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Driftwood Quantum X Settings, Series 4: Cluster v2, Mysteron, Sedna, Orion...etc...
  • 1015 Replies sorted by
  • itimjimitimjim

    @sebasp1 I'd say you were right. There's greater tonality and information in the highlights, hence why a lot of digital photographers, expose to the right (ETTR).

    Film negative was always good at pulling details out of shadows, positive film much less so.

    Our digital sensors are linear, so there are more levels where there is more light. Therefore for maximum details and tonality, ideally you'd want the histogram to be weighted toward the right, but without blowing the highlights.

    In practice it's quite difficult, especially outdoors, as there'll always be some highlights you will be protecting. The only way to maximise your tonality, is by lighting and blocking appropriately to give a range that fits nicely within the sensor - and the ETTR.

  • sebasp1sebasp1

    i would like to clarify this... for my experience what i understand is that when shooting film you can tend to underexpose as it is easier to pull more detail later for example leaving film more time on revealing process with quimics. And the opposite for video recording where its better to overexpose cuz more detail its kept on highlights than on blacks which loses total info after a point. or was it the other way around, im not sure?

  • sidsid

    is mysteron the new orion 4vb?

  • soulkeepersoulkeeper

    well it's sure that in stills world ETTR(exposing to the right) is very effective...a good article here http://www.luminous-landscape.com/tutorials/expose-right.shtml
    and http://www.luminous-landscape.com/tutorials/optimizing_exposure.shtml

    but there we have raw.... so i don't know if this approach is good for video world and specific to us GH2 users.. Maybe the experts here in editing ,should enlighten us.. Is it better to overexpose in the shot and lower exposure in post or the opposite?

  • rajamalikrajamalik

    @obscura ya ya ,.. but i use only sedna AAQ1,. i dont know why i like sedna AAQ1 so much,.. it has maximum details plus it is so responsive in post production,.. even mysteron is almost the same,..only it is below sedna AAQ1 in details, i prefer maximum details and sharpness so i am off from mysteron. but as for as i know mysteron is good for motion because it only does iframes, not like sedna which does other frames too...another point is that mysteron burst is more sharper and detailed than sedna AAQ1. but it isnt so stable,..its was stable only for a few shots when i tested. if u r using sedna use -2 standard or -2 smooth which is recommended by @thepalalias

  • kingmixerkingmixer

    In unrelated news... Sedna A AQ1 for a home performance:

    I still had Quantum 100 of the original firmware on my B cam (the closer-up shot) so I thought it might be interesting (although not an intentional or proper fidelity comparison) to see them together. I just liked Quantum 100 so much (and it's so reliable) I haven't taken it off my B camera.

  • peternappeternap

    @itimjim this is probably OT so I'll drop it. I happen to agree with Onionbrain in that you need to learn the basics first, but I'm also always willing to look at another tool for the challenged.

  • itimjimitimjim

    @konjow @peternap

    $50.00 gets you the GHears and the Tutorials. If you have AE in your workflow, then it is the best $50.00 you will spend. @shian not only provides great flexible presets, but also a wealth of knowledge, experience and understanding - and he's not afraid to share it.

  • peternappeternap

    @@konjow They are not public. A $50.00 membership fee is required. I don't know if the purchase of his product entitles one to view them or if there is another fee involved.

  • From_ParisFrom_Paris

    SHIT!

    I was ready to test ORION V4B et SEDNA AQ1, I just receive new Sandisk. BUT, I just ordered them : Sandisk 30mbs HD 32go and I received 45mbs SDHC UHS-I 32go and OF COURSE it's doesn't work!!!!!

    WHY????? HELP. THANKS.

  • stephenhallstephenhall

    not sure if the link posted here the link again

  • stephenhallstephenhall

    I shot something last night to test the orion 4b hack. my footage turned out to hav a lot of noise in the backs. I know its a youtube link, so shitty encoding but can anyone hazard a guess as to why its so noisy because it was all shot at ISO 160 (except for the cloud bit)

  • PixCanFlyPixCanFly

    @onionbrain

    I use -2,-2,-1,-2. Saturation at -1 seems to be the "sweet spot." -2 on saturation and it looks exactly like an HVX200 (a camera that records 4:2:2 color). 0 on saturation is a bit heavy handed.

    Thanks! I'm using Driftwood Orion(4b), would you recommend Vibrant too?

  • RRRRRRRR

    here's an example; a part of a frame (@100%), shot with orion v4b and If I recall correctly I used smooth or normal (dialled down). Obviously, it was a semi-controlled environment, and not the most difficult situation (although we had too little time to use anything but pre-set lights) but we managed to get the flat overall light we wanted for the shoot and in this particular shot you can see that even the darkest parts are not really black. Perfect to pull down; but it is also possible to push the colors quite a bit.

