Are you kidding me? I hope this information will be useful? It's some of the best information that I have found, this channel without doubt is an absolute goldmine. Thank-you so much for creating these amazing videos.
I agree! KINETEK is one of the most beneficial UA-cam channels I have ever come across. Each video is jam packed with very valuable info presented very very well.
Where are you Mr Rosen? We need you! The best, most reliable source of information available on UA-cam. Class knowledge offered with humility, authority and incite! Please, PLEASE keep them coming?
It's been over a year since you posted a new video. Sir, please don't stop making videos. Your tutorials are way more useful than other youtube tutorials from younger DP's as they don't have the experience that you have.
Your videos are the best!!! Your ability to explain things that are complicated in a way that makes sense yet understandable is a true talent! Thanks for sharing your knowledge!!!
Wow your knowledge is so good. And since you have so much experience, this channel is probably one of the best on UA-cam. This is called holding nothing back!! Brilliant!! We need more people like you!!
Thank you so much for doing this. It’s fucking crazy how few videos there are which cover the critical basics like this. Brilliant presentation. I finally learned something.
Fantastic! Simple, detailed and to the point! I muh appreciate your work sir, keep it up. Everything I wanted to know and more. Btw, it's very underrated and underappreciated videos out there about color grading and raw video, UA-cam is filled with people who shoot "cinematic" shots and explain how to grade without having an authority on the subject, and usually end up confusing people how to grade properly.
Good video, and clearly you know your stuff. I just want to add a hopefully useful addendum. The Rec.709 profile of cameras, that contrasty thing we are avoiding here, usually has a curve that compresses highlights. This is so you can get a decent exposure of midtones without all of the bright areas in the shot blowing out. The bright values squeeze together, but the shadow end is much less compressed, allowing more separation of tonal values and capture of detail. Conversely, most, maybe all Log profiles do not mimic this tone curve. In fact, the highlight end of the Log profile is pretty much a straight line, but the shadow end is compressed. For this reason, I "overexpose" my Log footage. I use a WFM and set my exposure such that the whitest highlight is at least 80 IRE. Forget zebra at 70 IRE. If there is a light source or strong specular in the shot it can be 95+ IRE. This pulls a lot of darker tones up out of the shadow curve and eliminates a lot of potential noise in the shadows after grading. During shooting the monitor looks flat AND too bright, but the footage grades beautifully. As always, TEST with your setup and your picture profile. Happy shooting!
I believe there are a few inaccuracies in your video. Obviously, RAW captures the most amount of information possible, since it is per sensor pixel data. Generally it is around 14 bits per channel; however, LOG is not designed to capture the most data. It is designed to swap out low or high bits and put them into the 8 bit (or 10bit) space that is usually taken as a section out of that 14 bit range. It does this by flattening the curve in the middle (removing Y values in a sense) and adding the high/low sensor data below and at the top (which invariably adds noise because the sensor doesn't work as well at the extremes). As you explain, RAW is sensor data and LOG is video data, but that's not enough explanation I believe. RAW is pre-debayered, or single channel data wherease LOG is post-debayered full-color data (with compression). For that reason, I don't believe you can really compare RAW to LOG as being similar. I don't see how they are; their bit depths are different. LOG is just another gamma curve applied to RAW data, like rec.709 or rec2020, then saved as a full-color image stream. What you're really trying to say, I believe, is that both RAW and LOG do NOT assume a rec.709 gamut. True. However, LOG is generally close to a rec.2020 gamut, which is why if you set your monitor to rec.2020 LOG footage will look passable. Also, that chart you show in the beginning WOULD look the same in both rec.709 and rec.2020 because printed material generally has 2 stops DR. Only if the bars were illuminated enough so that the darkest and lightest bars were 10 stops of DR apart would they display differently to both rec.709 and rec.2020.
Well thanks for that info. After having first watched the above video I get a sense as to what you are saying and to the point of it. Your input really helps bring this all together for someone such as myself that only has a very basic understanding of raw, log,709,2020, monitor capabilities and the like. Your information was very informative and has helped point me in the right direction for further research and learning. Its great that you know your subject well enough and have the ability to “see” the inaccuracies to point them out.
@@amiraizent6924 My apologies Amir! :) It's a fascinating problem, to me, how does one explain the difference between RAW and 8-bit LOG without hurting anyone's brain? Obviously, I never untied that Gordian knot!
