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Member Since 04 Jul 2009
Offline Last Active Feb 22 2015 09:11 AM

Posts I've Made

In Topic: Getting the best results from YouTube / Vimeo (1080, 4K etc...)

22 February 2015 - 08:42 AM

In both final cut and imovie you can work with source files. There is no reason and no benefit to convert. Even when you work in a so called 444 space in final cut there is no benefit at all once you finalise in h264 unless your footage was 444 or 422 to start with. This is based on the fact that you can't add in information that is not there in the first place. If you however do convert your footage to an intermediate format (should never do that unless your workstation is too slow) there is a mild benefit in case you want to do extensive grading
I have read a lot of material in and around the idea that downscaling 4:2:0 4K results in 4:2:2 1080p but it's just theoretical stuff as scaling also means information loss.


I don't convert the source files. I can see with my own eyes FCPX 422-444 produces noticeably better results than iMovie 420 whether the export is in ProRez or h264. The better codec allows much better grading and effects - the image quality simply hold up better.


In fact I don't know of any professional NLE that does not process in 422 or higher internally.

In Topic: Panasonic GH4 might get a V-log profile?

21 February 2015 - 11:41 AM

...however once you have a filter there is no benefit whatsoever performing custom white balance auto works just fine.




If your temperature is fixed to the start of the clip the end will be wrong. And there is nothing you can do with grading.


If I set Filter + CWB under say 12m or 40ft of water to a white sphere or a gray tank then I aim the camera at a diver above me and follow the descent, the color of the gray wetsuit will remain pretty constant throughout the clip.


If I use Filter + AWB, for the same shot, my cameras' AWB will change the color of the gray wetsuit from very warm to nutural in the same clip, which is not what I want.




Yes, I can use color adjustment with keyframes to eliminate the color shift introduced by AWB without problem, but setting the camera to Filter + MWB lessen the need for that extra work.

In Topic: Getting the best results from YouTube / Vimeo (1080, 4K etc...)

20 February 2015 - 06:45 PM


When you place a clip on the timeline within FCPX - all effects to that clip are in 444 32bit - and at the native resolution of the clip
(no need to optimise the clip to ProRes - as its doing that in the background)


However pre-optimizing your clips might make general use of FCPX quicker as its not doing the background rendering as much.

Thats what I understand anyway...


My tests show processing in 444 and 422 are indeed better than 420. In fact for FCPX, there's no 420 option for processing. On the other hand, iMovie uses Apple Intermediate Codec 420 and I stopped using the app a few years back because the rendering of the shadow areas was not acceptable and image quality falls apart too quickly when graded.


I think Apple software engineers chose 422 over 420 for FCPX for some very solid reasons.

In Topic: Panasonic GH4 might get a V-log profile?

20 February 2015 - 06:09 PM

From my experience, the best result is filter + MWB. I used the Magic filter back when I have my Sanyo camcorder and get the most gorgeous blue at Red Sea. The idea behind the MWB is to get the subject properly white balance while the Magic Filter "restore" the blue at the background.


You shouldn't really just put on a red filter and set it to AWB, because red filter only work down to 30 or 40 feet or so. Why else all the goPro flip filter need 3 different shade of red? There is no one red filter that work on a depth so MWB is still required.


My experiences have also shown that Filter + MWB produce the best results for "my shooting style".


Filter + AWB combination too often leads to color shifting within a clip, making grading more time consuming since it requires keyframing. For example: panning from surface, following a subject down almost always lead to color shift with AWB. Panning from front lit to back lit situations also create color shift with AWB. Even when a nearby diver enters the frame can cause color shift depending on the camera and situation.


Filter + MWB prevents the camera from adjusting colors constantly, which save time and headache "for my shooting style."




However, there's no ABOSLUTELY THE RIGHT OR WRONG WAY for anything so if a person is happy with the "Filter + AWB" or "MWB only" results, then that's great also!

In Topic: Manta Rays - Socorro

14 February 2015 - 04:44 PM

Excellent piece for a great cause!