, Hope this helps: ARRI makes ARRIRAW available for AMIRAAs of today, ARRI is enabling owners and operators of AMIRA cameras to record in ARRIRAW. It will give cinematographers the option to record ARRIRAW 2.8K up to 48fps, increasing the versatility of their AMIRA even further. Best. Ángel Villarías Robles Cinematographer Madrid based but works globally 2018-06-11 19:11 GMT+02:00 Mark Kenfield <mark@...>:
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Re: Amira gets Arriraw?
Mark Kenfield
Is there any word on the pricing of the licence yet? Mark Kenfield Cinematographer Currently in Perth 0400 044 500
On 12 Jun 2018, at 12:24 am, Geoff Boyle <geoff.cml@...> wrote:
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Re: Amira gets Arriraw?
Geoff Boyle
Press release today…
June 11, 2018, Munich - Users of ARRI's AMIRA camera system can now use the ARRIRAW file format. To do this you must install the software update package SUP 5.3 and purchase the corresponding license in the ARRI license shop. This gives AMIRA users the ability to record uncompressed moving pictures in 2.8K at up to 48 fps in ARRIRAW. This makes the AMIRA even more versatile and opens up further options.
Cheers
Geoff Boyle NSC FBKS Cinematographer Netherlands www.gboyle.co.uk
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: 11 June 2018 08:30 To: cml-raw-log-hdr@... Subject: Re: [cml-raw-log-hdr] Amira gets Arriraw?
I’m just catching up on the last couple of weeks, Cinegear, ACES at ICS and AVfestival Amsterdam have kinda stopped me keeping up!
RAW from Amira??
Great news.
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Mark Kenfield
Has anyone seen or heard more about the Amira getting Arriraw capabilities?
Cheers,
Mark Kenfield Cinematographer Back in Melbourne
+61 400 044 500
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Re: Amira gets Arriraw?
Geoff Boyle
I’m just catching up on the last couple of weeks, Cinegear, ACES at ICS and AVfestival Amsterdam have kinda stopped me keeping up!
RAW from Amira??
Great news.
Cheers
Geoff Boyle NSC FBKS Cinematographer Netherlands www.gboyle.co.uk
From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Mark Kenfield
Sent: 03 June 2018 16:24 To: cml-raw-log-hdr@... Subject: [cml-raw-log-hdr] Amira gets Arriraw?
Has anyone seen or heard more about the Amira getting Arriraw capabilities?
Cheers,
Mark Kenfield Cinematographer Back in Melbourne
+61 400 044 500
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Re: HDR mastering monitorsing dering for a buy this year, or
Carroll, Robert
We will soon be publishing the test we conduct when a post facility opts to be certified by Dolby. As I stated before Certification by Dolby is an option. It is not required to deliver Dolby Vision content. Testing monitors is part of this certification. We are working with Steve and others on the best methods for this test using the available tools like LightSpace. His feedback is always welcomed.
Rob Carroll Dolby
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Re: HDR mastering monitorsing dering for a buy this year, or
As has been proven each and every time, I never state anything that isn't fact.
As shown here, with the irrefutable information on the volumetric issues with the Panasonic WOLED. I make sure any statement made is correct, before making it, rather than spout hype. It is also very simple for anyone else to verify the issues with the Panasonic WOLEDs, as has been proven in this thread. To attempt to argue the issue doesn't exist is rather a foolish thing to do in the face of such proof. Spectracal have actually pointed out the same issue themselves, although without the easy to understand graphical proof. And talking of Spectracal , it does seem we are are rather good at finding issues, as Spectracal have just publicly thanked us, and our users, for pointing out an error with their LUT calculation they had missed. I will let Dolby speak for themselves, as and when they decide to release verification our findings. Steve
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Re: HDR mastering monitorsing dering for a buy this year, or
Dado Valentic
Geoff, it is always great to see you in action, doing what you love and are passionate about and also doing so well. Looking forward to listening to you there :-) ado Valentic colour specialist London/LA
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Re: HDR mastering monitorsing dering for a buy this year, or
If you want to listen to someone else at the Amsterdam AV festival, well i land in Schipol at 9am on Thursday and do the first of four presentation's at noon!