@@MaxoticsTV Also, The Sony UHD monitor he was referencing earlier in the video CANNOT reproduce full REC. 2020. No, it's capable color space is somewhere around P3. That's misleading. I know, i was disappointed myself when i found out that even the BVM HX310 cannot reproduce full REC. 2020. Anyways...
Well... You mentioned that RAW is just the data from the sensor, and that it requires a lot more storage space. You sort of mentioned that Log is a compressed version, but didn't tie that into the larger talk about dynamic range. Rec.709 takes the RAW data and saves it in a non-log format based on middle gray. You often get clipping/crushing because of the limited range (f-stops). In Log form, you are saving as much range as the equipment can provide (say, 14 stops, rather than 8). In post, you can decide where you want that middle point, or really, decide what parts of a scene you want the most detail in.
It's also important that unless you have more chroma data than 4:2:0 8-bit, shooting log or "flat" damages the footage and looks worse after being pulled back to normal curves. Consumer DSLRs should ALWAYS be shot such that it looks correct in-camera. 4:2:2 and/or 10-bit color is mandatory for log.
Yeah, for "correct" chroma, you need to shoot 10bit (or higher), but the video wasn't about color space so I left that out. Rec.709 and 8-bit go hand-in-hand.
I was just going to ask if it makes sense to shoot log or flat with a Rec.709 camera like Panasonic GH3. Your comment answered me already, thank you, Jody.
Hey, thank you for all of your videos. They are amazing in all aspects, topic, information density, narration and of course the filming. I would love to have more but I get that you are probably very busy. Still, please make more ;) Please please please :)))
When I am reading my waveform, on Alexa or RED camera on board monitor what kind of video signal reading does it shows , is it a raw,log or rec 709 , Because what I see on monitor or in viewfinder is a video either in log or rec 709
Hi Matthew - awesome video! Quick question: What is the difference between LOG being encoded in camera (say FS7 encoding SLOG3 to XAVC) vs RAW being debayered in post and the metadata encoding to LOG? Is the RAW (post LOG) still lossless or has it maintained all the data as per raw? To my understanding RAW means that it has to be debayered in post to be viewable and your viewer can either decide the display preferences, or it can be encoded. For example, in the new Canon C200, the RAW is encoded with C-Log3. Which means that even though it's LOG you are still bound to the CLOG3 curve. Any thoughts or insights on this?
Superb video as always. I want to ask something. When using rec 708, should the IRE of %18 grey card be 50? And what do you recommend to Expose human skin especially caucasians in IRE Scale? Thank you ☺️
Thanks for this video! Super helpful. Just a thought... the music is odd and very distracting. The trumpets kept distracting me from what you were saying... I had to keep rewinding. Again, thanks for the quality information!
And now, just to confuse reviewers who don't understand the difference between Raw and Log, show them Cion 'Gamma Disabled' footage - Linear sensor data with no log curve applied - looks like shadows on the monitors, but once graded, has more latitude then expected - it's sensor raw debayered without log colour science applied.
hey one request, I know you're very busy person but if you have time can you make a video essay about "Language of Lens"? this topic always confuse me and couldn't find any decent writing or video about it.... If you can make one that will be a great help for me.
nobody uses knee and slopes these days; use hypergamma/ cine curve instead; the knee and slope adjustment gives a very unnatural look, do not be fooled, you won't get a better dynamic range
thanks a lot for this. is there a place where we can download charts for a specific camera? or how can i know how to work a footage from a camera that i havnt worked with, how can i look up that camera chart?
If you go to the brands website you can probably find something. Like Sony for an A7S color chart, or look into some tests with the camera in question. Ex: "A7s Color Test" on Google or UA-cam. That should help at least, and if you can't find anything ask people who own the camera in question on Twitter. They're usually pretty good at responding.
I don't quite understand why the camera manufacturers pull down 'knee' and push up 'black gamma' for raw and log. If shooting in raw or log, doesn't that gives the editor the freedom to do whatever with the color grading, be it high or low on the chart. Or is just for the convenience for the editor to start grading from a neutral starting point? PLEASE LET ME KNOW, I REALLY NEED TO UNDERSTAND THIS!
