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http://cinescopophilia.com/prix-the-first-film-shot-on-quantumfilm-camera/ Some strange colours occasionally, but to be expected at this stage.... Amazing to think that this tech could soon be in mobile phones, let alone film cameras!

Have you guys been working with the Lumetri Color in Premiere Pro CC2? I haven't heard much talk about it but I think it deserves some attention for people who may have missed the release notes. Just found it myself, but it literally has changed my entire workflow overnight. My old workflow used to be Levels, RGB Curves, and maybe either Filmconvert, Colorista II, or a LUT. But....I find none of that necessary anymore with Lumetri Color. Everything corrects and grades so easily like you're editing a frame in Adobe Camera Raw. Temperature, Tint, Exposure, Contrast, Highlights, Shadows, Whites, Blacks, Saturation....all the sliders are there. And surprisingly, it seems to work very well with 8 bit frames. It knows of S Log2, S Log 3, etc. The rgb curves are incorporated into the filter. It also has tools with Color Wheels, LUTs, Vignettes. And it renders fast. One more thing. Not sure when it appeared but the Lumetri Scopes Window has a live histogram that I've always been wanting and needing.

Take a little break and smile (or laugh). Sony A7Rii BOX unboxing. https://www.youtube.com/watch?v=29BiYaKkMDM

Yea they beat Samsung and Fujifilm/Panasonic that seem to have these tech as well. Let's see if these guys are the next Oculus Rift - out of nowhere and revolutionizing things. Teaming up with Sony is huge so it's not another digital bolex or Red One camera that has years of growing pains. Thank you Internet.

Sorry, I was referring to the documentary cameras used in TV. I wrote already here that colorists of French TV (Da Vinci Resolve) want no more images A7S, FS7, FS700. However, they all like work from 5Dm3, C100, C300, C500 for the richness of colors. For this reason, Canon is omnipresent in the documentary. I'm not a fanboy of Canon, I have a A7S and I turned a few times with a FS700. I just find that indeed the colors at Canon are deeper, brighter and softer. This is obviously subjective. Leica SL is facing a Canon 1DC. I just hope the picture will be as beautiful as that of the Canon.

I wasn't even being a jerk this time! They found out I was banned before for life. This is my only forum now besides nofilmschool and cinematography.com. Until I get banned here.

We're now fancy at www.lens-yclopedia.com . Still the same thing until a good soul shows up with some web skills to adapt the information into an even prettier shape of a website.

TBO I was a little skeptical after the initial posts. But after getting Sony onboard, this means this isn't another exaggerated claim like the many others out there. Also, the creating of this on a mass scale, with improving all present shortcomings (focus, perhaps?), may be tweaked. We should hopefully see some of these soon. They have already used this in a working prototype(s) on which they shot this film. So that should have speeden things up.

Global shutter - and seems like they are teaming up with sony to introduce this tech in a lot of cinema cameras. This seems like the future. I have always hated CMOS and finally a CCD successor that seems to have better dynamic range. Looks like a really clean image . Super excited - hope the sensor is better and it's not just the grade and using some kind of highlight diffusion to make it feel so nice! http://www.sonyalpharumors.com/sony-to-work-with-invisage-on-new-quantum-film-stacked-sensors/

Man those kids are interested in sensor technology! I get a feeling they spend long hours in forums. Haha But seriously that was quite amazing. I hope we can see a release in a not-too-distant future (Quaaantum film! -- sounds right out of Back to the Future).

Sorry, but the Box has poor color science.

Product was supposed to ship now, yet no demo video on the web.......

It is a sensor for a mobile phone, no doubt very small.

Intentionally back focused for 60's level of sharpness. Interesting. I hope these colors are just from a filter not the result of a sensor.

Thanks, I will have a look at that LUT!

