mercer

Sorry I confused the threads. They're in this one...

However I will agree the blacks are crushed, but I don't mind crushed blacks every once in a while. And I can understand checking different devices and everything looks good but then when you upload it, it seems off. For instance on my computer, this is the best, most cinematic screen grab. The highlight roll off is perfect, just the right amount of contrast to add that beautiful milky sheen. Beautiful actress. And then when I uploaded it here... Seriously though, I wish there was a basic standard that could be set with all devices to obtain a simple, accurate color and image. I know we can calibrate are screens and use color checkers but then we need to hope the end user won't have their saturation bumped up too much or their contrast too high. It really is frustrating, so I can relate. With that being said, I liked the piece and I do think it looks cinematic and I don't care about the crushed blacks because the story seems interesting and the camera movement and composition is beautifully done. And I am surprised this was done with the GH5 because I haven't been that impressed with it. Don't get me wrong, I have seen some nice stuff from it, but most of the stuff I've seen shot with V-Log in 10bit looks like it could have been shot with a GX85 or G85.

Man, the word underexposed is a trigger point with you lately. Does your eye start twitching and a monotone voice repeats from your mouth... "Leeming LUT clearly states to overexpose... must overexpose..." LOL. Just joking with you.

3x crop mode offers a lot of opportunities for wide angles. At full sensor, 35mm would be the widest that will work. I have used the old Cosmicar 12.5-75mm 1.8 and it is so low contrast and milky. The zoom lever really helps to do smooth zooms. A really cool lens. The problem I had with it is that I could never get rid of the pink dots. I tried every program available at the time... that I knew of and they were still there. The only thing that worked was chroma smoothing but it softened the image so much, it wasn't really worth it. Cantsin on that DIY Film Look thread has a bunch of EOS-m Raw videos posted and he has had great success with chroma smoothing... I am going to test his method.

If you're using a GH4/G7/GX85/G85, a lot of vintage 1" 12.5mm TV lenses will cover. The faster the aperture, the better the coverage. With the GX85 and IBIS on, I got full coverage with the 20mm Meopta lens.

Get a 5D3 and shoot ML Raw. It's like having a cinema camera in the DSLR form factor.

Yeah I had the 17-55mm last fall and I liked it but it is a big and heavy lens. I don't remember how good the IS is but I'm kinda spoiled by the 24-70mm f/4 which has great IS. I think they solely used the 17-55mm on that Narcos show? Or so I've read.

Of course I have been shooting up to 1600 ISO without any noticeable issues, but I'd rather keep it under 800 or lower if I can. And it's funny... with all of the tests I've done over the past couple of years, I never realized how much I love silhouettes. With my D5500, the blacks are so clean I could have underexposed during magic hour and still have noise free shadows, not as easy with the 5D3... especially while trying to not clip the sun and get sun stars.

I've been doing everything in my control to shoot this film under the best circumstances. I'll drive a couple hours to get that sweet spot during magic hour for two or three shots. I've been lucky so far, and have ended up with a dozen more shots than I planned, but I either need to start lighting my talent or get a faster lens. Since I am shooting incognito at these places, the lens will be my first attempt. I've been using the 24-70mm f/4 and I love it but I need a little more speed. I'm hoping the 35mm f/2 will be a good fill in lens for those scenarios. Oh yeah, I'm also shooting entirely handheld... so I need the IS... so yeah... I'm a moron.

Ha, I think I am still on 2012 scale... I couldn't afford a 7D back then, so I just assumed I couldn't last year. I start searching for stuff at the ML Forums but usually end up frustrated. If a question was asked once three years ago, people go ballistic for having to answer it again... so then I spend 10 minutes reading why that guy was a douchebag for not properly searching the forum for the answer... and then I forget what I wanted to know. It's a vicious circle of confusion. Lol.

Ok, thanks good to know about MLVFS vs. MLRV. I actually found two shots with a pink sun in my shots I processed yesterday, I'm pretty sure I had highlight recovery checked... but maybe not. I was overexposing a little to try and get cleaner blacks for the silhouette... maybe I went overboard.

