Leaderboard

So i said i'd post some stills, these are basically ungraded. This frame is in a sequence with car lights, i like the tonality of this very subdued moment. Shot 12bit to manage shadow tonality. From a different point above. All shot on a 50mm M Summicron probably wide open. I think i hit the saturation slider here in Resolve. But this had car rolling over camera. It's a 21mm CV lens and i see some CA aberrations from the lens that i would deal with in post. But i'd never let a car run over a Red! shot on an 85mm APO off a monopod. Nice tonality again and it's day light from windows with some small panel lights bouncing and filling in A reverse of the above. Some fun shots. I think the true benefit of something like the fp is the speed at which you can see something and grab it. Using it just with an SSD plugged in and manual M lenses gives a more spontaneous feel. Now most of the film will be shot on Red, in controlled conditions with a crew and that's the right approach for multiple dialogue scenes and careful blocking. But the fp has it's place and i may hand it too someone and just say grab stuff. cheers Paul

Be aware that the rules are different for different countries. https://en.wikipedia.org/wiki/List_of_countries'_copyright_lengths#Copyright_durations_by_country In the US, for anything made before 1978, it is 95 years (so anything 1925 and older is now public domain) but for post 1978 it is now the life of any of the authors plus 70 years. That 1978 split throws up some interesting anomalies when you look at the music of John Lennon for example and his two number one records "Imagine" and "Woman". "Imagine" was 1971 so is pre the change so has the 95 years protection and won't expire until 2066. "Woman" was 1980 so is post the change so now only has 30 years left as Lennon was killed the same year and expires in 2050, which is sixteen years prior to a song that came nine years earlier. In the UK, which doesn't have the same 1978 split but does have the "70 years after the last author dies" rule, there is an even bigger anomaly with Lennon due to his work in The Beatles. If you look at a John Lennon solo track like "Working Class Hero", then due to his death in 1980 that only has another 30 years to run, whereas something he wrote for The Beatles with Paul McCartney a few months earlier like "Let It Be" , still has 70 years plus however long McCartney lives for. So the solo track expires in 2050 whereas the co-written one is going to be at least 2090. For years, McCartney has been trying to get Yoko Ono to do a deal where they would change the joint Lennon&McCartney credit to whichever of the two of them actually wrote the song. I'm presuming this is because many of The Beatles' songs that McCartney wrote such as "Let It Be" and "Yesterday" are covered far more frequently than Lennon ones such as "Strawberry Fields" or "I Am The Walrus" so he wants what he sees as a fairer slice of the cake. Yoko has always resisted this, I'm guessing not only because it would be a sizeable and immediate financial hit but also because the joint authorship with one surviving writer in the partnership will alive will keep The Beatles royalties coming in for the Lennon family for far longer. As @Emanuel says those rules for films (in the UK at least) meaning that the clock doesn't start ticking until the Writer, Director and Soundtrack Composer have all died will keep a lot of films covered for quite some time. If you look at "Driving Miss Daisy", the Best Picture winner at the 1990 Oscars, as an example, the Writer, Director and Soundtrack Composer are all still alive so that is now guaranteed to have a minimum 100 year run. The 1980 winner "Kramer vs Kramer", still has all three alive as well so that is going to be a minimum of 110 years.

Thank you! The lens I used for the test shot with the girl holding the ColorChecker is Metabones 0.71x , YongNuo 50mm 1.8 and a Sankor 16D Anamorphic projector lens. The shot of the girl holding a picture frame in a room is from a test shot of my school assignment. The adjustments and the conversion I used is -1 Stop Pre Exp + P4Ka Tungsten (Main) + ABL 2 + Color Wheel Slider (Midtones and Highlights) to conform to cinema luminance for the skintone and scene context needed. Make sure to white balance to the key light and the skintone falls on the skintone line of the Vectorscope.

The A7iii is a good allround video camera and really excellent stills camera (I do own it), but no cinema camera because of its weak codecs and 8bit limitation, no matter how you rig it up.