On Tue, 5 Jun 2018, 16:24 Dado Valentic, <dado@...> wrote:
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Re: HDR mastering monitorsing dering for a buy this year, or
Dado Valentic
Steve, If you think that you have found any issues with any company out there than you should take it up with them directly and in confidentiality and not post in public forums. This is minimum professional conduct you should have and as Geoff has mentioned - no rumours - just facts. You have only a suspicion that there might be an issue and let Dolby respond to you, no need to post here. For anyone else interested in learning about a different point of view than the one on this thread, I would suggest company that I use for all my colourimetry and monitor performance questions - Spectra Cal. They don't need to spam forums with their wisdom as we all know how good they are. It might explain why my monitors don't have problems Light Illusion is preaching about. On the same note, if you think like me that monitor calibration is as boring as watching paint dry, I can recommend company I use in USA for calibration of my monitors - Abel Cine. They have made my life a pleasure when it comes to calibration at least. For anybody else interested in what happens after painfully selecting HDR monitor, I will be back in Europe this Saturday in my most favorite city Amsterdam on AV festival, doing a talk on A-Z of HDR from the real world perspective. If you happen to be in Amsterdam pop by and and ask me a question during QandA session. Dado Valentic Colour specialist London/LA
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Re: HDR mastering monitorsing dering for a buy this year, or
Carroll, Robert
Allow me to clarify a few items in this thread. Dolby does not certify professional reference monitors by make and model for Dolby Vision. We do certify a Dolby Vision Mastering facility. This certification includes colorist and engineering training as well as the full systems testing in the room for mastering. Find out more by clicking the certification tab here: https://www.dolby.com/us/en/technologies/dolby-vision/dolby-vision-for-creative-professionals.html 1,000 Nits peak brightness
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Amira gets Arriraw?
Mark Kenfield
Has anyone seen or heard more about the Amira getting Arriraw capabilities?  I thought I saw a post about it on Instagram some weeks back, but couldn't find it again (and assumed I'd dreamt it up) until I saw Kaity's post above (image attached, I think) the other day. Mark Kenfield Cinematographer Back in Melbourne +61 400 044 500
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Re: HDR mastering monitorsing dering for a buy this year, or
“The Eizo CG3145 qualifies as a Dolby Vision mastering monitor”
That is what I was referring to when I used the word 'certified', as I suspect that anyone would take such a statement to mean something like that. We often work closely with Dolby, and they were the ones that mentioned the 'acceptance' (is that a better word?) of the Eizo, and the upcoming FSI (now 3000 nits!) I can't answer the 12 bit question, as I don't know what output cards are 12 bit capable. But, the reason that Dolby specify 12 bits is due the aggressive EOTF of PQ HDR, and the relative (actually absolute) spacing of the bits. Anything less than 12 bits will show/cause banding. But as there is no 12 bit broadcast signal, it is a bit of a moot point tbh. We have also pointed out a mathematical error in Dolby's EOTF data, and are waiting for feedback from Dolby. Steve Light Illusion
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Sony presentation
Geoff Boyle
At the press briefing this morning Sony showed a split Venice.
Sensor block, about 25mm deep, connected with a 10 or 20 foot cable to the body. Made at the request of James Cameron.
They also announced that V2 of the firmware would be coming in early July not late August and early next year they are adding much higher shooting speeds with the same sensor.
Cheers
Geoff
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Re: Alexa mini anamorphic scaling settings
Bruce Alan Greene
Thanks Henning. We shot a teaser today with the 2k setting, letting the camera do the scaling to 2k. We'll see it in theaters in a few days and see how it looks in "the wild" :)
Bruce Alan Greene DP Los Angeles
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