Neumann Films

3 hours ago, tweak said:

I can think of better words than "enigma" if you want, no need to complicate things.

Go for it.

3 hours ago, DBounce said:

Love the piece. Nice to see a real effort instead of cat videos or leaves. That said... the imagery looks good, but the motion cadence feels videoish in places.  This might be down to the 24p conversion. Would love to see the 10bit vlog. I'll give the lenses a pass as their price to performance make them sort of the only game in town... still these come out.

I have always felt that way about the Lumix line of cameras but didn't notice it on this project much.  If it is there, yeah it is likely due to being shot in 30.

Panasonic wanted to utilize SLR Magic lenses as they have a good relationship with them.  I really wish Panasonic would develop an M43 anamorphic like themselves

3 minutes ago, Fritz Pierre said:

It looks great!...as does the design!...beautiful production value in your film, and the GH5 delivered as well!...can I ask which of your LUTS you used?

Thanks! 

I think I used Yukon at 40% and Basics at 40% for a lot.

31 minutes ago, AaronChicago said:

Dude. Killer! I have the 2x 35 and 50 right now for a shoot this weekend. What did you monitor with? I have the SmallHD 502 and when i do 2x desqueeze it adds extra black mattes on the left and right making the image super small. Any idea why?

Thanks Aaron!

I just monitored in camera...which was rough.  Never used the SmallHD, so I couldn't tell you why it's doing that!

32 minutes ago, funkyou86 said:

For some reason I thought you used the Anamorphot, not the primes. Anyways, I think I am not the only on who would love to hear more about those lenses. 

How do you find gh5's anamorphic mode after shooting on pro cameras (like red, etc.)?

I'm really warming to them.  If you just stop down a bit they clean up and sharpen up.  The 35mm is really distorted but that's a look a lot of people want.  A little lens distortion correction in post and stopping down to 3.5-5 produces some really nice visuals.  Add to that 10bit and VLog for 4:3 Anamorphic in the latest firmware and you are cooking.  They really need desqueeze in camera.  That would make it a complete anamorphic solution.  Even without it its still pretty good though.

3 minutes ago, Jimmy said:

Beautiful... Panasonic made a great choice signing you up. That is exceptional

Thanks Jimmy, that nice of you to say

10 minutes ago, funkyou86 said:

Wow, even if this is 8bit I LOVE the look and the feel! Also the blockbuster lut and the distortion on the corners!

Some of the night shots are too exposed for my taste, but I can imagine the pain in the ass while filming it.

What lenses have you used, also how did you light the interior shots?

Cheers!

Thanks

The shots in the ghost town at night were a bummer because I forgot the softboxes so they were really harsh.  The wind was going crazy and we had a limited time frame...it was a frustrating night in a lot of way, ha!

We used the Aputure 120d to light everything.  The interiors had an Aputure 120d against a bounce and then another 120d outside the window and turned down quite a ways. A 120d lit stuff in the forest shots from a 24 foot Manfrotto light stand.  Then I ran around on the ground with a handheld Lume Cube

We used the SLR Magic 2x Anamorphic primes for MFT (the set, which is 35, 50, and 70mm)

Not sure if this is the right place to post this or not.  Here is the second video we shot for Panasonic using the 6K Photo Mode (4:3 at 30p and converted to 24).

 We utilized SLR Magic Anamorphic primes.  These lenses are a bit of an enigma, honestly.  At first...I really didn't like them.  Super soft wide open.  Tons of CA, couldn't focus closer than 5 feet or something, and at T 2.8 you're struggling to get light into the GH5.

This shoot in particular was challenging because we needed a ton of light just to get below ISO 3200.  I really tried to keep these lenses above T 3.5 as often as possible, the shots where we were wide open will be glaringly obvious to most of you. 

All of that to say, if you have enough light and can stop down enough, these lenses clean up and really look great.  The timelapses from this video show you a bit of what to expect with that combo.  Unfortunately we didn't have the 10bit anamorphic firmware for this shoot, otherwise I would have shot in VLog and 10bit...who knows what that would have changed in the final images.  

1 hour ago, jcs said:

Back in December when I had to shell out cash to build a new machine to handle 4K I was in the same boat- really disappointed that the software was so slow and buggy. I slowly learned what made it crash (such as using Matte Soften in Ultra Key!), and they've slowly fixed it. I haven't gotten any nesting crashes lately, though sometimes I need to restart due to nesting bugs. Fortunately a restart fixes the bugs so far. I use Audition too, and also use Logic and Reaper (used to use SoundForge on Windows, and Pro tools long ago on OSX). For low-level waveform editing, what can Audition be replaced with? (don't say Audacity lol; not going back to Pro tools). What to replace Photoshop with? Especially what you can do with Camera Raw (I use it heavily for raw stills and also as a filter)? AE gets used from time to time too. Kinda hard to 100% bail on Adobe subscription until there are more options for replacement apps.

