Kelly

@kye I definitely have to agree with you on this. I watched the whole season and was very impressed. Good performances from everyone involved [Stephan James and Julia Roberts scenes in particular] and for the director to be allowed to hold onto the smallest of beats/emotions that the cast put out is so valuable. The visuals their DOP was able to make were excellent - and I really liked the 'sssshhHHWOOOOSSSSHHhhh' as their transitional device. I cannot wait for season 2!

Ah ok I never thought about Premier maybe causing it. I used ACR to put all my clips into Log and then edit/grade in Final Cut so maybe using ACR as the 'one light' was the difference.

Hi kidzrevil, I love the colour in your shots but I'm confused as to where the aliasing is coming from. I made a short with ML Raw+5DmkIII a couple years ago and there were zero image issues like that. I was using one of the older versions of ML without the 10bit/12bit compression, just the regular 1080p Raw, I don't remember the exact build, but the only time I had image issues was due to improper exposure and pushing it too far in post and even then there were no issues with aliasing. I shot it mostly on Zeiss ZF primes for lower light scenes and Takumar primes for day exteriors. Is the aliasing something that has come with the newer nightly builds? I can't see a Voigtlander lens causing this. Anyone have ideas about this or finding image issues in their shots?

Well hello there EOSHD forum readers, I've just posted my short film, Axiomatic, to Vimeo. Shot with an older version of the 5D3 Raw hack without the audio component - remember when we had to reload the Raw modules each time after restarting the camera? Ah well...it still worked flawlessly and I cannot thank all the ML developers enough for what they unlocked. 5D3 raw is simply amazing. Spanish, French and English subtitles are available for whomever needs them and viewer discretion may be advised as there is brief nudity, violence and coarse language. However I tried to make everything as tasteful as possible. Hopefully you can take some time out of your busy day to view it and please feel free to share it with any of your friends or contacts that might enjoy some dark Canadian cinema. Kelly http://filmshortage.com/dailyshortpicks/axiomatic/

Well hello there @Aussie Ash. Thanks very much. An actor friend of my created all the music for me from scratch, he's like Jimi Hendrix on guitar. I only used the Takumar's on the exterior shots since they're older lower resolution lenses and take the digital edge off things which I kinda like. Also I was going handheld, doing some lens whacking while walking backwards on greasy train tracks, 5D3 on fig rig, 5D3 suctioned to the roof of my car while driving 100kph etc. and since they're super small, light weight and CHEAP compared to Zeiss primes, if I dropped or smashed one which is possible as I'm kinda clumsy its easy to replace at $40-$80 compared to $950-$1500 ! If you get a chance to use some of them do so, I really love them with all their flaws. I'd love for you to check out the final teaser trailer below:

@kaylee thanks very much :-) I'm not much of a AE or graphics person so I just quickly hacked the titles together in final cut but definitely they could be better. I could type out a huge volume of tips but its hard to say what would be useful or pertinent to what you're shooting, so are some thoughts: - pre-visualize, pre-visualize, pre-visualize and then pre-visualize again. Is what you're shooting going to actually say what it needs to say? - do tons of camera/lens/high ISO/over-under exposure/camera movement and grading tests on everything at every location and come up with solutions to everything that can and will go wrong prior to production - treat the whole camera side of things as if you were shooting on actual film, 64GB card = 10-12min footage (without ML compression) or a 400' 16mm magazine, and economize where you can - rather than doing the traditional wide-med-close coverage can you say everything from a single set-up giving your actors or crew more time on an important scene later in the day? - come up with a rock solid shot list and have some storyboarded still photos from your camera tests in a directors binder to work from, giving you the bare minimum needed to tell your story, making you efficient with everyone's time and if there's any extra space available or anything your actors would like to try you might actually be able to do it - having a Thunderbolt CF card reader to daisy chained Thunderbolt external hard drives onset was essential at the DIT station for me as there was no 10bit/12bit compression option when I shot Axiomatic, 64GB cards download in 8min via Thunderbolt - remarkable!!!! - even though you'll be stressed out try to have fun, remember to smile and thank everyone for being on your set

Hi there, I just uploaded the final teaser trailer to my short film based on the Australian novelist Greg Egan short story of the same name: Axiomatic teaser_3 Thanks to @mercer for his suggestions on the edit for it. I've love any forum readers and indie film fans to check it out and let me know what they think. The full short will premier online next week so stay tuned if you'd like to know more.

@mercer Hey if you've got a chance to swipe an affordable Zeiss 85mm/f1.4 definitely take it as it will overrun the Takumar 85mm but its a beast of a lens even without the hood attached, the Takumar is about half the size. I'm a Nikon stills shooter and don't have a single Nikon branded lens strangely enough so I'm envious of your set. I just jumped into the deep end with Zeiss right off the bat and I'd definitely recommend the ZF over the ZE. I completely agree about the look the 5D3 4K is putting out but the 1080p Raw is just so awesome as it is.

@mercer Thanks very much - I guess I should have posted the trailer here rather than another area. I used a full set of Zeiss ZF primes with 1/4BPM for the interiors and then mostly the Asahi Takumar primes for the exteriors, along with the Canon EF 35mm/f2 IS and the Canon 24-105mm/f4 IS as they were moving shots and I needed the IS as I was literally handheld or a fig rig. For Takumar's I have: 28mm/f3.5, 35mm/f2, 35mm/f3.5, 55mm/f2, 85mm/f1.9, 105mm/f2.8 and 135mm/f3.5. The 35/f2 is not bad, not the sharpest out of the bunch and flares/veils easily but I'm ok with that as it's great for taking the harsh digital edge off most digital cameras. I HIGHLY recommend the 85mm/f1.9 as it is extremely sharp at almost all apertures. Here's a shot taken with my Nikon Df at a f4 or 5.6 and a circular polarizer in a burnt forest, and another completely unfiltered at about the same aperture no post sharpening in either and I have to use a shitty adapter with a piece of glass in it to get infinity focus on Nikon too. I'm not a fan of Takumar's in low light or night shooting though even with a 5DmkIII and Raw, your milage might vary but I find they just don't provide enough info to make a good image - switching to Zeiss or Sigma/Canon etc. is a better option for that. Again your milage might vary depending on your scene. I tested the wazoo out of everything prior to making my short at all my locations, lenses, times of day just to see what would work, how everything would grade and then fall apart, is this 5D going to melt, malfunction etc. It all worked great and this was back in the day when you had to reload the Raw modules onto the camera every time you turned the camera on.

Hello EOSHD forum First time poster and long time reader here. I wrote/directed a short film based on Aussie sci-fi novelist Greg Egan's story 'Axiomatic'. I shot this on a 5DmkIII with Zeiss and Takumar primes and the older 1080p ML Raw hack as the 4k option wasn't available yet. Please feel free to check out the teaser trailer on Vimeo:

Hi everybody - great posts on here. Long time reader and first time poster. I wrote/directed a short film shot with the 5DmkIII+ML Raw, just in 1080p as the 4k hack wasn't available at the time. Here are some screen shots. Teaser trailer on Vimeo now and entire short will be released in about a week.