This is a very good question. The best way to understand this is studying the Zone system. Latitude and separation is best achieved within 7 zones. It is very difficult to balance an exposure within 7 zones, it takes years of experience and a lot of calculating. RAW and LOG shrink the upper and lower 3 zones into 7 zones. usually 10 - 80 ire. Ansel Adams is probably turning in his grave that I am comparing his system to RAW and LOG but both systems achieve the widest latitude. Few data cinematographers study or execute the zone system as they can achieve a wide latitude just by switching to LOG or RAW but understanding the Zone system and how to expose for it will make you a better cinematographer. I go into this in depth in Kinetek's Practical Cinematography workshops, that I hope will start going up on line before the end of the year. Look out for it.
Video was great but the information was misleading and flat out wrong at some points. I know this channel doesn't upload anymore so there's no way they can post a correction video. So that leaves the audience to do the research. I give some points that you can look into if interested RAW video is almost always a compressed video. It contains a helluva lot more information than a h264 or h265 file. It even has more information than a pro res or dnxhr file. It doesn't record all the data of sensor, but it records a lot and it's far superior when it comes to colour grading. Log is simply a gamma curve. A log curve can be applied to a raw video or a compressed video format. The only difference between log curve applied to a raw clip vs a normal clip is: you can non-destructively convert it to a standard rec 709 gamma in post. It is also true vice versa (although not all cameras support this function), so you can record standard video in raw and then change the gamma curve in post to get more information since most of the information is kept when shooting in RAW. If using a very compressed h264 log file, you'll notice banding and artifacting when you try to convert it back, in some cases. Do your own research about log formats you wanna shoot in, on the cameras you wanna shoot. Gerald Undone is a great place to start. Rec 709 and Rec 2020 are colour spaces. They have nothing to do with resolution. You can have an HD monitor which supports rec 2020 colours while a UHD one only supports rec 709. You can also shoot in different colour gamuts on your camera. Some cameras will capture WCG (Wide colour gamut). Colour gamut is not the same as bitdepth. Bitdepth is the precision with which you identify a colour. A colour space is the total number of colours you can capture. Again please do your own research into this. I cannot specify every use case Log is primarily made so that the camera's maximum dynamic range can be captured. shooting in log doesn't inherently mean you are recording more data, it just means you are keeping more things in frame correctly exposed which is very very helpful. But keeping more exposed has nothing to do with the capturing data from the sensor. So log = more dynamic range (ofc has to be implemented properly) = more good (at the same base amount of information recorded) Regarding the scopes. The information is true only of you are recording a rec 709 (not log) video in a compressed format like h265 or h264 or ProRes and editing it in standard a rec 709 timeline. If you are recording RAW there's often more detail hidden below the 0 IRE point and above the 100 IRE mark (depends on ur camera). And as shown in the video, log video is a different beast altogether. Again for this information, Gerald Undone is a great place to start.
@@kinetek2881 thankyou for being chill with this. I didn't mean to bash you guys, I just wanted to just help others out. I really love your channel btw
![Дон ДОН, Алаудинов и СБЕЖАВШИЕ из под Курска ахматовцы 😁 [Пародия]](http://i.ytimg.com/vi/dEfCf5IK26Q/mqdefault.jpg)
Are you kidding me? I hope this information will be useful? It's some of the best information that I have found, this channel without doubt is an absolute goldmine. Thank-you so much for creating these amazing videos.
I agree! KINETEK is one of the most beneficial UA-cam channels I have ever come across. Each video is jam packed with very valuable info presented very very well.
I agree 100% !!!
i agree
Where are you Mr Rosen? We need you!
The best, most reliable source of information available on UA-cam.
Class knowledge offered with humility, authority and incite!
Please, PLEASE keep them coming?
It's been over a year since you posted a new video.
Sir, please don't stop making videos. Your tutorials are way more useful than other youtube tutorials from younger DP's as they don't have the experience that you have.
"I hope this information will be useful to you."
I hope Matthew knows that he is the best friend I'll never meet, just for sharing this info...
I have watched so many videos on film making yet not one can touch how much I learn on your channel, thank you!
Your videos are the best!!! Your ability to explain things that are complicated in a way that makes sense yet understandable is a true talent! Thanks for sharing your knowledge!!!
I agree! I've been trying to understand practically what the differences are - this is making a whole lot more sense now!
Your explanations are informative, clear and easy to understand, Thank you.
Wow your knowledge is so good.
And since you have so much experience, this channel is probably one of the best on UA-cam. This is called holding nothing back!! Brilliant!! We need more people like you!!
I marathoned your whole channel! What a goldmine of info! Thank you so much for sharing your insights!
