The program allows users to convert raw video footage to DNG with one click. SlimRAW 5.1.0.1 Crack+ Keygen Free For PCĪ free and easy-to-use DNG file compressor to reduce the size of CinemaDNG raw video files. The application allows users to use CinemaDNG raw video files to save space on their disk drive, and maintain their quality. Just to preserve the dynamic range (and tonalities) it already has.SlimRAW 5.1.0.1 Crack Free Registration Code Free Users aren’t asking for more dynamic range from the sensor. ![]() Sigma, please, more information needed what’s the actual reason for the “we can’t do Log”. So as long as they could apply that curve for the signal before it gets crushed for Rec.709 or whatever, it would work great. A simple color space transform (LUT) will do. We have the whole raw 12 bits per pixel data available and that wide gamut can be fitted to whatever color space we want. If you shoot 12-bit raw then lack of log is not an issue. This is relevant of course only when you shoot MOV. So is Sigma really saying that they can’t add a new mode, or are they saying that they can’t even replace or modify an existing mode? So applying a log curve over that gamut would give a really great range suited for preserving both the dynamic range and the tonalities. We know from Pawel Achtel, ACS, test ( ) that Sigma FP has really wide color gamut, matching the entire gamut of Rec.2020. A perfectly fine way of implementing Log (or just a really flat) mode is to just apply a logarithmic curve. That’s what all those different color modes are, just a curve. firmware 2.0 that Log is not possible in Sigma FP platform is really confusing because we know that it *can* apply curves to the raw signal from the sensor. Among other things I take photos of traditional musicians and I worry what would happen with a moving fiddle bow, for example, especially in low light. I never use autofocus and have little need for IBIS, so those are not concerns for me my only concern in the stills department is the electronic-only shutter and the potential for rolling-shutter artifacts on fast-moving objects. Same goes for stills most of the stills I've found on flickr or are unimpressive but the exceptions are really great and give you a sense of what this camera is capable of in the right hands. He does it entirely using the puck in the Gain wheel.Īnyway, I too am intrigued by the fp and have seen some inspiring footage from a few people (and a ton of uninspiring footage from others I think there are maybe 3 or 4 clips on Vimeo that I like). Normally I color-balance using the curves while monitoring the waveform with all channels displayed, or else I monitor the RGB Parade and use the color sliders (rather than the wheels). ![]() I can't see how it could possibly work but I guess he manages. His method for adjusting white balance is like nothing I've ever seen before and I can't wrap my head around it. I watched his Vimeo walkthrough of how he grades Sigma fp footage, which was interesting and weird at the same time. ![]() He proposes a workflow in Davinci Resolve which can extract 1-2 stops more dynamic range from Ciname DNG And those extra stops are in the highlights.Īfter all both cameras share the same Sony sensor.īasis of Timur’s method is the trick Juan Melara shows in one of his videos: Insider Knowledge - A better way to grade Ursa Mini CinemaDNGsįound a very interesting article by Timur Civan. He proposes a workflow in Davinci Resolve which can extract 1-2 stops more dynamic range from Ciname DNG and claims Sigma FP image quality is on par with Panasonic S1H. □įound a very interesting article by Timur Civan. As bjohn stated in another thread will wait and see what Sony and Canon will offer, but Sigma FP suddenly climbed on the top of my cinema camera wish list. ![]() It is tempting as a travel cinema camera. You can add a small lens and put the camera on something like Feyu Tech G6 Max and have a very lightweight gimbal setup. It is more compact and has a better form factor than BMPCC 4K.
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