Happy New Year! Alexa has a distinctive red (when LogC is paired up with the intended display primaries). It is a deep magenta red, and twists moreso approaching extreme saturation. This can look stunning. Other cameras may opt for the default of twisting towards orange with increasing saturation because Cmos red clips to yellow, and the gamut clipping is more coherent. For example, the Alexa has an especially messy extreme red clipping at tungsten WB. With Gen 4, this extreme red behavior is simulated. Here is P4Ka v Alexa in extreme gamut, with EC709 (P4K at bottom): Apart from desired hue twists, like Arri display gamut, hue twists when conforming color spaces via interpolation (in log etc) have generally been one of the main challenges in developing EC (to keep the true clean hue lines as they should twist). At many stages, I've coded the engine to preserve clean hue lines. Hue is perceptually salient in color, and has a privileged place in the engine today (whereas once upon a time, it was just 'one of three' in the engine)

A while back I posted a tutorial on film emulation and recreating halation and grain in a realistic way. I recently came out with a new video that goes over it in a better, more concise way. I see quite a bit of people asking how to achieve the look of film and it's characteristics so hopefully this video can help them out! A big thanks to the Lift, Gamma, Gain forums for figuring a lot of this out also feel free to share your results and download the PowerGrades I've provided on my website!

Wanna get the highest video quality with Sony A7III camera and turn it into "Cinema Camera"! So which brand accessories should i buy for achieving best quality? 1. External monitor for recording with the highest frame rate & please add your suggested settings for external video shooting. 2. SSD or SD for your mentioned external monitor. 2. Rig/Cage. 3. Follow Focus for manual and for wireless using. 4. Matt boxes. 5. Power supply (V mount/Gold Mount/or) 6. V mount/Gold Mount/or Lock plate 7. Wireless transmitter so the director or focus puller can see the image If there is something that i forgot, but you advise me to use or add, please tell me, thanks.

The mythical "Sharpene" is improving! I wonder how this "AI" product compares to typical wavelet sharpening. The Topaz Labs JPEG to RAW AI seems to get rid of macro-blocking. Topaz Labs offers six products, some with apparently overlapping functions. Yes, resolution can be traded for bit depth while maintaining the same color depth, but those figures are not mathematically correct. Keep in mind that bit depth is not actually color depth. Digital color depth is a product of resolution and bit depth: digital color depth = resolution x bit depth. The color depth of an image cannot be increased, unless something artificial is introduced (which is evidently what some of the Topaz Lab products do). So, scaling down the resolution of an image to increase bit depth won't add any color depth for grading. On the other hand, if you merely scaled down the resolution without summing the binned pixels and then just increased the bit depth, you likely threw away a lot of the color depth. The pixels have to be binned/summed (or averaged) to retain the image's color depth, when trading resolution for bit depth.

Is now 2020 and I'm still filming in only 1080 Heck, my last two YouTube uploads were in 720P!

Thanks for sharing this. It would be interesting to see whether it would allow greater detail or less micro blocking when zoomed it. Sometime ago, there was a theory about 8-bit 4k 4-2-0 having the colour depth of 12-bit 4-2-2 (or something of that type), when downchaled for resolution and then upscaled for bit depth. I tested it on DaVinci with my friend, but I am not sure whether it held up better for grading or made any any difference whatsoever. The link doesn't seem to open or its extremely slow.

The guides are included in the PDF guide provided.

Man up. Get yourself a p4k and a couple of vintage lenses. ?

Here is a little travel video of my family and I going around the East Coast of North America: https://vimeo.com/373737780 Shot with a Sony a7iii using Andrew Reid's ProColor 3.0 settings (specifically his HDR color using the HLG3 Gamma), then graded in Premiere Pro CC using basic Lumetri Color effects (curves, fine tuning with exposure/temperature, etc.). I used adapted Nikon lenses on the Sony, and it was mostly on a DJI Ronin-SC (a little bit of handheld and tripod mixed in). There are a couple quick clips from phones but they'll be obvious. I just bought Andrew's Procolor 4.0 so I'll shoot further demos with that in the near future. Enjoy!

Looks so good. Can't wait to see! Here are a few recent projects with this LUT. Loving the results! Uploaded in 4K this time

This looks great. looking forward to seeing the video. What lens is this? Looks incredible. Lighting and framinng. looking forward to the video. Im sure John Brawley is taking notice. BM should reach out to you to collaborate

Well if anyone wants to watch some content, the web series I worked on "#millcore" is out on Amazon Prime today. https://www.amazon.com/gp/video/detail/B0837HYJML/ref=share_ios_season There's also a topic in the Shooting & Footage section if you want to give me your savage internet opinions over there!

Great looking stills. Nice work! Awesome to hear that your brother was behind FEOTFW, that was one of the shows I binge watched when I first saw it - it was just a bit different to the normal narrative tropes and cookie-cutter plot lines. There seems to be a ground-swell of comic adaptations to TV/Cinema so your brother may have many shows in his future. While i’m not a huge fan of the medium, I think that comic books have a huge untapped potential in terms of narrative innovation. Hollywood has only had the ability to create worlds that don’t function like our own (eg, aliens, outer space, different laws of physics, etc) for a few decades, but comics have had full creative control since the first cave paintings were made thousands of years ago, and so the plot-lines are much more creative. They are also much more mature, instead of having a world like ours but with one twist (like including the afterlife and ghosts for example) instead you get a rich world where that twist has been fully integrated and all the ripples and implications are also present. Lots of potential there I believe!

