Wenqi Wei

Hi Sebastian, thank you for your mini-essay, Will definitley read it a couple of times and check it!

Yes, thanks for the detailed write-up again, RAW is the ultimate one.

Hi Brian, I understand what Log is, and we both know Log has nothing to do with Legal/Full range. I was just expressing my confusion that the industry Alexa can't seem to shoot Full/Data ProRes internally, while these sub $10k Sony/Panasonic 'Cinema' camera (at least the way they are advertised to be) that shoot HDR+Log+RAW+10bit+422+high bit rate (at least as of 2017, the year I went to college and the year I truly learnt what they are) can shoot Full/Data internally(though not in ProRes but their own internal codec). I am aware that English is NOT my 1st language, but I think I made a clear point about this.

Hi Brian, thanks for the link I've actually watched this exact video many years ago. I was just wanting to know how the Arri system works. Thanks for the help anyways.

Or do you mean you manually extend the range in post, maybe in certain NLE like Resolve? (Media page > Clip Attribute > Select Level??) I've read somewhere that Apple specifies that ProRes should be Legal? But also some source claims ProRes is not range-specific?

Hi David, but I don't understand why it's not able to shoot full/data range 0-255 but 16-235? For example my much cheaper $7k 2017 Panasonic EVA1 can shoot internal full range/10bit/422 V-Log V-Gamut footage...But why the 6x more expensive model can't? I understand the rest(DR, Color Science...) is different but I believe having full range is fairly important? I do see the video/legal is being crushed sometimes.

I'm reading somewhere that all ProRes footage shot on the Alexa is only legal/video range? How is it possible on such an expensive&professional industry standard camera? https://forum.arri.com/viewtopic.php?t=1595 To my knowledge there're many other less expensive 'cinema' camera that shoots full range footage internally. I just don't get it, or am I missing anything here? Thanks.

Hi everyone, I want to start a new topic about buying USED cine gears. Assume it's a in-person deal(not buying online before it's shipped to you) where you can check the actual camera and stuff, what're some extra tips? I've already owned many gears in the past but just want to kinda add more to my arsenal. I want to buy used to save some bucks, so here is my enquiry. For example with older, bigger cameras like the Sony F55 or Panasonic Varicam LT, what should I be worried about, beyond common sense and knowledge? Many thanks for your answers and suggestions!

Hi Uli, thank you for your response. Yes I was aware of the Mac Display User setting and the Rec709-a in DaVinci Resolve, after I realized this issue. But Thanks for bringing this up!

Yes, based on my research, there's a QT gamma shift issue, unfortunately.

Hi I've just recently became aware of the Quicktime gamma shift issue...(I know I was too late to this.) So I just wanna know some random knowledge on this, what's the gamma value of a M1 MacBook screen? 1.96(2.0) or 2.2? I can't find it anywhere on my Mac, and I can't seem to find any useful info anywhere else on the internet, so here I am. Also, what color profile do u guys set the MacBook to be, Apple's 'Display P3', Color LCD, RGB or anything, when for non-professional use? Many thanks again, ladies and gentlemen.

I recently noticed some high-end TV series in my country when the trailer and the series look different. The series looks great enough(tho not as great as most feature films, which I can understand because of shorter schedule, tighter budget, less artistic demand etc), but it bewilders me when later I see the trailer, which looks insanely greater with much better contrast, tonality, skin tone and so on. I made sure this isn't a copy difference so I went to different sites and sources but I can confirm. Both trailer and series itself I watched are probably compressed 8bit 420, SDR, and 264 file(Just to eliminate any other possibility), I guess. So is it because the DI/color grade of the Trailer and the real series are usually done by different companies with different color primaries, gamma or color space? Any answers would be appreciated, thanks guys.

Sorry I forgot to mention. My question is under the assumption that it's equipped with decent, reliable battery plate and regulated cables for sure.