This channel is one of the most educational and useful film channels I've seen!
This is the realist dude ever!!!!!! I will never look at filmmaking the same.
Thank you so much for doing this. It’s fucking crazy how few videos there are which cover the critical basics like this. Brilliant presentation. I finally learned something.
I record in rec709 for tv broadcast and finally understand what is it for. Thank you very much.
I'm a very simple man. I see a new upload from you, I hit Thumbs Up.
Then of course sit down to watch the video...
Thanks for this great explanation. I have been searching for ways to explain to my clients why I shoot in log
😀🕺🏽🎥🏖🇦🇺
Excellent video! Thanks for sharing this.
That information was indeed useful to me. Thank you very much. One year worth of film school in 10min Video. Thanks again.
Fantastic! Simple, detailed and to the point! I muh appreciate your work sir, keep it up. Everything I wanted to know and more.
Btw, it's very underrated and underappreciated videos out there about color grading and raw video, UA-cam is filled with people who shoot "cinematic" shots and explain how to grade without having an authority on the subject, and usually end up confusing people how to grade properly.
Great video, thanks for taking the time to share your knowledge!
Matthew, thanks for that clear explanation. This will help me with my shoots.
Please keep making videos! If you write a book on this, I'd buy it.
Good video, and clearly you know your stuff. I just want to add a hopefully useful addendum. The Rec.709 profile of cameras, that contrasty thing we are avoiding here, usually has a curve that compresses highlights. This is so you can get a decent exposure of midtones without all of the bright areas in the shot blowing out. The bright values squeeze together, but the shadow end is much less compressed, allowing more separation of tonal values and capture of detail. Conversely, most, maybe all Log profiles do not mimic this tone curve. In fact, the highlight end of the Log profile is pretty much a straight line, but the shadow end is compressed. For this reason, I "overexpose" my Log footage. I use a WFM and set my exposure such that the whitest highlight is at least 80 IRE. Forget zebra at 70 IRE. If there is a light source or strong specular in the shot it can be 95+ IRE. This pulls a lot of darker tones up out of the shadow curve and eliminates a lot of potential noise in the shadows after grading. During shooting the monitor looks flat AND too bright, but the footage grades beautifully. As always, TEST with your setup and your picture profile. Happy shooting!
Holly hell I'm learning lots from your site. Thank you
Great video! Im learning more from your channel than previous filmschools :D
I believe there are a few inaccuracies in your video. Obviously, RAW captures the most amount of information possible, since it is per sensor pixel data. Generally it is around 14 bits per channel; however, LOG is not designed to capture the most data. It is designed to swap out low or high bits and put them into the 8 bit (or 10bit) space that is usually taken as a section out of that 14 bit range. It does this by flattening the curve in the middle (removing Y values in a sense) and adding the high/low sensor data below and at the top (which invariably adds noise because the sensor doesn't work as well at the extremes). As you explain, RAW is sensor data and LOG is video data, but that's not enough explanation I believe. RAW is pre-debayered, or single channel data wherease LOG is post-debayered full-color data (with compression). For that reason, I don't believe you can really compare RAW to LOG as being similar. I don't see how they are; their bit depths are different. LOG is just another gamma curve applied to RAW data, like rec.709 or rec2020, then saved as a full-color image stream.
What you're really trying to say, I believe, is that both RAW and LOG do NOT assume a rec.709 gamut. True. However, LOG is generally close to a rec.2020 gamut, which is why if you set your monitor to rec.2020 LOG footage will look passable.
Also, that chart you show in the beginning WOULD look the same in both rec.709 and rec.2020 because printed material generally has 2 stops DR. Only if the bars were illuminated enough so that the darkest and lightest bars were 10 stops of DR apart would they display differently to both rec.709 and rec.2020.
I'm afraid this is the truth
Well thanks for that info. After having first watched the above video I get a sense as to what you are saying and to the point of it. Your input really helps bring this all together for someone such as myself that only has a very basic understanding of raw, log,709,2020, monitor capabilities and the like. Your information was very informative and has helped point me in the right direction for further research and learning. Its great that you know your subject well enough and have the ability to “see” the inaccuracies to point them out.
Holy shit this is too much information for my brain
@@amiraizent6924 My apologies Amir! :) It's a fascinating problem, to me, how does one explain the difference between RAW and 8-bit LOG without hurting anyone's brain? Obviously, I never untied that Gordian knot!
