seanzzxx

Hey folks, this is the first music video I ever shot. While I am decently happy with the results, I am very much looking for feedback and impressions, any at all. If you have any questions feel free to ask, of course! The music video tried to capture a few different aesthetics, so were the stage parts all on long lenses, locked off on a tripod and shot mostly with old stage lighting, in order to emulate that 'Earth, Wind, and Fire' aesthetic, while the hotel room parts were shot much more modern, using LEDs and a floating, quickly moving camera. However also here the aesthetic was meant to evoke a feeling of an older video (notably with the heavy use of a rim light), because the general feeling is that of a daydream. https://vimeo.com/429361546 password: mogimikevideoclip

Hey folks, this is the first music video I ever shot. While I am decently happy with the results, I am very much looking for feedback and impressions, any at all. If you have any questions feel free to ask, of course! https://vimeo.com/429361546 password: mogimikevideoclip

Holy cow, that is great! May I ask about your grading process?

I posted about this in the BM forums but this place seems a bit more active, thanks a bunch in advance! "Hey folks, I am looking for some feedback on the coloring and cinematography of a video we made. The video uses the poetry of a friend of mine and while the video is not supposed to tell a simple linear story it is meant to evoke the feelings of the poem, which (for you non-Dutch speaking people) is about making choices, failing, struggling with past memories and letting go of things. The audio is the super rough draft audio (done by me ) which at some point will be replaced with a male and female voice over. With regards to what I was aiming at: the coloring is supposed to feel nostalgic, warm, and definitely not 100% realistic, while still remaining very naturalistic; people should not 'see the grade', so to speak. I added grain to a number of shots, Vimeo compression killed most of it except in the most extreme cases, but that's life, haha. Looking forward to any and all feedback! https://vimeo.com/386482322 password: dutchpoetry "

Thanks a bunch!

Can I ask something? All these options are greyed out for me in the management section. What am I missing?

Damn, that's some amazing cinematography.

I'm 99% certain Steve Yedlin, without mention the article or the author, is talking about this article when he once again has to whip out his explanation of large format fallacies: http://www.yedlin.net/191106.html Here's his visual explanation: http://yedlin.net/lens_blur.html

My sweet baby boy, if you really think the Pocket 4k has 13+ stops of usable dynamic range I have a bridge to sell you (and this is coming from someone who owns and loves the Pocket 4k!)

Wait, you know you're not going to get the full dynamic range on rec.709 recordings, right?

The calculation is very simple. Let's say you use a 50mm. Your metabones reduces the crop by 0.64. 50*0.64=32. Your Pocket has a crop factor of (in full sensor width) 1.88. 1.88*32=60mm (rounded down). That's pretty close to the full frame equivalent already, but your new crop is (60/50) 1.2 times. So if for some reason you absolutely NEED to shoot at exactly the same equivalent focal length all the time (instead of just framing your shot slightly different), you can take your full frame lenses and divide them by 1.2. 50/1.2=42 equivalent perspective (rounded up). You could do that for all lenses. You want to match your 14mm on full frame's perspective with the Pocket+speedbooster? 14/1.2=12mm, etc. Does that make sense?

Good to hear you're safe, Anaconda. @Newway12My 11-16 does vignette at 11 (even without hood), on the viltrox. Do you shoot the full sensor with?

Well, this is a bit shocking:

Right now it only works with USB 2.0 on Windows, that might be it?

Just a quick question - in Davinci Resolve in Color Space Transform, Input Color Space still doesn't have a Pocket 4K FIlm option? Am I missing something? Thanks!

That's a really common problem with the Viltroxes, and it seems to be a quality control thing. I have the same on my 18-35, from 1.8 it's really sharp but at 1.2 it's a ridiculous washed out glow, totally unusable. I didn't bother returning it because I'm 1) lazy and 2) never shoot below f1.8, but it's still annoying. Can't complain for the price, though.

Yep! It's an awesome feature that came at the cost of DR and noise so they dropped it like a brick for the 4.6K, which has a superior image. People don't give a hoot about rolling shutter as long as it's minimal enough. P4K, GH5S, Ursa 4.6k have all reached that point imo.

No problem! Just to clarfiy, the 1.44x crop of super 35 is against FULL-FRAME (again, in 4k your 1dx mark II is not the same width as full frame). Full frame sensor width is 36mm. Super 35 film width is 24,89mm. 1dx mark II in 4k sensor width is 27,5mm (give or take). 36/24,89= 1,45. So the crop of super 35 compared against full-frame is 1,45x. 27,5/24,89= 0,91x. So the crop of your 1dx mark II in 4k compared against super 35 is 0.91x. You can do this in all directions. 24,89/27,5=1.10x. So the crop of super 35 when compared to the 1dx mark II in 4k is 1.10x. Again, this is all theoretical, because a 1.10x crop is meaningless.

So Super35/the Arri Alexa (90% of movies you will have seen will be shot on those formats) have a crop factor of around 1.45 (I got this number wrong at first, updated my earlier post), unless they were shot anamorphic in which case we get into the story of horizontal crop factors and we get really freaky, which we will not do now. Your 1dX II has a crop of around 1.3, so the angle of view is WIDER. If you don't want to exceed 18mm angle of view when compared to s35, you'll have to put a tighter lens on your 1dx mark II. In your case the crop factor of a 1dX II when compared to super 35 would be around 0,9, so you wouldn't want to go wider than a 20mm roughly. However, to make your life easier: in real life a crop factor of 0,9x is is so incredibly, insignificantly small that it really doesn't matter, just go for the same lenses you would use on Super35 and you'll be fine.

Okay, so a few things. Super35 is technically a 1.44x crop (I GOT THIS NUMBER WRONG AT FIRST, EDITED IT NOW) when compared to full-frame. However on Sony it's a 1.5x crop, on Canon a 1.6x crop for their aps-c sensors. If you want to match the angle of view of Canon aps-c (1.6x crop) to that of the Canon 1dx II, it's important to remember that the crop factor is compared against a specific sensor format, namely that of full-frame 35mm (so NOT Super35). So the aps-c crop is heavier than that of the 1dx II (1.6x as opposed to 1.3x when compared to full-frame). This means that if you want to to match the angle of view of a aps-c sensor to a 1dx II (4k) angle of view, you will have to apply a NEGATIVE crop (because you're actually getting a wider angle of view, not narrower). That crop is about 0,8x. So it will look like this: Super35 (canon aps-c) to 4K (Canon 1DX)(0.8x) 18mm = 14,4 21mm = 16,8 etc...

Just a minor point, the P4CCK can shoot stills, it's just super clumsily implemented and you can't see your results afterwards.

http://yedlin.net/ResDemo/ I'll just leave this here. Going 6k before 10-bit is the worst single thing they could do.

I use NISI IRND. They're awesome, more affordable than the Lee's and have, so far as I can tell, almost no color cast. Their holder also has a 82mm (I think) screw-in thread so you can add circular filters.

Using steadicams/glidecams as opposed to gimbals really does the trick I think, it adds a certain flow to the movement that is very filmlike in my opinion. Here's one example, all shot on a glidecam:

Jesus, what a petty and defensive responsive to someone being understandably wary of a brand after getting two duds in a row.