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By eatstoomuchjam · Posted
In the last year or so, I've been switching to having my projects default to ACES in Resolve with rec.709 set for the output color space. It's pretty slick. Most footage is automatically transformed into the color space by Resolve and a lot of cameras look pretty simple, even without cienmatch. One bummer is that FilmConvert doesn't support it, but Spektrafilm and Dehancer both do and both are pretty great for finding a base look to work from. Anyway, if the goal is to have a specific look, even across cameras, it would probably be a decent jumping-off point. -
It's great to hear that the people doing real work have taken the time to build a custom look for themselves. Just another reminder than the muppets on social media aren't really representative of how real people use cameras. -
Sounds like a capable setup! I'd imagine you just setup the camera with the right codec and frame rate and exposure time, then you're just using the lens and filters to expose and focus? That was how I was shooting with my BMMCC and it was great, not having to navigate camera menus or anything. I bought a bulk lot of drink can holders (which are just fabric covered foam) and found they're great for putting lenses in to protect them from each other, so if you want to upgrade your paper towels that might be an option. You could super-glue them together if you wanted to make something with a bit of shape, sort-of a very DIY custom camera-insert.
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By Benjamin Hilton · Posted
It's all just a workflow thing really. We shoot everything in log and it's easy. We have film simulation grades we've developed in post that we input to the camera as a reference LUT. Then in post that same grade is automatically dropped on in the edit. This means we get a pretty consistent look all the way through the process and grading time is minimal. But I agree if we were just dropping a cst on the footage there wouldn't really be a point to shooting log. -
By Framed_By_Dan · Posted
I only use Log for situations which are relatively consistent throughout the whole shoot. It's not a good profile for run and gun filming. My commercial work I can keep pretty consistent so it can be shot in Log, my other work is weddings, I ideally need access to the full ISO range on a camera, I need to work indoors and outdoors, variable colour temperatures and lighting conditions. My wedding clients won't know or won't care if I shot Log or not. I use a tweaked Natural profile on my Lumix cameras, using 10-bit where possible which makes a huge difference in post if my WB is off. The files are still thick enough to push and pull. Yes I might only have 9 or 10 stops of DR to play with as opposed to around 12 if I shot in Log but at least it's much less stressful to work with on the day and easier to manage in post. I have a PowerGrade with my signature look ready to go in Davinci which I slap on and Adjustment layer then make minor final tweaks to clips where necessary.
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