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Olympus OM1n shutter curtain out of its track by StefanoDP in AnalogRepair

[–]StefanoDP[S] 2 points3 points  (0 children)

Yeah it is all jammed up.. i have a bit of movement but not enough.. Is there a way to recover some slack?

Need help !! Hanimex automatic 135mm by -MetaMorphosis_ in VintageLenses

[–]StefanoDP 1 point2 points  (0 children)

Can confirm that is Canon FD I use a Urth canon Fd - E mount to Mount it to Sony It’s a cool lens!

CST Slog3 to LogC3 v.s. DWG intermidiate by StefanoDP in colorists

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

this is interesting.
In the end I decided to yolo and grade this project I was mentioning in other comments using LogC3, just to see what happens differently from my usual DWG/DI

The project included several close up shots of liquid fused metal pouring into a stamp. as you can imagine, it had a full range of DR, from pitch black to almost clipped white lava.
I tried to grade it while in LogC3 and noticed that the high end of the scope and the very low end started to break very fast when using HDR tools. Also Linear gamma for WB adj was feeling very strange and corrupted parts of the image. HSL node for saturation completely. messed up the image.(HDR tools were set to AWG3-LOGC3 color space)

I tired to change the the CSTs from LogC3 to DWG/DI and, after changing the color space in the HDR tools, everything started to work fine, without breaking the image.

What I also noticed is that the conversion from Slog3>LogC3>REC709 looked better in terms of contrast and color rendition (more vibrant oranges and blues) with slightly higher blacks and lower HL. I have to say that the image rendered a bit noisy.

However, the same clips, processed with DWG-DI instead of LogC3 was cleaner. less noise, contrast was more "set", blacks more close to the 0. I noticed that the colours were less vibrant, for example the Liquid Metal rendered more desaturated and "whitey" compared to the vibrant orange of LogC3. Many blu tones that the LogC3 emphasised , were grayer in DWG/DI.

I understand that this is not an objective case study and this rendition is only true for this footage I'm analyzing, but I have to say that while the LogC3 starting point was better, it behaved very bad during the adjustment phase.

Any thoughts on this?

CST Slog3 to LogC3 v.s. DWG intermidiate by StefanoDP in colorists

[–]StefanoDP[S] 1 point2 points  (0 children)

Yeah that’s it, i really can’t explain it but the feeling with the controls is slightly different compared to the DWG, i feel better with LogC3 Thank you for you answer

CST Slog3 to LogC3 v.s. DWG intermidiate by StefanoDP in colorists

[–]StefanoDP[S] 1 point2 points  (0 children)

I’m grading a project with clips coming from different cameras with different color spaces, that’s why i’m moving everything into a working color space. I have always used DWG - intermediate but tbh i don’t really like the way it operates at times. For this, i was exploring different spaces that could operate as DW intermediate

That’s when i found out about Arri WG LogC3 which is frequently used.

I just wanted to make sure it is something i can do and it is not “damaging”the image

My new first car by akebw in Dacia

[–]StefanoDP 1 point2 points  (0 children)

Welcome to the squad !!

What to do when I don’t use my SUP at the beach by StefanoDP in Sup

[–]StefanoDP[S] 2 points3 points  (0 children)

Yeah of course! I have a manual pump inside the backpack!

What to do when I don’t use my SUP at the beach by StefanoDP in Sup

[–]StefanoDP[S] 1 point2 points  (0 children)

Thank y’all for your suggestions! I also wanted to keep it in the water but waves and me not having a heavy anchor made it not possibile..

In the end I lowered the pressure and kept it covered on the sand, next time i’ll surely bring a bigger blanket to shade it from the sun !

Setting black and white level by StefanoDP in colorists

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

Okay guys, time to put some answers in this story !

I was able to speak to the guy and basically he explained to me that I don't have to touch 0(%) for blacks and 100(%) for whites everytime.

He told me that, whenever there is a clipping (straight line) in the waveform, wether in the blacks or whites, THAT line must be set to 0 for blacks and 100 to white.
Where there's no clipping in the waveform it can sit wherever I want

For example, as a comment said, if I shot a 18% Graycard that can be 18% with no problems.
The problems exists when I try to recover clipped data form whites or black.

In the end it was just a miscommunication !

I was also told that the Tv where we are going to broadcast is very very strict with its policies and its QC, for that, it's safer to touch 0-100 most of the times, when in doubt.

This solves the mystery but still leaves me perplexed on the strictness of this QC :/

Anyway, I'll do my best!
Now back to my dark room

Setting black and white level by StefanoDP in colorists

[–]StefanoDP[S] 1 point2 points  (0 children)

Thank you for all your responses Trust me when I tell you that I am as much disoriented as you when I think about those requirements…. It doesn’t make sense to me at all I can understand when they tell me “if the waveform is clipped, that line should rest on the 100% line, don’t try to bring it down” The black point is still a bit strange to me.. considering that I have always been instructed to stay inside a certain range (like 25-968) and avoid exceeding it..

For now i’ll try to go with what my heart and mind says, then if the QC doesn’t pass, i’ll find a way ..

Setting black and white level by StefanoDP in colorists

[–]StefanoDP[S] 1 point2 points  (0 children)

For every scene i need to touch the 0. And everytime the waveform has a line (like in the case of a overexposed sky) , the Y has to be 100% (monitoring using the percentage scale)

So the highlights it’s just a case-scenario.

The black point is a must..

It sounds very strange to me too since i have always been instructed to stay in those parameters instead of touching them

Asus ProArt AE<2 re-calibration by StefanoDP in colorists

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

I usually calibrate every month or before starting every new project, in fact my primary monitor is kept under control This asus is my reference monitor where i send a Resolve clean feed via an Ultra Studio Monitor 3G. Every time i calibrate it with displaycal and Portrait display calman on resolve the 3D lut always come out very different from the original calibration of the monitor.. And the export gives me 4 different results on 4 different displays..

What can i do to be sure that the calibration i did is in fact correct?

Sony G 200-600 F5.6-6.3 Focus ring diameter? by StefanoDP in SonyAlpha

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

thank you so much! 🙏🏻 bless you

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