jonpais

strange, all this talk about Reds and Arris in a post about family pictures.

redefining family movies!

seriously?

I can recommend you read the following blog post and others so you’ll know what you’re getting into.

I can tell you for sure that you won’t be grading HDR footage in Premiere.

And here's a screen grab from a color correction tutorial I worked on this morning. Far from shitty color science. (click twice to enlarge)

I'm guessing that at a mere $1,000 for a 43-inch display, it will still fall short in several key areas.

First of all, this topic belongs in the HDR thread so we don't have multiple threads, making it even more difficult for those looking for information. There are next to no affordable true HDR monitors out there at the moment, and what there is is super expensive. If you don't need the blackest blacks or the brightest whites, then you really don't need HDR, because that's what HDR is about, aside from the extra color space. Anyhow, the least expensive way at the moment for monitoring during grading is to pick up one of the Atomos monitor/recorders. It's not ideal, but neither is shelling out $35,000 for a Sony OLED. If you're on a PC, you might need a TB enclosure like Akitio, which will run a couple hundred dollars, and something like the Blackmagic Ultrastudio Mini Monitor, which runs a couple hundred or less. You'll probably want to pick up the Shogun Inferno if you're on a Mac, since it'll only work with the SDI outputs, not HDMI. Which i/o you get will also depend on which NLE you're using.

First, let me correct my .9801% statement. I meant to type 98.01%, though the first figure might be more accurate. As far as GH* cameras go, the GH5 has outstanding color, even if the GH5s has better color. It's really all about the skills of the operator, color correction and grading. Lots of ppl talkin' few have examples of their own work to show.

Care to share those tests? Because I've also seen tests where the GH cameras can look 99% the same as the UMP. So in theory at least, the GH5s should be able to achieve .9801% of the Alexa.

According to Jeromy Young, founder and CEO of Atomos, 80% of productions are now done in ProRes.

Alan Roberts’ assessment of the color of the GH5s is that it is quite good, while he had this to say of the Ursa Mini Pro 4.6K: Overall, the colouring is rather lurid. Skin tones are rather too pink, while all other colours with significant red content (orange, violet, salmon pink, purple, light orange, red and yellow) are all too bright and pink. The cyans are too bright. The grey scale is correct, so this is not a colour-balancing problem. Clearly, all pictures from this camera will need post-production grading to improve the colour performance. In other words, quite contrary to the experience of most online reviewers who’ve tried matching the GH cameras to the Ursa - not the other way around! So it will be interesting to see how the colors of the Batcam compare to those of the GH5s. Assuming that BMD would want to allow footage from the Pocket to be intercut seamlessly with the Ursa, I’d expect the color science to be similar, if not identical. Mr. Roberts also seems to believe in-camera noise reduction is best left at the factory default setting, which again goes against received wisdom.

Shallow depth-of-field may be a gimmick, but soon all manufacturers will have large format sensor cinema cameras, boasting of 'immersiveness', shallow depth-of-field and 'three-dimensionality'.

@kye If you search YouTube, you can find several examples of good storytelling for events like graduation ceremonies and the like. Surprisingly, it just takes a little creativity - not elaborate gear.

Hire whomever you like, @Django. You just made my point - you can always find people willing to work, at pretty much whatever skill level you need. Southeast Asia doesn’t have a monopoly on eager, hardworking, dependable crew members. I only mentioned college students for those who aren’t Christian Bale and are on a budget. I got three jobs through my own college after graduation - one at Chevrolet headquarters in Warren, Michigan, another as a studio assistant at an automotive studio, and at a professional lab. Employers often called the department head to fill positions, and graduates are eager to begin work right away. At least, I was.

Who said anything about volunteers? ? Oh, that’s right - somehow my words got twisted. hehe But yes, there are ppl everywhere willing to work. I’m not saying you said so, but it’s a cop out for anyone to say they can’t find one or two students to help them work on any kind of film whatsoever.

Wow. That’s a stretch. ?

Beautiful lighting, everything. I liked this one of yours as well.

I'm not sure what it means not to have control over the situation. I've shot lots in public places. I've got control over the time of day I decide to shoot. That might include considerations such as lighting, but could also be when I expect there to be more people around to shoot. I can go from the sunny side of the street to the shady side. If I'm outdoors and need to be discreet, I can conceal myself behing a wall or shoot from across the street with a telephoto. Indoors, I may pretend I'm shooting the building, not the people. If I'm in a building, I can shoot near the windows or the entrance for more natural lighting or move further inside to shoot under fluorescent lighting. I can frame my shots so they have lens flare, or use stuff in the environment to add depth to the the images. I have control over the lenses I'll be shooting with and what aperture I want to use. I observe what's going on around me. I control the composition and the camera angle - from on the ground looking up or above the subjects looking down - from up close or farther away. I might shoot from behind, in front of or to the side of the subject. I've got control over which subjects interest me and which don't. I've gotten right up in people's faces with a cage, a cine lens and a monitor and nobody ever blinked. I return every day for hours at a time until I've got the shots I think I need. You always have choices.

I expect I'll get a lot of flack for even suggesting this: but if all you need is a small crew to carry around tripods and lights, unpack and help set up the shoot, it isn't that difficult to find and it doesn't have to cost an arm and a leg. Many young people want to learn the craft. There's no reason why anyone is forced to work solo. I don't shoot professionally, and I use college students, but they help me with reflectors, changing filters, setting up the LED lights, raising or lowering the tripod, carrying stuff - even just monitoring audio.

A lot depends on your ph A lot depends on your physical condition. Bernard Bertrand has shot some lovely videos of boxers training, handholding a GH5s, Nocticron, Bright Tangerine Titan arm, cage and Atomos Inferno. I tried it myself, it was just too heavy and unbalanced to hold comfortably. But I believe he was powering the Atomos from the mains (can’t recall) and his cage is much lighter than mine.

My bad. I thought the iPad app (!) allowed viewing of the image, but I was mistaken.

You tell us your budget first! ?

It’s only to give Atomos a head start - after all, they worked with Apple on this. And you’re right about FCP - they keep adding features, but they’re all buggy. I don’t seriously expect the GH5 to add Prores RAW either. How is HDMI the only option? Not sure I’m understanding. You mean the only way to monitor outside the camera? Because I don’t think you are correct.

And USB-C is ten times worse than full HDMI.