@@MaxoticsTV Also, The Sony UHD monitor he was referencing earlier in the video CANNOT reproduce full REC. 2020. No, it's capable color space is somewhere around P3. That's misleading. I know, i was disappointed myself when i found out that even the BVM HX310 cannot reproduce full REC. 2020. Anyways...
very useful , looking forward to next video
Its almost a year without any video
Hope you find some time for this great channel
Well... You mentioned that RAW is just the data from the sensor, and that it requires a lot more storage space. You sort of mentioned that Log is a compressed version, but didn't tie that into the larger talk about dynamic range. Rec.709 takes the RAW data and saves it in a non-log format based on middle gray. You often get clipping/crushing because of the limited range (f-stops). In Log form, you are saving as much range as the equipment can provide (say, 14 stops, rather than 8). In post, you can decide where you want that middle point, or really, decide what parts of a scene you want the most detail in.
It's also important that unless you have more chroma data than 4:2:0 8-bit, shooting log or "flat" damages the footage and looks worse after being pulled back to normal curves. Consumer DSLRs should ALWAYS be shot such that it looks correct in-camera. 4:2:2 and/or 10-bit color is mandatory for log.
Yeah, for "correct" chroma, you need to shoot 10bit (or higher), but the video wasn't about color space so I left that out. Rec.709 and 8-bit go hand-in-hand.
I was just going to ask if it makes sense to shoot log or flat with a
Rec.709 camera like Panasonic GH3. Your comment answered me already,
thank you, Jody.
sir! you are amazing...so much learning is happening. thank you for making these videos
I like the way you say "Curve". Very... titillating
I was waiting for you to upload another video thanks very much :).
This is GOLD!!
Hey, thank you for all of your videos. They are amazing in all aspects, topic, information density, narration and of course the filming. I would love to have more but I get that you are probably very busy. Still, please make more ;) Please please please :)))
Such a good video! very useful information! And it is also entertaining
Very detailed and useful video! Thanks man.
Excellent video again
What a fantastic vid thank you 😊
Thanks 🙏
You are a national treasure
this is very useful
even this channel is very useful... thanks
When I am reading my waveform, on Alexa or RED camera on board monitor what kind of video signal reading does it shows , is it a raw,log or rec 709 ,
Because what I see on monitor or in viewfinder is a video either in log or rec 709
Looking for your reply
Perfect explanation 💯
Thank you a lot! Very nice job
Hi Matthew - awesome video! Quick question: What is the difference between LOG being encoded in camera (say FS7 encoding SLOG3 to XAVC) vs RAW being debayered in post and the metadata encoding to LOG? Is the RAW (post LOG) still lossless or has it maintained all the data as per raw? To my understanding RAW means that it has to be debayered in post to be viewable and your viewer can either decide the display preferences, or it can be encoded. For example, in the new Canon C200, the RAW is encoded with C-Log3. Which means that even though it's LOG you are still bound to the CLOG3 curve. Any thoughts or insights on this?
Superb video as always. I want to ask something. When using rec 708, should the IRE of %18 grey card be 50? And what do you recommend to Expose human skin especially caucasians in IRE Scale? Thank you ☺️
I think 50 IRE
Thank you :)
Thanks for this video! Super helpful. Just a thought... the music is odd and very distracting. The trumpets kept distracting me from what you were saying... I had to keep rewinding. Again, thanks for the quality information!
Great content! Very informative.
Are you saying HD and UHD is also a color range, not just a resolution?
Yes
So can you shoot in raw and log at the same time? Should you be doing both simultaneously?
Awesome man
Great clear video! The music was very distracting though :D
Your explantion is Very awesome, why you do not create A website with annual subscribition
Damn! this is fire! thank you.
And now, just to confuse reviewers who don't understand the difference between Raw and Log, show them Cion 'Gamma Disabled' footage - Linear sensor data with no log curve applied - looks like shadows on the monitors, but once graded, has more latitude then expected - it's sensor raw debayered without log colour science applied.
