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  • #46
    hhahahha...
    and DNG will give even more DR and resolution ....
    that's insane ....

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    • #47
      It looks really great! However, there's a dead (black) pixel, 25% from left, nearly 50% from top. Visible at 100% if not otherwise. It's pre-production footage and so all is forgiven for now, but after living with a lit red subpixel on my Sony TV for a few years now, there's no way I'd want to live with one on my own camera.

      (And apologies to John for posting this on both the blog and here. I don't want to blow the issue out of proportion, but I don't seem to be able to remove the blog comment and any discussion probably belongs here.)
      Iain Anderson, Apple Certified Trainer
      http://trainingbrisbane.com

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      • #48
        Originally posted by funwithstuff View Post
        It looks really great! However, there's a dead (black) pixel, 25% from left, nearly 50% from top. Visible at 100% if not otherwise. It's pre-production footage and so all is forgiven for now, but after living with a lit red subpixel on my Sony TV for a few years now, there's no way I'd want to live with one on my own camera.

        (And apologies to John for posting this on both the blog and here. I don't want to blow the issue out of proportion, but I don't seem to be able to remove the blog comment and any discussion probably belongs here.)
        Yeah as I mentioned on the blog. It's unusual because I've never seen a black pixel. Dead pixels are normally white. I'll chase it up with BMD. This is still a pro-production camera that's essentially hand built. I have had issues with sensor dirt in the past because the prototypes aren't built in proper 100% clean rooms. The black dot like this has been sensor dirt in the past but it is pretty sharp. (The manufacturing line DOES have a clean room facility of course.)

        jb

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        • #49
          Just when I was started to hold my calmness about waiting, you had to do it.

          That was awesome! Seriously, I love the image that comes out of this camera.
          Tom Pierrepont - In-house Camera Operator and Editor (UK)
          @Tompierrepont
          www.tompierrepont.com

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          • #50
            @John Brawley
            can you please enable option for download in vimeo ...

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            • #51
              Originally posted by vladnik View Post
              @John Brawley
              can you please enable option for download in vimeo ...
              Not permitted to. Sorry.

              jb

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              • #52
                Originally posted by John Brawley View Post
                Yeah as I mentioned on the blog. It's unusual because I've never seen a black pixel. Dead pixels are normally white. I'll chase it up with BMD. This is still a pro-production camera that's essentially hand built. I have had issues with sensor dirt in the past because the prototypes aren't built in proper 100% clean rooms. The black dot like this has been sensor dirt in the past but it is pretty sharp. (The manufacturing line DOES have a clean room facility of course.)

                jb
                Many thanks for the response. I'm sure they'll sort it out in the production cameras, or map it out in-camera.
                Iain Anderson, Apple Certified Trainer
                http://trainingbrisbane.com

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                • #53
                  @John Brawley
                  no problem ....
                  one question what is you opinion about ETTR when we use RAW for BMC...

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                  • #54
                    Originally posted by vladnik View Post
                    @John Brawley
                    no problem ....
                    one question what is you opinion about ETTR when we use RAW for BMC...
                    Exposing RAW cameras is a bit different than what most people are used to. ISO is only meta data so basically dialing in different ISO values only changes the brightness of your preview image on the LCD, not the image itself. If you then expose for that preview image, you will basically be underexposing the sensor for higher ISO levels than the sensor's native sensitivity.
                    For example that means that in low light situations you'd want to dial ISO down (to native sensitivity) instead of up for exposing. In low light ETTR can make sense but it's not something you should stick to die hard.


                    @John,

                    is ISO 800 really the sensor's native sensitivity or is it just a recommended setting like RED recommend ISO 800 to protect highlights although the Epic/Scarlet sensors are around ISO320 sensitivity? I'm trying to find out for month now, no clear info yet.
                    Thx for the sneak peak movie!

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                    • #55
                      as i remeber first shots made by John Brawley are done on 320 iso ...
                      that is probaby native iso....
                      even alexa when properly expose put middle gray on 40% IRE (native is probably 400)...
                      BMC film log in PORES is probably around 37%i IRE and thats is standard for log curves ...

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                      • #56
                        Yes, I'm thinking this will be the case for BMCC as well as I don't really know much cameras with 'native ISO800' sensors.

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                        • #57
                          John did you do any sharpening in post? Looks plenty sharp to me, without being "over sharp." Just wondering what post processing was done to it.
                          Last edited by RyGuy; 08-07-2012, 01:42 AM.

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                          • #58
                            i would probably use dnxhd and rate camera @400 in daylight ...
                            because dnxhd use superwhite but prores clips everything above 100 ire...

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                            • #59
                              In harsh, bright conditions like in this film, with direct sun hitting the actors or subjects, it can make sense to expose for ISO 800 to have more headroom in the highlights and protect them from clipping.

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                              • #60
                                i just think that there is maybe one more stop of information in highlights but prores clipped them ...
                                because i can see some noise in the shadows i would rate camera slower , record dnxhd and then recover 100-110 ire in broadcast legal levels ...and u right protecting highlights is most important ...
                                or shooting raw ETTR (be carefuller not to clip highlights ) and then transcode to cineform RAW..
                                Last edited by vladnik; 08-07-2012, 02:33 AM.

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