    I also include a couple of quick grades in PS, first a quick curves adjustment and a 30 or so saturation added. Second a 100 "vibrant" + secondary curves adjustment. Obviously this has nothing to do with the intention of the first shot but is to display that color information from a flat image can be pushed quite far, easily (remember this is done very quickly, on a compressed screen grab).

    By shooting this way I have better control of the noise that always is there in the lower part of the level range, regardless of profile and regardless of ISO (within 160-1600 range). I can retract or enhance detail.

    screengrab.jpg
    1028 x 415 - 106K
    pushvibrant.jpg
    1028 x 415 - 142K
    pushfurther.jpg
    1028 x 415 - 150K
  • filthyfilthy

    @konjow Tutorial are on shian's site: http://colorghear.com Not sure if they're public though. Might only be accessible once you purchase his colorghears. Which by the way is a friggin' steal of a deal for all you get.

  • RRRRRRRR

    @modernhuman obviously, what is lost is lost so if you indeed need all the highlight (might not be necessary for a sky for instance, if your subject is in a dark area) that is what you have to expose for, with the means you have. However, exposing as far right on the histogram as possible (without loosing vital information) does yield very good results in my opinion. Better than the other way around.

  • konjowkonjow

    @shian @filthy where can I watch the tutorials?

  • onionbrainonionbrain

    @shian So -- a few people disagree with your pronouncements regarding a picture profile -- and your reaction is two paragraphs of you justifying yourself?

    The world is big enough for different opinions and workflows. Are you?

  • consciusconscius

    @shian, I didn't do anything in post. This was de whitebalance I have chosen in the camera. But in movement I don't really see the blockiness. Can you tell me something more about that ISO glitch?

  • filthyfilthy

    @shian Not sure what exactly happened to set you off as I don't keep up too much here anymore. Too much garbage to sift through and I just don't have that kind of time. But just wanted to say please don't stop doing the amazing work you do. The education you've been providing has proven to be priceless to me. And while I'm still working another job (which I love) to pay my rent. True professionals like yourself have given me the tools to get paying gigs that are at least supporting this ridiculous cinematography vice that I can't seem to control. The tutorials are awesome. Learning so much. Please keep it up. Your work is amazing.

  • shianshian

    @conscius that looks great! Did you dial in that white balance in camera or in post? There's some blockiness in the compression especially the background, don't know if that's the Q20 or maybe the ISO glitch, but otherwise very nice.

  • shianshian

    No, you're all right. I evidently have no idea what I'm talking about, and no experience or knowledge to back it up... I'll just sit over here in the corner in awe of your bodies of work. I certainly wouldn't want to pollute the conversation with my ignorant interjections. How stupid of me to include curves adjustments or color theory in my system, I mean people might actually have the tools and knowledge they need to realize the full potential of their images. What was I thinking when measured the GH2's dynamic range, and showed my students how the GH2 varies from what we're used to with video and film? Clearly, I need to rethink my approach. I should probably give back all the money I've been paid over the last 7 years for doing grading and image enhancement on what probably amounts to a 10th of the DVDs in your collection.

    I should definitely renounce everything I learned from the world's most knowledgeable expert in image enhancement, and instead only pay attention to this forum, cuz what the hell was he thinking, performing miraculous restorations of all those classic movies, pushing digital image enhancement to the point of legendary status, making the digital filmmaking revolution possible. What a moron. I couldn't have learned anything from that guy. Certainly not anything helpful to any of you.

    No, I should definitely move back to Phoenix, and drive a cab for a living, I'm clearly in over my head.

  • onionbrainonionbrain

    @thepalalias lol on the new topic attempt. All of this is relative to Driftwood's current patches -- let it go. Besides, you need to be a computer programmer to get the search function on this forum to work as we'd expect it ("+" signs, etc.)

    @modernhuman Well, Technicolor is supposed to look "washed out." We'd all love to have Technicolor for the GH2, but we don't, and it's an issue of maximizing results with what we've got. With the hacks, especially the very high bitrate Driftwood patches, we're in a very unique situation relative to production cameras. Vast essay in a sentence -- we've got a reversed Technicolor Cinestyle -- meaning we capture something that looks about finished but we can pull details out of mid tones and shadows to a surprising degree because of the less compressed streams. This is the opposite of Technicolor's Cinestyle -- that, in theory, captures everything and you apply curves or levels adjustments to increase "contrast."

    Basically, we're in a new situation here -- and we need to think "new." Just because some old workflow endorsed by some celebrity producer works for a Red or Canon DSLR -- doesn't mean it's the right thing to do with a hacked GH2.

  • elementalracerelementalracer

    Messing around with Driftwood Mysteron settings.

  • yeehaanowyeehaanow

    @Zaven13 Many thanks! I will give this a try asap. I was not finding the time to figure out how to create a hybrid myself. Too much flying! The issue with the hexacopter is that it's wide angle-everything-in-focus high-detail and high-movement. Even on my 64gb 95/s card sedna 60p would stop after a min or two. Sedna 24h has given no issues and spans every time. Amazing how much more data it will have when on the hex...

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