Firmware (1.27) 1.28

A couple of weeks ago Ikonoskop released firmware 1.27 (and 1.28 on March 3rd with bug fix for 24 and 30 fps metadata). This is a significant update in my opinion and as important as 1.24 was in March 2012.

A lot of whishes from users from all over the globe have been granted in this version. Let’s look at some major improvements.

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1. Information Read-Out

Additionally in the viewfinder and side OLED, a constant information read-out for card number, take number, db setting and shutter angle. Especially the db setting is a crucial addition in my opinion. I’ve seen too many times that users weren’t aware of the fact that the camera wasn’t set at 0db.

Hopefully in the next version we’ll have this information read-out as an on and off switchable overlay in the HD-SDI out.

2. Sensor Tune

There’s now an on-board pixel mapping function to take care of ‘bad’ pixels. You already know ‘the camera loves you’, but it’s also a bit of a liar in this firmware. It says the camera should be cold when starting the sensor tuning, but that’s a mistake. The camera should be warm (let it warm up for about 20 to 30 minutes). The instructions in the user guide are correct.

3. New gamma curve for viewfinder and HD-SDI out

Cleaner, pretty accurate image in viewfinder and HD-SDI out. It’s time to start up tests, recording directly from the HD-SDI again.

A lot of the solarization we used to get in low light situations has been improved and the brightness is now pretty accurate and in line with the exposure of the raw material.

4. Black Level

As suspected, putting the black level back in the metadata has resolved the magenta issue in the shadows in the decoders that were suffering from this. Ikonoskop took the black level out of the metadata some while back, because some decoders seemed to lose details in the shadows because of the black level. So Ikonoskop decided to give that power of setting the black level to the user. Unfortunately, depending on the decoder that was used, a lot of users didn’t seem to be able to get rid of the magenta in the shadows this seemed to cause.

So, in my opinion, having the black level back in the metadata and having the level tweaked, is a major improvement for easiness of the post workflow. 

If you’re transferring via the the ExpressCard Reader, make sure to have the new driver installed. Otherwise you’ll have the old metadata and thus magenta in the shadows. This also means you have a choice. If you want to work with the old metadata and don’t want to change all your LUT’s and grades again, just use the old driver.

5. False Colour Function

I’m pretty proud of this one. In January during a phone conversation with Peter Gustafsson, as we were discussing the new LUT for the gamma curve in the viewfinder and HD-SDI out, I got this idea that it might be handy and quick to have this kind of false colour function based on the LUT. A couple of weeks later, they already had it implemented in the beta version for 1.27. 

You activate it by turning the step/select wheel on the left side down. Overexposed pixels become magenta, underexposed become green.

The on-board histogram is more accurate, but I understand that I’m quite alone in my love and trust for this read-out.

 

Getting rid of Magenta in DaVinci Resolve

UPDATE: obsolete as of firmware 1.27 (March 2013)

There’s a lot of magenta in the shadows of Ikonoskop footage in DaVinci Resolve. I don’t think it has always been that way, but it definitely is the case in Resolve 9 lite.

There are several ways to get rid of it. I offer you one solution here that’s very quick and easy. In my opinion you have to fix it before you do any Color Correction in the Color Tab. That’s why I’ve created an input LUT that fixes the magenta issue: IkonoVinci. Well it will fix it untill Blackmagic changes something on the decoder side and/or Ikonoskop change something on the encoder side. Then I’d might have to make a new one ;-)

This means you don’t have to fiddle about in the CinemaDNG settings (Camera Raw tab) in Resolve. So leave the White Balance, Color Space, Gamma settings and use the Camera Metadata to do the Decoding. 

Unpack the zip and copy the folder into the LUT directory of DaVince Resolve. On OSX this would be: Library>Application Support>Blackmagic Design>DaVinci Resolve>LUT.

Now go to your Project Settings image. Select Look Up Tables and select under 3D Input Lookup Table the IkonoVinci.ilut.

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Then hit image

Now in your MEDIA tab image you’ll still see the magenta. But when you go to the COLOR tab image, you’ll see it’s gone. Now you can start grading.

Getting rid of Magenta in Camera Raw

UPDATE: obsolete as of firmware 1.27 (March 2013)

We’ve talked about this before. How there seems to be a magenta issue in decoders like After Effects (Camera Raw) en DaVinci Resolve and rather a green issue in decoders like SpeedGrade. So I’m writing this for those of you who don’t seem to get rid of this magenta in the shadows in After Effects.

3 images with default Camera Raw settings:

Image 1 - Zeiss Distagon mkI 12mm

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Image 2 - Canon 8-64 S16 Zoom

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Image 3 - Optar Illumina 12mm (thanks Lennert De Taeye)

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Now in the first image, there doesn’t seem to be much of magenta, because there isn’t that much shadow. But take a close look at the sides of the image. You’ll notice 2 dark vertical bars at every side. The one most on the outside is completely black. The one between the image and the outside black bar is a reference bar for the blacks in your image. Now see how magenta this is? Not only is it magenta, but it’s also a lot brighter than the outside bars.

The second image contains some more shadow. You’ll notice some magenta on the shadow side of the head (mostly below the ear). Look at the reference bar, also some magenta.

The third image has loads of shadow and a magenta cast almost covering the complete image.

I’ve made a preset to get rid of this: IkonoRaw2012. It’s nothing fancy, a combination of alterations in contrast, blacks and tint settings (Shadows under Camera Calibration tab). 

After you’ve downloaded it, you can use it as follows:

Click the little select symbol:  image  (to the right, next to ‘Basic’). Now select Load Settings find the IkonoRaw2012.xmp file, and click Load.

It gives the following results:

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That’s more like it, no? Well there’s still something funny about the second image. This one now seems to have too much green in the shadows. Setting the Tint level in Shadows under the Camera Calibration tab to -60 seems to give a better result.

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Of al the images in my CinemaDNG archive only these takes (second image) give rather greenish results in the shadows using my preset. The reason is (I assume), that this was filmed with a Canon 8-64 Super 16 Zoom. Apparently this lens has an impact on the magenta/green balance. Saving a specific preset for this lens takes care of that.

Coming up: Getting rid of Magenta in DaVinci Resolve.