Thanks!
good work sir
hey one request, I know you're very busy person but if you have time can you make a video essay about "Language of Lens"? this topic always confuse me and couldn't find any decent writing or video about it.... If you can make one that will be a great help for me.
it was a great help , thank you ,,\m/
Where are you, man? Waiting for your new video update...
are you teaching here in the philippines? u i hope you do, i learn a lot. thank you
Im really curious to know how to adjust the knee, gamma, slope, etc in camera perfectly
nobody uses knee and slopes these days; use hypergamma/ cine curve instead; the knee and slope adjustment gives a very unnatural look, do not be fooled, you won't get a better dynamic range
thanks a lot for this. is there a place where we can download charts for a specific camera? or how can i know how to work a footage from a camera that i havnt worked with, how can i look up that camera chart?
If you go to the brands website you can probably find something. Like Sony for an A7S color chart, or look into some tests with the camera in question. Ex: "A7s Color Test" on Google or UA-cam.
That should help at least, and if you can't find anything ask people who own the camera in question on Twitter. They're usually pretty good at responding.
MartinRMcGowan thanks man
I don't quite understand why the camera manufacturers pull down 'knee' and push up 'black gamma' for raw and log. If shooting in raw or log, doesn't that gives the editor the freedom to do whatever with the color grading, be it high or low on the chart.
Or is just for the convenience for the editor to start grading from a neutral starting point?
PLEASE LET ME KNOW, I REALLY NEED TO UNDERSTAND THIS!
This is a very good question. The best way to understand this is studying the Zone system. Latitude and separation is best achieved within 7 zones. It is very difficult to balance an exposure within 7 zones, it takes years of experience and a lot of calculating. RAW and LOG shrink the upper and lower 3 zones into 7 zones. usually 10 - 80 ire. Ansel Adams is probably turning in his grave that I am comparing his system to RAW and LOG but both systems achieve the widest latitude. Few data cinematographers study or execute the zone system as they can achieve a wide latitude just by switching to LOG or RAW but understanding the Zone system and how to expose for it will make you a better cinematographer. I go into this in depth in Kinetek's Practical Cinematography workshops, that I hope will start going up on line before the end of the year. Look out for it.
Where are you great master?
rawr
that chip chart grayscale is like 700 usd, wtf?
Video was great but the information was misleading and flat out wrong at some points. I know this channel doesn't upload anymore so there's no way they can post a correction video. So that leaves the audience to do the research. I give some points that you can look into if interested
RAW video is almost always a compressed video. It contains a helluva lot more information than a h264 or h265 file. It even has more information than a pro res or dnxhr file. It doesn't record all the data of sensor, but it records a lot and it's far superior when it comes to colour grading.
Log is simply a gamma curve. A log curve can be applied to a raw video or a compressed video format. The only difference between log curve applied to a raw clip vs a normal clip is: you can non-destructively convert it to a standard rec 709 gamma in post. It is also true vice versa (although not all cameras support this function), so you can record standard video in raw and then change the gamma curve in post to get more information since most of the information is kept when shooting in RAW.
If using a very compressed h264 log file, you'll notice banding and artifacting when you try to convert it back, in some cases. Do your own research about log formats you wanna shoot in, on the cameras you wanna shoot. Gerald Undone is a great place to start.
Rec 709 and Rec 2020 are colour spaces. They have nothing to do with resolution. You can have an HD monitor which supports rec 2020 colours while a UHD one only supports rec 709. You can also shoot in different colour gamuts on your camera. Some cameras will capture WCG (Wide colour gamut). Colour gamut is not the same as bitdepth. Bitdepth is the precision with which you identify a colour. A colour space is the total number of colours you can capture. Again please do your own research into this. I cannot specify every use case
Log is primarily made so that the camera's maximum dynamic range can be captured. shooting in log doesn't inherently mean you are recording more data, it just means you are keeping more things in frame correctly exposed which is very very helpful. But keeping more exposed has nothing to do with the capturing data from the sensor.
So log = more dynamic range (ofc has to be implemented properly) = more good (at the same base amount of information recorded)
Regarding the scopes. The information is true only of you are recording a rec 709 (not log) video in a compressed format like h265 or h264 or ProRes and editing it in standard a rec 709 timeline. If you are recording RAW there's often more detail hidden below the 0 IRE point and above the 100 IRE mark (depends on ur camera). And as shown in the video, log video is a different beast altogether. Again for this information, Gerald Undone is a great place to start.
Tnx 8lec Roe Noted, and nice build.
@@kinetek2881 thankyou for being chill with this. I didn't mean to bash you guys, I just wanted to just help others out.
I really love your channel btw
Great information, terrible music.
Cool but this music is really disturbing.
You have no clue about these topics.
720p? What is this garbage, too painful to even look at the image