Neumann Films

Sigma 24mm Art at f 1.4 for most (you can probably spot them), 12-35mm and I think that last shot was 35-100 f 2.8 (Lumix).

Lesson learned, in a way. I would much rather shoot in a normal picture style and not rely on grading than shoot in VLogL and grade any of the 8bit footage, 4K60 included. I graded these like they were RED files and it shows when you look close enough. Anyways, the link for the footage is in the description of the YouTube video. All in all, I think you will get best results shooting in anything but VLogL and using shallow DOF.

Footage online in an hour or two.

Trust me...we're on the same page but unfortunately, not everyone else is.

Yup, in 180 shots so far best results are with Sigma Art 24 set to f 1.4. Below shot with way more grading than the codec can handle obviously, but held up just as well as 4K/60 IMO.

Exactly! I think that would be a wise course of action. Panasonic just gave us a firmware update and now Sharpness/Noise Reduction are available as options for V-LogL. In the footage we uploaded (that people have been grading), the settings were at defaults of 0 and 0. So turning those down to -5 each should produce better results as far as that is concerned.

I think the key thing to take away from this is...stay away from skin tones in 60/180fps and it is a very useful tool. If you NEED skin tones...try and light the face evenly to remove shadows/gradients. Hell, a reflector would even work well. You basically want to stay away from needing to do TOO much on the face. I would honestly just opt out of shooting in V-Log if I were going to do a bunch of 60p stuff. Shoot in Standard and get it right in camera...don't touch the grade except for maybe denoising/adding film grain. V-Log requires grade, enough grade that you basically have to incinerate the 8bit image to get 90% of what you would with just a standard profile. In the end, once you have enough time with the camera...you will know what works and what doesn't. Got some 180fps content ready to upload. We just tried to capture as many different scenarios as possible. Interiors with good lighting and ISO at 400, exteriors with no lighting at 400, interiors with only practical lights at ISO 800 and ISO 1600. I think it will show when/where/how to use 180fps and what you can do to avoid the pitfalls of 8bit. Much of what all of you have seen with 60 but multiplied.

I haven't used one.

You know what would really help this graphic...lines. LOL, the bottom most 48p line is hilarious. There is a blank color subsampling line where 48p/150Mbps goes...but is that line the bottom of the 4:2:0 8 bit, or at the top of the 4:2:2 10 bit? To me...looks to be the only 48p is all 4:2:0 8bit at 150Mbps.

Just put a sigma art 24 on it...I don't own a speed booster, so if someone wants to send one over To be fair, her being the main subject was our choice and no one else's.

Well...at the risk of sleeping in the dog house, my wife does have a slightly different shade of skin and I always have some trouble grading it. On top of that, yes, the 8bit/10bit difference makes a bit more of a difference in a shot like this compared to something in direct sunlight/lighting where there would be less shading on the face (which is where the 8bit falls apart). I wanted the snow in 60fps, so I opted for 8bit, kinda wish I had just done 30p here but...what can ya do.

And lot's of practice...trial and error. I hate so much of my old coloring work...gross. Will probably hate my current stuff later. Dialing it back is always a common theme in my learning experiences though.

Sorry, got sidetracked by something else. I think the next video will be more insightful anyways. Will hopefully be up in a few days.

I have never used the a7s 2, so I couldn't say one way or another.

I think I'm done with tests at this point. We might do something in anamorphic but that will probably be it.

Keep in mind it will likely change and the feature isn't even properly working (I get a green screen in all software). 244Mbps in 6K/4:3/30p. As of right now. No VFR in any of the 10bit options on the build that I'm working with. Seems like the lower ones should be able to be added. Makes sense to me, I will make a feature request.

We held off once we actually bought and owned a RED and liked it and the company...lol.

Uploading 5 or 6 more tonight. Lowlight stuff mostly.

We currently have a 1.33x Anamorphot on a vintage Nikkor Ai-s and it's looking much less clinical.

Gotta take lenses into account. I personally didn't HATE the Lumix lenses but would never actually use them day to day. I want a little more funk/character in my lenses.

After Effects CC 2016 so far has been the best approach for me. Grade and export to DNxHR 10 bit or ProRes for edit. It's a pre production camera, there could be conflicting issues in metadata tags or any other number of strange issues that are normally worked out behind the scenes before a camera launches. It's nothing new, just need to try and get your NLE/grading software of choice to do the update now. AE CC 2016 worked for me and it's what I use anyways. Graded there for DNxHR 10bit files that Premiere chopped through. Files are straight from cam.

Mine starts at ISO 400, 200 isn't even an option.

It seems a little better. Base ISO is 400 I think, so maybe you're actually losing some by going higher?

We were going to do one making fun of RED at one point. GREEN Digital Cinema. Created a fake Facebook page and everything: https://www.facebook.com/greenshredder/?fref=ts

Hahaha. We always considered going to NAB and setting up a booth as Clayton and Terron, just making a mockery of the whole thing. Figured that wouldn't go over too well though...