Yup, I agree.  I use all of them at this point and Premiere is my least favorite..by far.  I like Sony Acid as a replacement, believe it or not.  Sony software is so close in so many ways, they just can't win enough people over to (seemingly) put the resources into it that would make it a player.  Seems like if it will be anyone, it will be Resolve.  After Effects and Premiere hybrid?  Yes please.  The only issue they have is getting everyone away from the Creative Cloud.  It's not just about beating Premiere or AE.  They need Premiere, After Effects, and Audition all in one.  If they do that...they deserve my business over Adobe.

19 minutes ago, jcs said:

Just tried Resolve 14 beta. Looking better in terms of UI and flow. However it's much slower than PP CC and FCPX with 4K C300 II and 1DX II footage (choppy non-real-time playback with one video track and no effects, constant audio drop out, didn't render waveforms in Fairlight etc. (still beta)). Interesting to note CPU usage was almost nil, however the GTX 980ti has enough RAM and cores to easily handle multiple streams of 4K- so some optimization needed there (tried both CUDA and OpenCL). And it also doesn't load the GH5 video track either; not just an Adobe issue. I predict you won't bail on PP CC just yet. I agree Adobe's subscription model hasn't been worth it value-for-performance-reliability, however until Resolve catches up for even basic editing, there's not many viable options beyond maybe FCPX on OSX (and not an option for folks who don't want to use Macs or Hackintoshs). I'm getting decent performance from the latest PP CC release, and so far no annoying crashes, so maybe they are making slow progress in the right direction (they'll fix the GH5 issue; it's trivial, only a matter of QA, testing, etc., which unfortunately takes more time than it should. Too bad they can't offer a hot fix for just GH5 users (reduces QA liability if they break something else for other users)).

It's definitely not just the GH5 issue alone that is driving me away.  Everything from bad cache managment to the Adjustment Layer integration (which seems like it was made by a 3 year old).  Removing H.264 export from AE, trying to tie all of the products together by removing features (essentially forcing people to get the whole CC subscription).  It's just not great.

I love Audition for audio and AE is my preferred heavy lifter for grading (aside from no H.264).

Add to that the snail like pace for support, the ghost town of a forum, and the fact that I'm paying them every month for a bunch of software I don't want or use just to get the ones that I do...

I could go on, lol.  I haven't been a fan lately.

I dunno...Adobe may have lost a customer today and Black Magic might have gained one.  Final straw for me.  This is not the first headache I have received from Adobe and I'm tired of the Creative Cloud thing. Over it.

1 hour ago, tugela said:

Well, that is nothing new. It has always been their attitude, and it also happens to be the attitude of most companies that are in the business of making profits. You not liking it does not make it any less true.

My guess is that Adobe did not commit resources to the project until the camera was actually released, since they did not want to be developing solutions for firmware that could change. It is a sensible way of doing business. Sucks for you as a first adopter, but that is the nature of the beast. Professionals for who time is money buy gear that is tried and tested and that they know will work, so they will wait for any bugs to be worked out before making the commitment to use that equipment. The latest and greatest gear is for enthusiasts who don't mind being the guinea pigs because it is not going to cost them money being such. Surely you know that by now?

Surely you read the part of my post where I clarified that it didn't bother me until the 2-3 week update that made things worse? Everything up until that point was annoying but understandable.  The overall customer service is below par and that is something I will stand behind.  Its also something that factors into this.  Also, enough customers agreeing and not liking it DOES help make it become less true.  Trust me.  

11 minutes ago, jgharding said:

That one is very rare for me now, but does happen.

The MAIN one is SO ANNOYING. I mix the audio with plugins and faders and so on, I export the finished film and IT IGNORES ALL OF IT! The audio is just as though all faders are reset and plug-in slots are empty.

As a result I have to export audio seperately, and bring back in. It's absurd.

I also mean VST plug-ins being completely reset, plug-in interfaces appearing at unreadably tiny size on hi-DPI displays, phantom automation being recorded without you asking for it...

There's lots more niggling bugs, but I don't think there's a lot of interest in fixing them

If they just kept all the features the same for a year, but added loads and loads of bug fixes, simple practical features and compatability improvements, I for one would be a lot happier

Oh yeah, I have had that happen before.  I think I resorted to rendering a master .WAV audio file and that worked.  I'm currently getting the audio cutting out thing.  I found multiple threads from 2013 that we're never answered on the issue.

7 minutes ago, jgharding said:

On the whole I like Premiere as an NLE and se it daily, the native grading is much better than FCPX's, but Adobe's atitude to bugs is terrible.

There are still horrendous bugs in audio, the mixer and automation, if using a mixture of high DPI and standard displays and so on...

The same bugs reported endlessley, thread after thread, year after year, no solutions.

The same simple feature requests over and over, completely ignored...

BUT WAIT! NEW MAGIC EDIT BUTON (or some similar gimmick)

You mean the audio cutting back during play back and not coming back unless you pause and then hit play again? Ugh...it really is time for a change.  

39 minutes ago, wolf33d said:

Why dont you use FCPX? 

