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Rungunshoot

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  1. Rungunshoot
    shooting at f/22 by streetlight...
  2. Rungunshoot
    Yeah, the DR looks not so awesome in that one as well. Blown highlights. Probably a7 or a7r.
  3. Rungunshoot
    Yeah, it was really hard to keep the colors from posterizing. Maybe there's a trick to keeping stuff natural looking when re-saturating 8-bit log footage... Of course, the easy way out is to keep the log look to the footage, maybe tinting it overall warm or teal, but I think that trend is getting a little stale. And it works best for bleak subject matter...I think most brides would shoot their wedding videographer if they received an ultraflat grade as the final product. So the sweet spot with the A7s is probably a mixture of picture styles and S-Log, depending on subject matter.
  4. Rungunshoot
    Thanks, man! Nobody cared, actually. We probably just looked like tourists goofing around. She did hit a few people on accident, but they took it in stride. Barcelona is a really chill city. The grading was a little tricky for the dusk stuff; I was trying to preserve the natural colors while giving it a little more teal and purple in the mids/shadows. The nighttime stuff wasn't altered a whole lot...just some highlight/shadow compression, vignetting, and a bit of purple in the shadows.
  5. Rungunshoot
    Here's my grade of the Arizona Falls footage (thanks to W. Ashley Maddox). Tried to make it saturated to see how the color holds up.
  6. Rungunshoot
    Thanks, I was able to color balance the streetlights if I wanted, but it was a little washed-out looking. I chose to keep the hue golden as a grade. The 48p was a little dicey. I was able to shoot something like 1920x500 vertical anamorphic, which I then stretched in post to 1920x818 (2.35:1). Sometimes the camera would randomly quit if write speed dipped a bit and I lost a frame. It sure is a lot easier on the CF cards to shoot 2:35 rather than 16x9, though. I think I get like 50% more record time as well.
  7. Rungunshoot
    Shot this earlier this week during the Feast of St Joan. I think it came out pretty cool.
  8. Rungunshoot
    Thanks for the tip - I just emailed Fraser as well as Tourism Australia.
  9. Rungunshoot
    Dude, really good job with the color. At first I thought your original post said you were using raw, and I was thinking "cool, I like the flat grading"...then I saw that it's just cinestyle and I was even more impressed. This looks better than a lot of the "graded" raw footage I see out there that is way too flat and lifeless.
  10. Rungunshoot
    Yes, Vimeo and Youtube mess with the gamma when re-encoding. And they each do it slightly differently, so you just have to experiment a bit to find the gamma level that un-does the damage. One thing you can do to preview different gamma levels is to play it back in VLC Player. You can adjust gamma etc for your playback with their Video Filters tab. More info: https://wiki.videolan.org/Change_the_brightness_or_contrast_of_a_video/
  11. Rungunshoot
    Thanks, I loved Australia. You're lucky to be from there. When I shot the footage in Australia, I did a lot of whip-pans in different directions at random intervals. So when I edited it together, I looked for shots where the whip pans (or jibs, if you will) fit together nicely. For that particular shot, I added a brief dissolve to make the blend more seamless.
  12. Rungunshoot
    Beautiful color, especially the flesh tones! Nice moments you chose to highlight from the wedding as well. The GH4's limited dynamic range is evident, but I think the blown-out windows etc actually look pretty good in this piece because you kept them soft. Do you think you could have recovered more highlight detail in post? Or is the GH4 pretty limited in that regard?
  13. Rungunshoot
    Thanks so much, Axel. I really was just overwhelmed by the visual beauty of Australia, and I wanted to express what it felt like to be there, and also what it felt like when we had to leave. Really glad you liked it.
  14. Rungunshoot
    Love the look! Btw you can compensate for the Vimeo darkening by lifting the overall mids of your master file by about 6% and then re-exporting.
  15. Rungunshoot
    Here's some vacation footage that I turned into a semi-narrative. My friend composed an original score.
  16. Rungunshoot
    Granted I'm still thinking in terms of a 1080p world, but I still think the A7s could be great beyond ISO 12,800 if it retains enough luma detail. NeatVideo seem to require sharp source footage in order to do its magic. So if the 4k starting point gives lots of luma information but but smudgy chroma, it might still work great with noise reduction.
