Great video, well explained! One thing I've been curious about with RAW...is there a difference between changing the ISO in-camera vs. changing it in post?
Hey Scott! So it may have taken us 11 months to get you a solid answer but we think we’re cracked it and made a whole video answering this question! Thanks for leaving a question 😄 ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-iiMfAmWbWSg.html
One day I was exited to try 10bit on my Lumix, but the video, but I couldn’t ran it fluidly afterwards. I think I wasn’t using the correct Sim card. Now that I bought an Extreme Pro, faster than the other one, I”ll try it again
Great video thanks. I have questions: Is it Log or Raw or is both happening? For example if my S1H is set to Vlog and decide to use my Ninja V for shooting ProRes (HQ LT or Raw).. Does Prores like cancel out VLog? Or should I switch pic profile to standard before recording? Sorry I‘m new to Log and Prores etc. And second: I shot a video in 4K 59,94FPS in 10 Bit 420 in Vlog, graded it in Resolve, exported it and it looked just as meeh and noisy to me as my 8Bit sony a6500 footage that I shot before getting my S1H… It annoys me so much, but I can‘t seem to find answers to my questions here on RU-vid. Hope you get where I‘m coming from and you can help me… Thanks!!
Very good explanation of an important topic. Just learned the hard way after returning from vacation that all the footage my wife shot with her iPhone 11 in 8Bit does grade much better than my iPhone 12 Pro footage shot in FilmicPro Log-V3. Same effect with my S1H: V-Log tends to break during strong grading while non-Log profiles sand longer. Of course, you sacrifice some dynamic range.
Just checked the comment section to be sure that someone else noticed that this is one of the best explanation available on this topic. And I have not even finished the video yet, just paused it.
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!!
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?
I really love the " Film science " episodes please keep making more and cover more areas and elements, you guys are making videos and explaining these concepts in very efficient way so everybody could understand I had never come across these types of informative and interesting videos about filmmaking across the internet so please making more and ( I'm gonna leave this comment in every episode of " film science " so you guys see it . and yesss this is fucking interesting . 🙃
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.
2:43 this process of encoding in log applies to RAW aswell. Most cameras today with the exception of RED, Sigma FP and a few others take the 12, 14bit or even 16bit linear raw data and encode it to 10-12bit log raw. The one you're referring to is 10/12bit log in a debayered and later compressed format such as hevc or h.264 or even prores
@@nikstro no its not. the sensor sees light linearly but the problem is the amount of data because its very inefficient and it consumes a lot of memory so log is the solution to that. Raw photos that you take with you camera are an example of linear raw. As you know that beats log anyday
This video gave me a much better understanding of why and how cameras, displays, and humans interpret light. I must say however, that it took some real effort on my part to listen to your voice over top of a background sound track that was not only completely unnecessary but counterproductive. The internet is becoming the world's classroom, but when was the last time you attended a lecture that had background music playing? If what you have to say is not going to hold our attention, then no amount of background noise is going to help. Show some respect. We do not need to be coddled. We are here because we want to be here. And if you are having trouble reading this, turn on and turn up this post's "music" track and try again. Thanks for the opportunity to rant about my favorite RU-vid complaint, but thank you more for the content which I thought was excellent.
10bit LOG is most commonly used, but you can have 12 and 16bit LOG. When Kodak released their Cineon film scanners in the 90s, processing, bandwidth and storage bottlenecks limited the Cineon format to 10bit LOG. DPX, replacing Cineon, is a SMPTE standard and supports 8,10, 12 and 16bit. There are scanners that can scan at 16bit LOG DPX if needed.
This channel is so criminally underrated, I needed basic understanding of film, lighting, angles, etc for an upcoming project, and this channel delivered so much more and now it's got me hooked with editing... don't know if you've done a video on it, but whether it's after effects and/or premiere pro, I'd love to see how you guys make these videos. They are so high quality
