kidzrevil

cool story guys. Anyway. Has their been a shot that has topped this in Blade Runner 2049 ? This shot was iconic to me !

@Gregormannschaft is right. The tiffen diffusion filters will take your footage to another level and it gives you many of the qualities of film : halation,highlight rolloff and the highlights blowout better. I use the black pro mist for a more cinematic quality in my music videos but I generally use a tiffen satin or tiffen black satin filter. The tiffen black satin works like the tiffen diffusion fx filter which filters out the excess high frequency detail that leads to moire,and macroblocking from overloading the 100mbps of the codec. This leads to better compression even when using in camera sharpening. The other advantage of the black satin is at has some of the characteristics of the tiffen glimmerglass leading to a black pro mist like flare but it is more controlled and doesn’t get overbearing even in bright light. The tiffen black pro mist however works better with contrasty lenses so the filter doesn’t flare the shadows up too much into the midtones. I reccommend grades 1/8 -1/2. The heavier grades (1/2 - 1/4) work better on wide angle lenses and shots that have a high dynamic range because it allows most of the dark areas to fit into the dynamic range of the sensor. @EthanAlexander

@Gregormannschaftwow this looks amazing. I am a huge advocate of shooting with diffusion filters and vintage lenses so this is right up my alley. In 4K the combination adds a lot of character to the image

Hmmm that makes a lot of sense. Maybe I should put off my SLOG3 tests for a while and really dig into SLOG2. I regraded that SLOG2 footage with a visioncolor osiris LUT and it worked pretty well.

@EthanAlexander it works very well for those who like to grade manually ! I do however prefer my modified slog3 with sgamut3.cine because of how it behaves with LUT’s. I am going to try it out with increased in camera sharpness and locking the exposure at +2 since I know people generally expose with the in camera meter. I noticed SLOG3 squeezes the entire histogram in the middle which contains the least amount of compression artifacts.

@Bioskop.Incpeople show their true colors all the time. No need to prolong the BOAN argument a couple of our counterparts have already revealed what they think and what they prioritize. As shameful as it is justifying the “art” of a fascist and a racist who thought the Klan were hero's, some have shown that it is something they will tolerate in the name of artistic expression however it’s not something I can tolerate as an empathetic person. Anyway there is a clear visual upgrade in BR2049. They’ve broadened the color palette and let the art director run wild ! Visually that is stunning but it loses the cyberpunk noir feeling of the originals low key tone with saturated blue & red colors

@Gregormannschaft hmm maybe in camera sharpening isn’t the devil it was once made out to be. Have you tried raising it even higher than -4 ? Its worth testing to see what is the limit before sharpening artifacts become present. As far as the organic look to my footage I blame it on the lens that I used. These old nikkor pre ai lenses with a speedbooster brings a very unique rendering to the image

Got one guy here defending the reviled DW Griffith as an artist and another defending Italian Fascism as an art form. An embarrassing yet amazing turn of events. Thank God it aint me, I would hate to have those statements read back to me later on in my career. Anyway. The color and composition of these shots are amazing. Some of the reviewers don’t think it comes close to the original but they all agree this movie looks incredible ?

@Gregormannschaft thank you ! That means a lot to me. Im glad I can be of service to this community !!! I use +7 crispening because it prevents the in camera sharpening from activating. I do this to avoid sharpening artifacts but you may be onto something. Sometimes I feel like the image is mushy at -7 and so I will try raising the in camera sharpness up and see where it leads me.

This was shot in slog2 with sgamut3.cine color matrix. It is overexposed by +2 and color corrected with colorista iv

@jax_rox oh ok so Im fine then, no need to test. I think I got a handle on the limits of the camera when exposing for log. Exposing to the clipping point has been fine for me. Exposing to what the meter reads as +2 when using A priority gives great results for run and gun as well and keeps the highlights at a reasonable distance below the clipping point. Works great for consistent results especially when using the a6500 new average scene exposure metering.

@Bioskop.Inc Im going to make an honest effort in seeing that today. I was looking at the original the other day on bluray and fell in love with that cyberpunk feel all over again. I would love to have a similar aesthetic but God knows I don’t have the time,patience or financing for that kind of lighting. It had a noir feel but it was dripping with color ! I loved the saturation with the blue colored lighting especially in the opening scene. You are right about 2049 I couldn’t quite put my finger on it but some of the shots from the trailer especially the scene with the hologram does have that anime feel to it. Its like a nice blend between a modern day Singapore. The original blade runner felt gritty but this one is giving me a high end Gucci kind of feel !

@jax_rox again I have personally never encountered that problem or know of anyone who has but I am more than willing to keep your advice in mind for my upcoming shoots. Where do you think I should lock my exposure when shooting SLOG ? Should I go 1 or 2 stops over ?

Im fine with 8bit at 150mbps with 4K 60fps & pixel perfect HD ! Man that GH5 tempts me everytime with their 1080 performance @markr041 amazing images as usual ! What’s the clipping point of the standard gammas ? Is it 100 ire/zebras or 109 ?

Never been a problem for me. I’ve been freelancing for years and never ran into that problem on a paid project. Thats a novice issue like shooting on auto. It shouldn’t take you more than a day to color grade a 10 minute long project. No one should have this problem if we are doing this professionally for corporate or consistently making indie films. Please don’t make this sound harder than what it is, you can potentially steer someone away from a school of thought that works for them. @jax_rox Sure ! Detail -7 in manual mode with 7 crispening, 0 limit,b/w balance to type 1,v/h ratio to +2 and saturation turned up to 14. I also use Dali’s mustache to transcode to 1080 444 10bit. The transcoding step is very important, Adobe Premiere is not truly downsampling the image just scaling it to fit the project settings !