Was on FCPX, then on Adobe and switched back after a while. Couldn't be happier. 

Don't own a Mac

29 minutes ago, Oliver Daniel said:

I know a solution. 

It's called Final Cut Pro X. 

The days are are long gone when Apple radically changed it. This is now an absolutely incredible edit program. 

In comparison, Premiere feels vastly outdated compared to FCPX's fluidity, speed, reliability, innovation, intuitive usability. It's just fantastic. One of Apples best properties. 

If you're frustrated with Premiere, FCPX is a no-brainer. 

Time for people to let go of the past and wake up.

 

*assumes everyone owns a Mac

7 hours ago, tugela said:

You could always try 8 bit until NLEs catch up. Adobe won't spend the resources (which are likely considerable) until there is enough of a user base to warrant doing so...It will happen when it happens, until then you can either transcode with some utility, or just shoot in formats which are directly readable.

 

 Yup, spot on!! That's exactly how condescending and unhelpful Adobe support was.  Great impression man!

(largest eye roll in the history of eye rolls)

1 hour ago, Andrew Reid said:

Absolutely +10000

I am going to write a blog about this.

Adobe's GH5 support has been completely off-hand.

Do you have a Mac to hand? Try EditReady, it's the best $50 I ever spent.

Good!  No, don't have a Mac at my disposal.  

5 hours ago, anonim said:

Try using Assimilate Scratch. It accepts - for base editing and high-end hard grading - even a GH5 6K video (hevc) files without any transcoding. Its workflow is way more intuitive and delivery-transcoding process (including native prores!) much faster than Resolve and Premiere. Only downside for editing is - just one audio track.

I mean, I'm not opposed to that but moving software is like moving where you live.  Its an ordeal and I really don't have the time to do that right now.  At some point...yeah, it might be time.

I cannot stand it when companies behave like Adobe has.  

First things first, I contacted them in December when we were shooting our video with the GH5 and tried to get some help on the software side of things.  It took hours to get past the foreign level of customer service...nothing against it, it is what it is.  That level of customer service can't do shit and we all know it. They recite the FAQ page for the most part.  Once I finally got to someone that could DO something about the problem, they pretty much said I was out of luck.  So I went the long route, I graded in After Effects, clip by clip.  I viewed "proxies" on the camera to find the in/out points.  I cobbled together a workflow in the time that I had.  Now, keep in mind that Adobe HAD, in their possession, 10bit GH5 footage in December.  Footage that they knew they would have to prepare for by the time the camera hit customers.  They also knew what that date would be.

Fast forward to GH5 ship date and the Adobe workflow is still a complete mess.  Still, for anyone looking to at least get somewhere, After Effects is an option to get started. 

Fast forward to today.  I updated to the latest Adobe AE and Premiere thinking "Hey, this has to be the GH5 update as it's the normal 2-3 week delay for new cameras and Adobe". Wrong.  After Effects, my one solid rock on which I had built my foundation, was pulled out from under me.  Now I'm left to transcode using some weird freeware that takes an eternity.

The worst part is that the solution is so simple.  Just...have real customer service.  Don't be so greedy.  DJI learned this lesson because people got fed up with shitty customer service.  Now, you call DJI and yeah...you wait for a while, but when you get on the phone you're talking to someone that actually knows what they're talking about and can help you out. 

Have any of you ever browsed the Adobe forums?  Are ANY of the questions "answered"?  It's like in the US "Office" when Toby from HR reveals that all of the complaints get filed in a big pile and the point of it all is just for people to have a place to vent.  Fuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuck that.  Fuck that, indeed.

All right, back to individually transcoding each clip in Rocky Mountain Movie Converter (...you read that correctly).

On 4/18/2017 at 10:32 PM, Orangenz said:

This is how I got my visioncolor cubs luts into .vlt

That's what we did in the tutorial as well.

How to get display LUTs working: 

Yup, I agree.  I think your tastes change over time and more often than not the grading should be based on the feel/tone of the project.  That said...take some risks!  If no one ever took risks with grading we wouldn't have the beautiful palette from something like "Mad Max Fury Road".   

Anamorphic desqueeze

The 5D4 with C-Log needs to be unlocked.  Stat.

1 hour ago, PannySVHS said:

 

Hey Merce!

Cannot wait to see your footage with your 5D3 Raw beauty! Didnt you try 50D Raw also? That would make you the owner of three raw cameras then:)

Would donate 50 bucks, so Alex could buy an original Canon lenscap:)

 

I would as well.  I'm sure you could raise the money to get him a used 5D4 in no time with this forum.

All someone needs to do is pool some money together to get Alex a 5D4 and he will make it happen for that camera.  He's mentioned this several times.  If he had the camera, he would do it.

4 hours ago, funkyou86 said:

@Neumann Films When is your new gh5 ana video coming out? Can't wait to see it!

I think it will be live at NAB!

4 hours ago, Dude_ger said:

what´s going on with those skintones?

I didn't grade that one but they look fine to me.  On the more saturated side of things but there are no rules against that.  All about preference.