I've read both Arri and Red's articles about SDI devices' connection order, and I can fully agree with the following: SDI cable should be last-in and first-out. And I read some comments pointing out that, even following the right order and using 100%safe shielded cables, but powering the main camera with other devices say a on-camera monitor(which connects to the camera's SDI Out port via SDI cable) with the same V mount battery is a bad idea(doesn't matter it's D-tap from the V-mount to the monitor or Dummy battery from the V-mount to the monitor), because they say a change(or discharge or whatever, sorry I don't know physics word...) in the system could also fry the SDI port or fry anything else? But I've also read somewhere that SDI cable connected between two devices powered by different power supplies will act as the ground between them, and power may flow down the SDI cable and hence damage? I've never experienced mentioned above, hopefully. And I can't imagine having 2 big-a** batteries on the same camera rig, one powering the Alexa and another powering the 7inch SmallHD...Has anyone here had any thoughts or experiences about this? I'm just probably overthinking it but I just don't want to take any risk destroying anything in the future... Thanks for any answers again in advance!

Hey guys I want to hear your opinions on feasiblity of 3rd party batteries, regarding certain entry-level cinema cameras like the Fs5, Fs5ii, Fs7 and Panasonic EVA1? (Just so let you know that I'm talking about external V-Mount or G-Mount batteries but these smaller in-camera batteries at the back) I understand besides original batteries, there're some excellent 3rd party battery manufacture out there such as CoreSWX, SWIT and IDX...They're of course reliable. But there're also some sketchy 3rd party ones with low prices(and they claim their batters are decoded so the camera can detect them), but I just want to know, is it true that a bad 3rd party battery could fry the camera motherboard or circuit at some point? Can they damage the camera in any respect, even used properly? I am just taking your guys comments as precautions for some future shoots in case this is what someone else is doing... Thanks for any answers (and hoping that this will NEVER happen to anybody..)!

Hi Guys and Gals, and to whom it maybe interests: After weeks of pain, frustration, searching and troubleshooting, I figured out it's the original power cable from Apple that comes with my M1 Mac Air that was causing the issue(not recognizing, disconnecting all of a sudden, etc). I switched to another 3rd party cable and theissue goes away for now(and hopefully forever)! Cheers

Thanks again, Got it!

I have a very broad question for you guys. For those who are Mac users(regardless of chip/Mac OS ver/Mac model) in the post and DIT world, what's your general recommendation on media management and workflow, particularly the file system you're working with? For example, if the footage handed to you is ExFat-formatted SSD (my case would be low-budget, not-100% professional-type-of productions) and you're using a MacBook(as DIT, post-production, and color grading device..), is it normal that even just when you begin moving these footage files, the copy failed? And it hurts me a lot when APFS-formatted drive that's transferring footage either way just all of a sudden disconnects from my MacBook...which it shouldn't. I understand I can unplug, plug again and eventually it will work, but it just destroys me in the inside every time it happens. And for those who are using Mac or iMac 100% PROFESSIONALLY with tons of footage, how likely/often does any system failure that's not man-made occur? English is not my 1st language so please excuse any language mistakes. What am I doing wrong here? Any improvements and thoughts? Any answers would be greatly appreciated in advance!!

Hey John, Just read it! Thanks for the link!

Hi Typer thanks for your quick answer! Oh that could be the reason! I remember loading some of the footage(24p/172.8d) I personally shot onto a TV and the video looks something like 50P or 60P...

I was watching Oppenheimer the other day at a friend's place (the movie was legally purchased on TV under her account, not anything pirated). And as we began watching, I immediately noticed the film looks like it's 60P. And I do remember having watched an Oppenheimer movie trailer some time ago on YouTube that's indeed 60P as the title suggested. And it did bring me back to some memories while I came across certain other trailers(which I forgot the names) that noted they're '4k 60p trailer' on YouTube in the past. But I believe Oppenheimer was shot on 24.00 FPS, right? Where does the 60P come from? Is it because of pulldown? Duplicate frames? Any answer is appreciated!

yes because this looks very cinematic and convincing, and I can say I've seen many others(maybe myself included..) shooting similar setups(1 or 2 practicals + artificial sources off frame) and won't get the same result because of lack of good lighting ratios..

Hi David thank you for your response to this post from 1.5y ago!! And your answer is helpful, will keep it in mind!

Hi David, yes these are all good advices(but clients really aren't happy with additional C-stand and Flags which can potentially damage their office floor or furniture lol)

Aapo thanks for the write-up, yes the ugly color and shadow are terrible, too. Glad you had your own pro lights added!