Thread: Kinefinity MAVO Edge

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  1. #171  
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    Quote Originally Posted by Misha Engel View Post
    Not sure how to evaluate the comparison table in that article since I can’t read the language. What is the color space column indicating?

    The native color space for CDNG from the format specs is CIE XYZ, essentially unrestricted by anything other than sensor and camera color science. It has to be converted to a working display color space, preferably with a mathematically correct color managed workflow in Resolve or similarly capable apps.
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  2. #172  
    Quote Originally Posted by Björn Benckert View Post
    Arri raw let you change iso, whitebalance etc, exlain the difference between that and redraw exept red raw is compressed?
    Hey no argument here...I had nothing to say about Arri Raw vs Red Raw. I was simply correcting a poster that stated ProRes Raw isn't actual raw because it doesn't have an ISO or white-balance slider. In fact ProRes Raw does have full exposure and white balance control...it just comes in a different interfase. The only new Raw format I know of that isn't 'real raw' is Braw because of the partial de-bayer. I have no opinion on better or worse or Arri Raw or any of that. Simply pointing out that ProRes Raw is a 'real' raw format.
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  3. #173  
    Senior Member rand thompson's Avatar
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    Here's some more ProRes Raw footage you can play around with from a Nikon Z6 and Atomos Ninja V.


    https://drive.google.com/drive/folde...MkV6rlZUPw6oXT
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  4. #174  
    Senior Member rand thompson's Avatar
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    Here's a in depth look at ProRes Raw


    ProRes RAW - Expectations and Reality | PART 2: DEEP ANALYSIS



    By The DP Journey





    TIME STAMPS
    01:32 Types of RAW
    02:41 What is ProRes RAW
    03:48 The meaning of RAW
    04:58 PROs: Performance
    07:14 PROs: 12bit
    07:36 10bit Vs 12bit
    09:56 PROs: Compatibility
    11:23 PROs: Selectable Log Curve
    12:12 PROs: Metadata
    13:04 PROs: File Size
    14:28 CONs: RAW Controls-WB & ISO
    17:47 CONs: Corrections
    19:24 ProRes RAW analysis
    21:29 Who is ProRes RAW for?
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  5. #175  
    Senior Member rand thompson's Avatar
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    Atomos Academy tutorial: Alister Chapman shooting ProRes RAW with Sony



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    ATOMOS


    The first 12:47 minutes are a great tutorial about ProRes Raw, the rest is about how to set up Sony cameras to use it.

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  6. #176  
    Rand:

    Have you graded projects shot with the Mavo LF (I know you've graded footage, but projects)? Long thread, but if so, what do you think of the camera?

    There are so many great camera choices right now. Great time to be alive :-)

    Thanks
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  7. #177  
    Senior Member rand thompson's Avatar
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    Carlos,


    Unfortunately I have never graded a "long-form" project of exclusively Mavo LF file content. I like the skin tones a lot, but I've seen many videos, due to the kinefinity cameras low cost, of the camera being used with low quality vintage lenses that don't do the camera justice. Still waiting to see how the internal Prores Raw files from the upcoming Mavo Edge behave in post. I've been playing around with externally recorded Prores Raw files captured from other cameras. But, I just want to see how the internal Prores Raw files can actually be pushed and corrected in an everyday color correcting workflow.
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  8. #178  
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    Quote Originally Posted by David Rasberry View Post
    ARRI uses dual gain to increase to first stage captured bit depth (22 bit AD) for better deep shadow detail retention and noise performance, effectively increasing usable dynamic range. I don't think anyone else does this.
    Blackmagic BMCC 2.6K (OG)
    Blackmagic Pocket Cinema Camera.
    Blackmagic micro cinema camera.
    Ursa Mini 4.6K
    Ursa Mini Pro
    Ursa Mini Pro G2

    Same idea. Dual gain sensors that have a combined high bit depth (22+) to create a single 16 bit lin image. Then converted to 12bit LOG for encoding.

    JB
    John Brawley
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  9. #179  
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    Quote Originally Posted by John Brawley View Post
    Blackmagic BMCC 2.6K (OG)
    Blackmagic Pocket Cinema Camera.
    Blackmagic micro cinema camera.
    Ursa Mini 4.6K
    Ursa Mini Pro
    Ursa Mini Pro G2

    Same idea. Dual gain sensors that have a combined high bit depth (22+) to create a single 16 bit lin image. Then converted to 12bit LOG for encoding.

    JB
    BMD Ursa's have the fairchild mst4625a which are 2x11 bits https://www.fairchildimaging.com/pro...nsors/mst4625a
    The Alev III sensor is 2x14 bits https://www.onsemi.com/PowerSolution...o?article=3723

    ONsemi bought fairchild imaging a while ago.
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  10. #180  
    Senior Member Rakesh Malik's Avatar
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    Quote Originally Posted by Misha Engel View Post
    BMD Ursa's have the fairchild mst4625a which are 2x11 bits https://www.fairchildimaging.com/pro...nsors/mst4625a
    The Alev III sensor is 2x14 bits https://www.onsemi.com/PowerSolution...o?article=3723
    It's still a dual gain design, though BMD is using more modern sensor designs than Arri is. :)
    --------------------------------------------------------
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    http://WinterLight.studio
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