Jumping in here Boldy... I don't see why not, providing it doesn't vignette. The other thing is that when you are focusing that close the depth of field is so tiny that the image will start to break down if you push it much closer than 20 inches or so. I'm going to have to an hour or so after work tonight to play with this, so let me know if I measure something etc to help you out.

I wrote about it before, but only recently I had the chance to play with it at a friend's PC who uses Adobe CC. And I agree, for most of us this tool will be completely sufficient. Great advantages: ease of use, good integration because Lumetri has it's own workspace. You can and need to stack instances of the 'effect' (like nodes in Resolve). May I remark that I see this development as an 'answer' to FCP X's much-derided rudimentary CC-tools, which nonetheless let you do 90% of what needs to be done. Or, to put it differently, 95% of all people never use more. What's missing most? A reference frame, a spltscreen view (unless I missed this on my two-hour-tour). I propose a workaround. Since usually you only need one reference frame per sequence, you can duplicate this completely graded clip, shove it on a track above the rest and crop it.

A7S II RAW stills, daylight: While not yet up to Canon for skin tones, the A7S II provides a really nice improvement in RAW color science from the A7S.

i like all your ideas. after some contemplation, i would say that ecstasy isnt particularly visual, but its something you feel very deeply, in an emotional and moreover physical way, and so an aural approach to this sounds good to me (sounds lol) im not suggesting that the visuals shouldnt get "trippy", cuz they should, but id really play with the sound design as far as deeeep resonant sounds, where you can feel the vibrations through a good sound system. p much try to make a $400 pair of beats headphones explode lol visually, i like where youre going like i said, my thought there is that if it was my piece id experiment with after effects to create a bit off a buzz, a vibration, focused around the focal point of the shots, particularly intense when people are speaking... something fairly subtle, but a visual effect that gives a sense of vibration... a pulsing, humming... buzz. hmm im at a loss for adjectives atm but hopefully that makes some sense??

I would guess that an A-mount version with one of the Sony LE-EA adapters would be faster than a Canon-mount version with a Metabones adapter. I believe there is a version of the Sony adapter that has a translucent mirror and phase-detect AF sensors, but eats a third or half-stop of light... and there's a version that has no optics/glass and will just use the camera's contrast-detect AF (slower than phase-detect).

Got another shoot tomorrow and this time it's on the DJI Ronin M! Also found that PP2 has less noise than the other profiles, but I can't remember if I modified it or not. I'm a "character" man, so that's maybe my weird issue with the camera. The combination of fixed lens/sensor has zero character! Something you will get with an A7S II by the bucketload (and some wonky vintage primes!)

Editing is a "hidden" part of the filmmaking craft. When done right, it contains incredible power without being too noticed. The interesting thing about this sort of technique is how very very assertive it is while still keeping many things "hidden" --such as audio...and by visually connecting seemingly disparate elements. It's a sort of paradox. It's also visual candy. Its an impressionistic film, yes. And not one that is meant to be direct narrative. It's fun to watch, but as a viewer you're not allowed to have much emotional connection to anyone in it. Which is fine. It's more about letting that environments sounds and images wash over you. And, yeah, it will be a "dated" look a handful of years down the road, much like the twee "maker" movies will be/are. However, that's not to say that the craft used very aggressively in this sort of work couldn't be used judiciously as an effective narrative tool in other sorts of filmmaking.

Kaylee. I couldn't imagine waking up with a tombstone over my bed, and feeling like you've just woken up and returned from being dead.

I use Premiere so I never conform the files since it uses 32 bit float. I think you're on the right track with using Filmconvert as a first step to get Cine D, V Log, and Cine V looking similar. Inazuma has a great LUT that I would use on Cine D and V that corrects the yellow/orange tint to a natural red. Im on my phone right now but maybe he could send you a link.

Raw stills produce decent skin tones, even under spikey-green LED light (Canon 50mm F1.4 (F1.0 indicated) on SpeedBooster in crop mode): Will test with the next model shoot next to the 5D Mark III.