Syrp Lab combines together years of experience in R&D and innovation with an internal filmmaking team to create a unique approach to product development, developing next generation tools for creatives. But tools are only part of the picture, education and knowledge is the other. Our education channel is how we share what we have discovered with a community of creatives to enable them in their craft.
I bought the sound panels guide. The cross section A-A in page 7 doesn't have dimensions, and by what appears in the exploded view, its dimensions are not proportional (Frame: 195 mm. Fabric frame: 50 mm). That is almost a 4:1 relation, but in the cross section doesn't appear to be so. Could you please add the dimensions to the cross section?
Wasn't the presentation too technical? I am a ASNT certified Level 3 in all disciplines (11), as an average non photography science average RU-vid viewer, yet l could only glimpsed into the technical Part of your presentation only less than 5%.
My question is can you please write some code for the company that bought yours and smeared its reputation so I can update the firmware on my $3,500 mo co system that currently is collecting dust because you can’t even turn on any genies through any apps
My understanding that ISO for digital cameras is a tool to place the center of your Color Gamut (color, brightness, saturation) where you want in your cameras Dynamic Range. (If you see a cameras dynamic range chart, the 18% gray point shifts down with higher ISO, and skin tones being exposes 1 stop higher.) If you want your skin tones correct in the shot and a broader dark range, ISO 100. If broader highlights, higher ISO. (with the exception being Dual ISO) The same ISO for all conditions would make it difficult to color correct your shots in post process editing for saturation, brightness and varying noise levels. ISO used as a tool for noise control is like using driving speed to to time travel if your late.
I know it was just a joke at the end but plleeaaassseee don't buy dozens of Lacies as your storage solution!!! If you are okay with tinkering a bit get yourself an old Dell Optiplex, slap sth like eight 4TB harddrives into it, install Unraid or TrueNAS and use it as a network attached storage. it's MUCH more reliable, easier to organize your data, and (depending on how you set it up) you can outright kill one to three HDDs and not lose any data. It's more than worth the investment!!
Wall of text incoming! First of all, thanks for a great video. In a way this is the best video I have found on this subject with zero false statements. Most videos you see about log shooting say a bunch of things that simply aren't true. However, there are a few things you did not mention that I still struggle to find answers to. 1. As you correctly pointed out, shooting in log enhances detail in darker areas and effectively destroys details (to a small extent) in bright areas (almost all videos you find on youtube incorrectly claim that filming in log preserves details in dark AND bright areas). So it makes sense that you would shoot in log if you want to recover dark details in a high contrast scene, BUT, what log transformation does is expand the dark areas so that they cover more of the quantization levels of the bit depth. So basically, if you don't film in log, it could be that the dark details are quantized away, and filming in log expands them so that you may capture them better on more quantization levels. But if you have a tremendous amount of quantization levels (for example if you're filming in 12-bit), using log should not be necessary, because you have enough quantization levels for those dark details anyway. But then this also says that the lower the bit depth, the more important to shoot in log! This goes against what everybody on youtube says which is "don't even consider filming in log if you can only do 8-bit, you gotta do 10-bit", whereas I would say "it is more important to film in log if you shoot in 8-bit than if you film in 10-bit", because there is more need to expand the dark areas so that they cover more quantization levels. 2. Is there REALLY a situation where filming in log 10-bit is necessary?! I see all kinds of videos on youtube trying to show how much "more room" you have to "work with" when shooting in log, but none of them do experiments that actually show WHEN shooting in log is actually beneficial or necessary. If you film in 10-bit you can do some pretty insane color grading before you start seeing it break apart, filming in log just seems so unnecessary. It doesn't give you "more dynamic range" as many youtube videos claim, the camera sensor has the same dynamic range all the time. In a way log "uses the dynamic range" in a better way, but I have experimented so much and never ever managed to produce a scene or situation where shooting in log preserved necessary details better than just shooting in standard, except if you do absolutely insane grading that would never be done in any real life situation.
Gerald Undone did some testing and came to the conclusion that you cannot get any more dynamic range by shooting raw vs 10bit SLOG3 at high bitrate, is he wrong? - what are some real world examples of a grade that can be done on raw but not on 10bit SLOG3?
