Blackmagic Forum

im looking to see what the best low light settings are for BMPCC raw. thaks

800

Longer version:
http://www.borrowlenses.com/blog/things ... e-footage/

Lengthy discussion:
http://www.bmcuser.com/showthread.php?1 ... AW-correct

At 30 fps, ISO 800, angle 360 (or 324 if it blinks and mains is 50Hz)

You may want to apply some noise suppressor plugin, subtraction of black field and additional brightness controls in postprocessing.

My experiments with long exposures basically failed due to terrible FPN.

An angle of 360 will give you an extra stop, but some smearing of motion.

you mean like a blur?

All depends upon the degree of motion of course (whether it’s your subject or the camera) and if the camera is following the motion, you may get attractive ‘movement’ in the background while your subject may look very acceptable. I’ve liked using 360 degrees shutter angle and it shouldn’t be overlooked as another creative tool on your box.


Sent from my iPhone using Tapatalk

Yep, it's just another aesthetic decision.

We are used to 180 degrees of shutter in cinema, but when Michael Mann wanted to shoot night ext without additional lighting in "Collateral" he used 360 degrees. Have a look at the chase on the pedestrian bridge over the highway for example, once both characters have left the hotel. Motion blur changes between the shots on the stairs inside the building and the ones outside.

The other extreme would be very short exposure times like Spielberg used in "Saving Private Ryan" in the beach scenes. While the soldiers are under heavy fire, the staccato of the machine guns in audio is supported visually by the staccato of short exposure times, which make motion look less continuous.

There is only one camera setting for RAW - Set Zebras to 100% and Do Not Clip Highlights. It is more important how do you process that RAW file than camera settings.




See also this post for details viewtopic.php?f=21&t=65149

thanks for all the tips, im going to practice some shots this weekend.

If you have a light meter try to understand your limits as far as FPN is concerned.

Also don't forget that for RAW you need to do a color compensation with Color Checker target or manually based on ProRes footage sample. Otherwise you got weak and brownish greens, orangy reds, cyanish blues and weak yellows See test samples here viewtopic.php?f=21&t=60158#p344147

in what order do you use the color checker? you have rec709 or bmd film to convert to do you do the color checker after camera raw? thanks

You’d want to use it at the head (or tail) of your clip so that it will be available to DaVinci when you get to your grading/color correction step in your editor.

so basically after camera raw is fine? thanks

Brian Schuck wrote:so basically after camera raw is fine? thanks

Nope. I may not be making a clear explanation, but think of it as a two step process.

1. You want the Color Checker to be visible in the frame at the beginning of the clip (when you record):



2. Then, when you get to your edit (there is a color match tool in Resolve) you can quickly get to a good starting point like (probably not the best example) this:

Brian Schuck wrote:in what order do you use the color checker? you have rec709 or bmd film to convert to do you do the color checker after camera raw? thanks

Currently i came to this but it still testing things and this is not final workflow:
In Project Settings:
Input set to BMDfilm/BMDfilm
Timeline set to V-gamut/RED Log3G10 (I just subjectively like V-gamut color space but You can always experiment with different working color spaces. RED Log3G10 also just subjectively looks nice when you adjust contrast and allow very large expose adjustments without clipping data)
Uncheck - "use S-curve for contrast"

- Expose up adjust in RAW
- WB adjust in RAW
- set XY (Pan/Tilt) position to 0.5px to remove Cross Hatching Pattern.
- Noise Reduction Node
- Gain down adjust Node
- WB adjust Node (optional for more precise WB adjust)
- Color Checker Node (set it to Log3G10 in out gamma and Panasonic V-gamut gamut) You can do a separate Color Checker sample before every shot or just do a single sample in netural light enviroment and use this correction in future almost in any video.
- Highlghts adjust Node
- Contrast Node (for RED Log3G10 set Pivot to 0.38)
- Color space Transform Node (Panasonic V-gamut/Log3G10 to Rec709/Rec709 Enable Saturation and Luma Mapping)
- Film Emulation 3Dlut Node (Optional. Sometimes this needs to disable Contrast Node)
- Sharpen Node


Do Not use Color Checker correction in Rec709 color space and gamma because this color space is very small and so Color Checker correction produces clipping and ugly unnatural colors.

thanks i will give that a try! i did a music video this weekend, RAW with panosonic 25mm 1.7 i got noise in the roof of the garage its concrete, i tried every in raw to get it better i shot at 800asa not sure what my issue is,

This may be not a noise but moire pattern. Or moire pattern mixed with noise and with "Cross Hatching Wont Go Away" pattern (search about this problem at this forum as well). RAW is producing very hard moire compare to ProRes. It is not so simple to get clear image from this camera as is.

thats what i was thinking because i tried everything, i like using raw because no detail lose but might try prores again. what is the best monitor setting to use? rec709 or srgb for grading, thanks

Brian, I believe it depends on your delivery vehicle. If you’re distributing on the web for a computer monitor then set your monitor to sRGB. If you think your deliverable will be on a normal television, then Rec.709 for grading. I’ve been using mostly Rec.709.


Sent from my iPhone using Tapatalk

im planing on getting a BenQ monitor srgb, am I able to change Resolve to srgb? thank you

It sounds insane but i just found that there are two different implementations of RAW input colors in Resolve. To get correct colors from RAW you need to bypass input color space transform in project settings: