mercer

Does anyone know what the native ISO of the G7 is?

That makes sense, never thought of it like that. This is why I am not a cinematographer and just a writer trying to figure out how to get the cleanest image possible in the most affordable and interesting way. and btw, I wasn't speaking specifically about Andy's footage... I'd be ecstatic to get half the quality he gets... I love the mood and composition of every piece he shares.

Gotcha, but I don't understand how the metabones is curing those ills? I have been reading that nothing is better than it, but other than speed what is it really doing for you... I know it's making your images wider, but you can always stand back a hair for that?

I am on my phone and only sit at my computer when I am writing or editing... What kinda things are you noticing? And yes his shot of the cop is fantastic... Of course I think that one may not even be the G7, or if it is... It is definitely before he started using the atmos.

Has anyone used the Sigma 28mm 1.8 lens? There appears to be 3 different versions, unsure if they're the same or not, mechanically and optically. They all have aperture rings, which is good. I have seen a few videos and it seems to be a decent performer but I'd love to hear some first hand experience.

Andy, did you run these through Neat Video in post... Because damn those shadows are clean.

Sorry, my espanol is a little rusty.

There's an ikonoskop on eBay in Spain for 1500 euros.

I think the D5500 may be my next camera. In some ways going back to a DSLR that only does 1080p seems dumb, but I just cannot deny that Nikon Flat Profile and it's clean shadows and great 60p.

Great wealth of info, thanks again. Another question though... I have been wanting to give proxy files a go, since I don't have the most powerful computer, do you use dci 2k, or just plain old HD 2K?

One more question and then I'll leave you be... I know you're using the atmos now, but before you started using it, am I right in assuming you were converting to prores? And if so, am I also right in assuming you were editing and delivering in 4K? Thanks again!!!

Great info thanks!!! When you're done with your shoot, you should write a guide. I have been using auto wb with the G7 because I've never shot with kelvin before. With the canons and even the nx500, I could use presets, but with G7, the presets look a little off. I'll definitely be testing those kelvin numbers. Thanks again!!!

Andy, I vaguely remember you saying you expose by eye as well... Or do you use the histogram or zebras? Do you expose to the right or under expose?

Thanks, these are the type of specifics I need to hear. He does have blotchy skin, but I believe it has more to do with me testing the vector tool in color finale for the first time. The hue and luminance adjustments are powerful tools... Just not in my hands... Lol.

Sadly, there may be just as much of a chance of seeing a unicorn as there is that the BMMCC will be released before NAB.

I noticed that too. The footage was tack sharp on my computer, so I'll have to check if it's the gorilla grain I added last minute or if Vimeo is forcing SD or 720p onto people.

Where pots of gold hide and unicorns roam.

So you don't use any waveforms as guidelines? Nice. I should try that, God knows RGB Parade isn't helping me. Do you just use the master curve, or do you you tweak RGB curves individually as well? And yes that is what I have been using as well -5 contrast and -5 saturation and I have found a simple contrast curve brings back the most of the color without having to boost saturation in post. Although, I have been using CineLikeD and not Natural, but Natural seems pretty nice... I just haven't really messed with it yet. That will be my next round of tests, now that I've settled on my Minolta 28mm f2 lens.

How much saturation do you have to boost in post with your flat settings? I have been testing flat lately, and I have found that once you bring the contrast back in, a lot of the color comes back as well. My most recent test, I was messing with the vector tool in Color Finale, so I ended up bring in too much blue in the sky, but for the most part contrast brings back most of the color. Have you found the same? Btw, the screen grabs look great!!!

I think I need to calibrate my screen, because the sky did not look that blue on the computer.

Once again I have another lens test. This is probably the last one, I have narrowed it down to two lenses, the Tokina RMC 35mm f2 and the Minolta Rokkor-X 28mm f2. One of them will be the workhorse for my upcoming project. This specific test is with the Minolta. I shot it in CineLikeD with contrast at 0, sharpness and noise reduction at -5, and saturation at -3. As always I performed a quick correction and grade with Color Finale. After watching some tutorials, I am starting to try and actual workflow, don't get me wrong... I am still horrible at it, but it is beginning to make some sense. Anyway, thanks for watching. I don't have too many people to get opinions from, and I tend lose objectivity when I start tweaking color.

What in camera settings are you using?

This is gorgeous. Couple questions... What lens did you use? Do you edit, grade and deliver in 4K?

Here is an ungraded grab from the G7 shooting CineLikeD with everything dialed down. I used the Tokina 35mm f2 lens with a Fotodiox ND Throttle adapter... Here it is with just a curve adjustment... And here it is letterboxed, with the Tetrachrome LUT from Impulz, and some Gorilla Grain...

That is insanely clean... Especially for the contrast and dr in those shots. Do you know how good the gh4 version of the Leeming LUT works with the G7? I know a few people claimed to test it with the G7, on DVX, with favorable results, but I haven't seen any footage with it. About a month ago, he said he was working on a G7 specific version. Like you said, as a specific film stock, it will work nice. I've been using CineD with everything dialed down with pretty good results. I'll post some grabs later that I don't attempt to grade, just correct and balance.