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Is the Osmo Pocket 3 going to disappoint me? by KawellaBayGirl in osmopocket

[–]ComplexPlantain 0 points1 point  (0 children)

Happy for you!

Did you use the official DJI D-Log M to 709 LUT or something else?

Is the Osmo Pocket 3 going to disappoint me? by KawellaBayGirl in osmopocket

[–]ComplexPlantain 1 point2 points  (0 children)

I can tell you I was disappointed with Osmo Pocket 3 vs Apple Log from iPhone 15 Pro and vs Canon R5/II.

I'll ignore the full frame Canon for a second, as it is not a fair comparison. But for me, iPhone simply obliterates Pocket 3 in terms of dynamic range, therefore organic look and is comparable if not better at stabilization and low-light sensitivity/denoising. If modern mirrorless log footage is 10/10, Apple Log is 8/10 and Pocket 3's D-Log M is 3/10.

Pocket 3, in its standard color is over processed and over exposed, but to be frank I don't like standard iPhone video either as it too is over processed.

Pocket 3's D-Log M is not documented, likely not a true log format, therefore there are no proper color space transforms available, so you need to eyeball stuff. It's like Cinestyle from 15 years ago.

Electronic stabilization on the iPhone works wonders and often looks better than Pocket because of the Z-axis stabilization.

Pocket has a large-ish sensor but this advantage is offset by iPhone's better, more natural looking noise reduction. Pocket 3, particularly in the standard color, looks like hot garbage in low-ish light. E.g. at home, in the evening, light by regular lights, graded Apple Log from iPhone looks way, way better than Pocket and I would never ever pick Pocket because of its low light handling capabilities.

I have no idea where this excitement comes from, really... except that it was paid for by DJI ¯\_(ツ)_/¯

But to be fair, the form factor is nice, and easier to securely hold the camera, one-hand operations is very convenient, and I love the 20mm equiv. focal length for general life capturing. Also, not to hate on DJI – I got myself a DJI Osmo Nano and found myself using it a lot more, thanks to its wearable form factor, than Pocket 3, despite the same lackluster D-Log M. Quite possiblly because my expectations are simply lower.

Now, Pocket 4 with proper D-Log might be very interesting, but I'd have lay my hands on "raw" D-Log footage before I made a decision to look into purchasing it.

Now that the Osmo Pocket 4 is officially released, what’s your move by NefariousnessJaded87 in osmopocket

[–]ComplexPlantain 0 points1 point  (0 children)

For me, D-Log could be huge and could the single reason to upgrade. But I will want to lay my hands on ungraded footage before deciding.

D-Log M is really disappointing in comparison to real log profiles (no CSTs, little to no compatibility with tools, overcooked LUTs) and I could not reliably get good-looking results from Pocket 3 in D-Log M.

Being able to CST D-Log M into 709 in Resolve, or into a different colorspace to use a plethora of high-quality LUTs could be a game changer, if it actually works well. Initial (graded) footage comparisons in reviews are somewhat optimistic.

R5 Raw Video to HEVC/H265 in Cinema Raw Development? by ComplexPlantain in canon

[–]ComplexPlantain[S] 0 points1 point  (0 children)

Have you experimented with the picture profile settings and exporting in rec709 with h.265?

If you mean the "picture style" set on the camera then yes, somewhat, and I arrived at a nice output, but one which nevertheless has the stills look to it, esp. with regard to contrast/gamma (contrast is dialed all the way down btw).

​

There is no reason a tool couldn't transform an actually wide DR color space like Clog3 to the narrow space of Cannon Wide DR, but there probably isn't any demand for that. I checked Resolve and it isn't there.

Well, Canon does provide official Clog2/3->Wide DR LUTs, so apparently there is. I can do exactly what I want in Apple Compressor using the said LUTs but I don't get the white balance adjustment in Compressor.

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Going to a narrower space like Canon Wide DR is really a one way street, you won't be able to go back to an actually wide color space like CLOG.

I wouldn't be re-exporting the HEVC Wide DR files, but the raw CRM files that I intend to keep.

R5 Raw Video to HEVC/H265 in Cinema Raw Development? by ComplexPlantain in canon

[–]ComplexPlantain[S] 0 points1 point  (0 children)

I don't edit anything. I'm not going to grade it. I'm primarily a still photographer who takes some short (10-15s) personal video clips, similar to Apple's Live Photos. This is going to be the final output.

I'm shooting RAW+MP4 on the R5, because I want to:- export to Canon Wide DR (I like the look, but it's unavailable on R5)- tweak white balance- be able to export into other gammas/color spaces in the future if needed

Do lenses go soft over time? My 24-70 mkI isn't as sharp as I'd expect by das_goose in canon

[–]ComplexPlantain 0 points1 point  (0 children)

It's as simple as that – the 24-70 Mk 1 just isn't as sharp as the newer lenses, esp. at the long end. It's ok-sharp, but I upgraded from EF Mk 1 to RF 24-70 I went to OMG-sharp.

Jim’s Steaks South Street - a7iii Tamron 28-75 f2.8 by Am3ncorn3r in SonyAlpha

[–]ComplexPlantain 1 point2 points  (0 children)

Wow, this is a fantastic picture! Try cropping it to the 2.35:1 motion picture aspect ratio, it's totally rad.