  17. Rungunshoot
    What about your BMPCC rig? As I recall you had a good minimalist cage for that camera. You think you could rig something similar for a7s?
  18. Rungunshoot
    Regarding the camera vs lens/rig size, you can always adapt some Nikon AIS primes and record internal 1080p to keep the size/weight down for guerrilla stuff. Then when you need to go all-out for 4k, do the rig with a shogun or whatever. I'm sure most real-world projects in the next year or so will be delivering in 1080p or 2k, so a single project could combine both techniques. I'm just curious how the 1080p XAVC-S will handle color grading.
  19. Rungunshoot
    The fact that you can see detail inside the lantern without losing the shadow detail in the background is amazing. I'm not crazy about the color in this clip, but you really can't argue with the DR.
  20. Rungunshoot
    Hi Blanche! I'm not sure I understand your question. Are you asking how I did speed ramping? I use Final Cut Pro X, which has built-in speed ramping tools. I can hit shift+B within my timeline and split a clip for time remapping, then I can stretch the footage on either side of the split to create a ramp. If you're on FCP 7, I'm not sure how you would achieve the same effect. I haven't used the program in about 5 years so I'm unfamiliar with its capabilities for time remapping.
  21. Rungunshoot
    Kendy Ty has 666 Likes, 66 Channels, 66 Groups, and 666 Following. W. T. F.
  22. Rungunshoot
    I've spent the last several months in Dubai doing work for Etihad Airways. Directed/shot/edited these pieces, plus several more coming up soon. RawRec --> Rawmagic --> Resolve, export flat (BMDFilm) --> FCP X (Apply LUT + EOSHD 5dMKIII LUT) Rokinon 14mm, 24mm, 35mm Zeiss 50mm f/1.4 Canon 16-35mm Canon 24-105mm Lighting: 2.5k HMI 1k HMI Litepanels 1x1 LED Panels Titles were done by the agency. Music by my friend Steve Davis at Trevor Morris Music. Cabin Showcases: Launch video for "brand ambassador" Martin Kaymer:
  23. Rungunshoot
    I brought the sample clip into FCP X to inspect on the histogram, and as suspected, it records into the "super-whites", just like many of Sony's cameras. So by lowering the highlights a bit, you actually recover some more detail and increase the perceived dynamic range. I also noticed some of the artifacts of poor compression around the shadow areas of flesh tones, which was one of the big drawbacks of the NEX-5n and made it almost impossible to color grade effectively (especially at high ISO). The RX cameras don't seem to have this problem. I'm curious about: - Clean HDMI - I doubt it'll be 10-bit, but maybe at least 4:2:2 - pixel binning: I've noticed that the Rx10 and Rx100 are sharper than the D5200 and 5dmkIII because the RX cameras use full-sensor readout. Would be great if Sony somehow implemented a similar downscaling method in the A6000. - overheating: still an issue? - rolling shutter - was awful on the NEX5n; maybe they've taken strides toward improving it. - Is video autofocus improved, or just photo? - really a pity they didn't go for 35mbps at 60p. Just saying.
  24. Rungunshoot
    Hi, the footage was a challenge to deal with. I was constantly running out of card space, even with 2x256GB cards and 2x128GB. I also used up a couple 4TB drives storing the footage. The key to staying sane was downloading the footage each night. Plus, the ML raw hack sometimes works, or sometimes doesn't. It's moody. It will crash. It's experimental. I blogged about the shooting/editing process here: http://rungunshoot.com/magic-lantern-raw-on-the-5dmkiii/
  25. Rungunshoot
    For a lot of the places I shot, a stabilizer was pretty much out of the question unless I wanted to get a shooting permit. The middle east is very sensitive about where and what you shoot. Without a stabilizer, I could look like a tourist with a DSLR. With a MoVI or Glidecam, I would obviously be a professional videographer. Which would have alarmed not only security, but my subjects as well. That said, the only stabilizer right now that seems cheap, portable and easy enough to set up is the Xcam Sabre. It will fly a 5dmkIII with kit lens despite its small size.
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