Mattias Burling

Nice to see that small jestures like a simple email from the individual can affect bigger things for many.

This thread reminded me that I had a few test clips of 5Dii Raw that I captured to test the workflow but never graded or anything. Today I was bored and just played a little with them. It sure does have a certain soft but creamy look. I really like the two indoor shots of the Dog where I just added some saturation and contrast after converting it to BMDFilm.

I cant agree.

I feel the exact same way with Drones, Sliders, and Gimbals. It all moves in trends. It will go away soon and then come back again. First it was saturated, then low sat, now its high again.. its an endless loop.

Another reason Teal/Orange works well is that its a natural occuring color from real life. If I look out my window about 3h from now it will be Teal/Orange. In other words, even if its an artifical look in most scenes the brain wont dismiss it as "unreal" since it at least can look like that sometimes. Thats why the grade in Matrix when they are inside the Matrix enhanced the "artificial" feel.

Hopefully similar to the BMPC4K. Which is down sampled in camera in such a way that it pretty much beats 4K downscaled in the NLE. And it also looks pretty much identical identical to 4K when up scaled again. In other words you can save a ton of SSD storage and make editing faster with the same end result as 4K. On the BMPC the HD has no loss in DR, less noise (smaller) and a bit sharper.

Bad lighting.... .. Are we talking about the same movie? Totally get the movie isn't for everyone but bad lighting is a bit suprising.

Same thing they did when the bmpc4k was really late. And that wasnt a temporary drop.

I have no problem with the bmpcc screen. Have used it in just about every possible condition, its not great, but good enough imo.

It looks good, like a bmpcc. Only reason I would get one over the pocket is slowmo and GS. So hopefully there will be a video showing it soon.

Kodachrome was used in 16mm motion film. I have two rolls at home. Use them for testing cameras and practicing loading.

Had to take it apart and modify the mount a bit but now they are like peas and a pie

But don't you need a c-cam that you can also use as an anvil?

BTW, if anybody in Europe wants a good price on a Red MX I would drop this guy a line, http://www.reduser.net/forum/showthread.php?140229-Redone-MX-%804250-Europe-Ireland- REDONE MX (Serial Number 0582) with side SSD 1.8" and PL MOUNT and NIKON MOUNT with Heavy Duty Case. - ELEMENT TECHNICA BREAKOUT - RED BOMB EVF - RED MONITOR 5" - LCD / EVF Cable (Right to Straight) 7in - LCD / EVF Cable (Right to Straight) 7in - BEBOP HOT SWAP RED CRADLE - REDSTATION REDMAG 1.8” SATA-F800, USB-TO-DC Power cable , AC Power Adaptor - RED HANDHELD HANDLES - ELEMENT TECHNICA BRIDGE PLATE 19mm (Like an ARRI BP6) - 4 x REDMAG 1.8” SSD 64 GB - 1 x RED DRIVE 320GB WITH CABLES - 6 x RED BRICKS V MOUNT - 2 x RED CHARGERS (one of the sides in one of them is not working) - Heavy Duty case for RED BRICKS and RED CHARGERSThe camera is located in Ireland and has the latest firmware. Price is €4250 including worldwide shipping with FEDEX / DHL / ETC

I think maybe Ed could do that. Belive he had access to a A7s recently. Unfortunately I dont. Im gonna see today if the BMCC can have its exposure matched as easily as in the first test.

Yup, its great. Will be nice with the 17-35/2.8 I already have and the 80-200 that I have on the way. Here is my first test with the 35-70/2.8.

I don't know really. Im a bit curious to do a side by side with the BMCC and push both to match the same exposure and compare. I can throw in a GM1 as well as an example of a smaller and low cost option. Yeah, definitely more usable for this type of stuff than the production camera.

This is a test of underexposing the Red One MX and pushing it in post. And some footage from the 100fps Over Crank Slowmotion. Today it was really cold (-20ºC/-4ºF). Therefor I stayed inside and played with the R1MX. Firstly I finally read the manual and learned the different exposure and focus aids that are available in the EVF and viewfinder. And there was a lot of them. While calibrating my Zebra settings to show the same as one of the false color modes I got a bit curious about underexposure and did a series of tests. The conclusion I drew was that the Red Raw is very pushable. Like all cameras it introduces noise when starved from light, but the noise isn't to shabby looking. Its nice to see that even the darkest one, f22, can be used in documentary purposes. Meaning you can shoot something and show what it looks like. We are not not talking about looking pretty, just identifying an object. The framesAll of them are shot at ISO 800 with a Nikon 35-70mm f2.8. The cameras is at its highest compression, in other words, its worst image in 4.5K. In the camera the Zebras are set to indicate over exposure and shadows that are at risk to be to noisy. The frames have first been exported in their default Red Gamma 3. Then I have used the f2.8 as bench mark and pushed all the others to match its lift, gama and gain. (sorry about the photos of the monitor, smartphone.) f2.8 Here I had Zebras indicating clipping on the table next above the remote. The stop light indicates that its a red channel clip. Meter is also on red. Straight from camera. Balanced. f4 No Zebras for clipping nor underexposure. Straight from camera. Balanced f5.6 No Zebras but exposed to the left. Straight from camera. Obviously I slipped in and made the red channel blow, but Im to lazy to redo it f8 Starting to get dark. Still sharp and not to noisy. Colors back to normal. f11 Some Zebras warning for under exposure on the remote and parts of the blanket. Straight from camera. Some noise but under control. f16 Night time. This might get noisy. Should clean up in a pinch. f22 Green Zebras all over the place. Yeah right.... Still usable in documentary situation where the goal is to identify and not to look pretty. SlowmoSo for reading through that boring stuff, here is some slow of birds

I thought the d5500 had zebras? Otherwise you can use the histogram in combination with looking at the screen.

It was. He said in the documentary before the movie, "Its shot in 65mm and projected in 70mm".

It is also how the actual world look before sunset this time of year if you live in snowy Sweden or equivalent.

"Bridge of Spies (Spielberg, Tom Hanks, written by the Coen brothers, DP - Janusz Kaminsky) - Film and anamorphic" Why I havent seen this yet I will never know.

But it can with a plugin. Here is a quick tutorial using Adobe Camera Raw in After Effects. Do like the post above, switch to BMDfilm and it will look exactly like prores. Its not an issue, its supposed to be like that

I really like the D750, did a little review as well.

The C100 looked really good imo.