I actually shoot 2:35 with my 5D3, so that's fine. Is it still 1920, or close to, on the wide end? I don't shoot a lot of slow mo either, but there are a few B-Unit shots 48p would be good for. The 5D can shoot it too but it isn't continuous... which is actually not a big deal... 5 or 10 or 30 seconds is all I've ever "needed," but it's a pain in the ass to switch all the settings around for it, so the 7D may be perfect to keep in the bag set up for 48p... it doesn't do 60p... does it? I can't believe how cheap they are... unsure why I was effing about with the 50D last year.

Really, they're that cheap? And you can get 48p? For how long?

Does anyone have any oddball lens recommendations for the 5D3? I am shooting a flashback and I want it to have that 110/Polaroid look that you see in old photos stored in a tin. I know a lot of that look can be done in post, but I want to start off with that low contrast, dreamy look. Obviously a Helios came to mind at first but are there any other options? I guess I can use my Nikkor 35mm 1.4 wide open, just wondering if there were any vintage, odd cine/still lenses that would fit the FF.

Okay, so with the 70D you're getting full 1080p (or close) in 10bit? Is that at 2:35? With a 128gb card you're getting almost an hour's worth of footage? Nice.

How is moire with the 70D compared to the 100D or 5D3? I thought I heard it was pretty bad, is it as bad as the BMPCC?

It's probably a little faster on my computer too. Am definitely going to go that route after this film. But since I started with the RawMagic to DNG to Resolve to ProRes to FCPX route, I'll finish this project that way. And then with my next film, I will probably test out the lossless. Yeah I will stick with the LOG ProRes method. I just like working in FCPX. Is that how it works, you structure the CF card with MLVF using FUSE and then Resolve will recognize the files and I can process the Raw through the Camera Raw tab just as if they were DNGs and then render out as usual to ProRes? I assume if I wanted to save the MLVs to a hard drive, then I would just structure the MLV folder as MLVFS? Or something like that and I'm confusing the terminology.

Yeah I guess I can just copy the MLVs to a hard drive and then use the MLVFS from there, but copying them takes the same amount of time as it does to process the MLVs to DNGs. So, for smaller projects where you don't need to reuse the cards, MLVFS are great but I don't see the practicality of them if I have to reuse the cards on the same day. But like I said, I haven't researched them enough, so I am probably ignorant on the topic... plus I am 6 pints deep as I type this reply. Awesome news. When I first started with ML Raw, I only used ML Raw Viewer which I still love but once I upgraded to Sierra, it doesn't always work on my computer. Hopefully the Footage App will take its place. It's definitely a cleaner interface with more control.

Btw, the Footage app is awesome. If it had a LogC option, a player, and a batch converter with the ability to save onto specific files, I think it would be the best process.

I started shooting a film two weeks after I got my 5D3. I used the traditional RawMagic to Resolve workflow. I save all of my DNGs on one drive and then all of the ProRes files on a second drive I work from in FCPX. While I am gathering footage and putting together an assembly cut, I do a basic correction and grade, but I'm probably going to go back and do a little more work to the DNGs and replace the files when I know exactly which clips I need. So to make a long story short... I understand the concept of MLVFS but since I need to reuse the cards, MLVFS don't seem practical with the ass backwards workflow I've employed for this project. Granted I haven't really researched it too much because I was more worried about writing and production but the idea of them is their ability to go straight from card to Resolve/ACR without the need to convert to DNGs, correct? But wouldn't you rather have a DNG back up? Or again am I missing something about the process?

So that's 10bit at 1080p? Is 60p possible at 2:35? Even for 10-30 seconds?

Glad to hear that, it's my next lens purchase.

Okay, so I promise I won't inundate this thread with screengrabs, but I just processed the footage from my last shoot and with a preliminary color pass, and after a few months of using it, I am still blown away by ML Raw...

Vintage lenses.

I have a B&W shoot coming up, would using grey scale in live view give me any significant bump in write speed? Or would it just make my life more difficult monitoring my exposure. When I correct my footage, in post, I always drop Saturation all the way down and I find it really helps, would it have the same benefit while shooting?