@Dave Del Real ?? VLOG L was a disaster from what I heard. They clipped the highlights like 2 stops earlier because the dynamic range of the Varicam is much wider. Panasonic should’ve designed the curve from the ground up specifically for the 12-13 stops of the GH line ! You’re better off using Cinelike D

@mercer everything at default except sharpness

@mercer standard with -2 saturation and -3 sharpness works well. Neutral with -3 sharpness is amazing for skin tones. The other two profiles I am interested in is “deep” and “light”. I read that those two profiles mirror minolta’s low key and high key profile settings. If you have some time I need help testing what’s the clipping point of the standard gammas. Not sure if it’s 100 or 109 ire

@EthanAlexander again I highly disagree. I’ve done plenty of shoots where my exposure varied shot to shot but always fell around the 2-3 stop range. Im sure keeping the exposure consistent like lets say +2 over will give you great results but there are many situations where the in camera metering will get confused. Thats why I don’t follow the meter I pay attention to the zebras and histogram. Also I do not depend on LUT’s for my grades because I am a control freak so that’s kinda irrelevant to my workflow..plus you can change the exposure before you apply the LUT so you are not limited by the exposure range the LUT was built for. Please keep in mind some of these LUT’s are POORLY designed and I do not reccommend them for consistent results. Again I do not use a batch workflow because I aim for precision not speed when I am working. this was shot in SLOG3 and the exposure varies. If you know what you are doing in post without the dependency of LUT’s you can normalize anything. I highly reccommend FILMCONVERT. I will experiment with your suggestion of keeping the exposure consistent and see if it gives me better results on a shoot. @Shirozina absolutely ! The compression has a bigger impact than 8 bit so its key you optimize the image before compression. I’ve adjusted my detail settings to suppress the in camera sharpening as much as possible. I also use “invisible” diffusion filters like the tiffen black diffusion fx to limit the amount of high frequency data the sensor is able to see before compression. I get next to 0 artifacting especially when downsampling to 1080p 10bit 444

Highly disagree with no shooting ETTR and is not my method of exposure. I optimize every scene for how I plan on processing in post. Some scenes I may even go beyond the clipping point. Batch processing anything is out of the question and is kind of lazy when you think about it. LOG isn’t something you can afford to be lazy with and batch process your work. If this is the mentality behind shooting LOG then no wonder SLOG is nototorious for giving crap results with an 8 bit camera. Not an efficient way to shoot and grade LOG in my experience...slam that histogram as far to the right as possible ! 107 ire has the highest code values

I would disagree with that first point. On average I shoot 3 stops over and the image is fine. No banding at all and thats with slog3. Slog2 3 stops over works even better. With any image you expose for the parts of the image you want to keep. You want more shadow detail ? Expose up. You want more highlight and midtone detail ? Expose one stop over. It’s very easy if you know how to grade (LOG). Delivering in 1080 makes compression artifacts unnoticable. As far as the second point is concerned I do agree that it may be best to shoot in a CINE curve for most people. On a paid gig where I can not afford to experiment I would opt for a CINE curve. On a personal project I will shot SLOG for the flexibility

@EthanAlexander funny you mention it because that was my next test ! It works REALLY well and doesn’t have that awful green tint of s.gamut. It may end up being my go to profile for the a6500 I just have to test it a little more

I can only imagine how good a RAW workflow is. After seeing @Andrew Reid RAW footage and hearing @mercer love for the hacked 5D im really considering picking one up. If it's anything like the still images that would be a joy to grade ! Like you I do see some of the problems with LOG and more importantly the LUT's people use to grade them. Some of these are merely look LUT's and they completely destroy the image. Even some of the popular ones like IMPULZ lut's adds a ton of noise to the blue channel which is inherently noisy on most cameras. I most likely will not commit to a LOG workflow especially on important shoots because it is like rolling the dice on an 8 bit camera. Trying to change the white balance in post is a nightmare so exposure and WB is crucial (which most miss relying on auto exposure and auto white balance). I ran this test to dissect how the Sony A6500 processes the image but so far I can say the LOG is usable but only for advanced users. I for one will not commit to a LOG workflow and I am experimenting with the cinegammas which I will make a thread about when I run more tests with them. @mercer I forgot to answer your first question. The RX10 ii is a great camera, I've always used mine with a tiffen pro mist diffuser when I had it. Have you seen the RX10 IV ? Looks promising

@Bioskop.Inc completely completely agree. American films pale in comparison to foreign films especially in modern times ! From Akira Kurosawa to a couple of other greats American film doesn’t even come close to technique and story telling devices. Thats why when I heard BOAN mentioned here as a pivotal piece in cinematography history it was as laughable as it was disgusting. Im sure that movie isn’t even in the curriculum of a filmmaking class located outside the USA. Big fact !! Who’s the DP for Blade Runner ? The aesthetic of the shots have a very ultra modern feel to it. The first Blade Runner reminded me of a cyberpunk LA but this is like a Cyberpunk Berlin. How do you feel about the aesthetic of the film ?

@PannySVHS seen it here ! https://www.43rumors.com/ft4-new-panasonic-g9-80-mb-shooting-mode-60-frame-burst/ I hope this makes Panasonic & Sony invest more into their midrange lines. I can see Sony answering back with a sony A7000 with some of the tech from the a7riii and a9 trickling down into the system