It is on IMDB, but otherwise I've got no idea what is going on with that Panasonic G7 shot feature. Huh?????? Are Andy Lee and Brandon Li the same person???

I waste no time! hahaha. Mine is the final version. Bokeh depends a lot on the focused distance, smoother the further away you focus and really cat-eyed on the sides when at min focus. There's a sweetspot somewhere in the middle. As for flare, many things can be influencing your perceived difference, from white balance to color correction. What @kye said. Pushing the hues all the way around is pretty extreme and bound to give you poor results. You can still try it. hahaha You're welcome!

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

Wonderful movie shot on BMPCC and Voigtlander Noktons, presented in Cannes 2019. https://variety.com/2019/film/reviews/lillian-review-1203227609/ https://www.screendaily.com/reviews/lillian-cannes-review/5139633.article

The Tamron 28-75 F2.8 is faster than the Sony 24-70 F2.8 GM And also sharper in the middle at F2.8 vs F4 on the GM... And half the price of the 24-105 F4.. which is an exceptional lens. I think it's the best 24-105 in the market right now. I have the 28-75 and i love it.

He's not doing any color correction. He said that years ago at the weddingfilmscool channel. In the Panasonic S1H "review" he is referring to his go to settings which is Standard factory default with any camera, A7 III included. So yeah... bad sony color science and stuff...

Kraig Adams is using factory default no picture profile, Standard 0.0.0 settings, and AWB.

+1 for getting white balance right in camera. Sony is known to be harder to get good colour from but that just means that you have to be more particular with WB and processing in post. Kraig Adams on YouTube is known for getting great results in camera and is currently using the A7iii. He made a few videos about it that might include his colour profile and settings.

I suggest you carefully read my post again - many of your points are arguments against points I didn't make, but you obviously thought that I did. Also, I'm aware that GH5 files aren't 6K RAW, but the logic you're failing to recognise is that a 4K crop is to 6K the same that a 150% crop of 4K is to straight 4K. The argument goes that if you're outputting 4K and are going to crop in by 150% then you need 6K, but what the logic fails to recognise is that you can scale 4K by the same amount and if you add a small amount of sharpening then it's practically indistinguishable from the straight 4K file. Therefore the argument that 6K is required for reframing and keeping similar image quality doesn't really stack up. It's funny when discussing things like this - you and @thephoenix both went to the extreme and then criticised that. That is called a 'straw-man' argument, and although neither of you did it explicitly, you both reacted like I had said things I didn't actually say. Let's examine the title of this thread and break it down: "6K RAW is over-rated. Here's why..." 6K RAW I'm not really talking about compressed 6K. If you're delivering 4K it will likely be compressed. If you're shooting compressed 4K then grading it and then re-compressing it to deliver codec then that's a lot of damage to the image. If you're shooting 4K RAW then you're already miles ahead of compressed 4K. 6K RAW is miles ahead of that and yet apparently it's "argue on the internet" levels of critical, despite that 4K RAW is already miles above the compressed 4K files that the world is awash in. overrated This is a key point - I'm not saying it's useless, I'm saying that it's overrated. To break this down further, I'm saying that there's a rating of some kind (in the direction of shiny-thing mania), and that that level of rating is above what rating it should have. Not that it should be zero, just that it should be below what is has. Here's why This is where the arguments live, and I don't mean people fighting, I mean rational points designed to explore and explain thinking. In terms of context, yes, it depends on what you're shooting and what it's for, but if I was a betting man I'd bet a serious amount of money that you're not delivering anything in 6K and couldn't tell a 2.5K crop upscaled to 4K from a 4K source in a blind test.

I see GAS all over the place. Happens every time a new product is released. If anything it will help keep the companies afloat ? (this comment is brand agnostic). As long as BM releases better products at low prices (even if I don’t buy them) it’s a win down the road.

Not wishing to be picky, but occasional use of the SHIFT key can aid readability. Ahem...

the jury has decided, however its a 2 pocket job one for the p4k the other pocket for the lens. but thats bare bones had to take the quick release base plate and the lens off

Hmm, as far as I can tell there is no way for me to make it available in Australia, which is very unfortunate. It seems a little odd that that isn't an option.