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Everything posted by squig

  1. Just a bit too subtle me thinks. If you have a look at a similarly lit scene in a film on your imac, you might get an idea of how much the calibration is off and then you can compensate for it a bit. When you don't have access to a calibrated screen it's best to view it on as many screens as possible to make sure it's going to look ok. I tried to grade a short on one of those glossy screen imacs and it ended up too low contrasty and undersaturated. Remember if it ends up playing at festivals it's gonna be projected, and you wanna be sure the audience can see something.
  2. If Canon just plays catch up (as I suspect they will) they're not going to win back any Sony, Panasonic or Blackmagic shooters. DPAF is good, but it's not everything. I haven't shot anything with an 8bit codec in years, and nothing else Canon puts in a camera would make me wanna go back to 2012. If Canon goes with Canon raw or ProRes raw, then it could be interesting, but they won't.
  3. I'm looking at them on a properly calibrated screen, the top shot is very dark and low contrast. The 2nd exposure is better, but it could do with some tweaking. @kaylee there doesn't seem to be too much noise there. You can send me a DNG of each if you like and I'll have a play around with them. Here's a good example of a night interior, it's dark, but there's a lot of detail there.
  4. #1 The 5D MkIII can record until the card fills up as long as the data rate doesn't exceed the maximum write speed of the card. It tops out at around 90MB/s, fast enough for 1080p 24p 14bit uncompressed. #2 Resolutions above 1080p are cropped and have a higher data rate making compression or lower than 14bit recording necessary. #3 The 70D ML firmware is in development, I haven't been following the development closely so I can't say how usable it is. There's a 70D thread on the ML forum you can check out.
  5. Either get your exposure dead on or overexpose a bit. If you're shooting in bright light at 100 ISO you can get away with a bit of underexposure but at 3200 ISO I wouldn't recommend it.
  6. Thanks. Yeah, bottom one is the Leica-R 35/2 and the top one is either the 135/2.8 or the 90/2. Practicals are great, I modded those Tilley lamps myself with 4000k LED strip lights and 12v batteries concealed in the oil tanks. Most important thing with cameras is knowing their limitations and how to work around them, with the 5D it's underexposure and FPN. With only around 10 stops to play with at high ISOs, some blown highlights are better than unusable noisy footage. I've tested a bunch of other cameras like the A7s and the BMMCC, but I always come back to Magic Lantern because matched with the 5D MK3 sensor, it's killer. Thanks. I had to bust my arse to get that shit right. And they're just tests, I've still gotta go back and shoot the damn scene.
  7. ETTR? LOL That was pre raw bro, It's all H264. I lit that room with a single overhead 20w LED. I can't remember the ISO but it was high (for H264) probably 1250, maybe even a bit higher. I shot it as hot as I could to keep the noise down, so yeah I did ETTR. There was some overexposure on the skin, but it graded really well. There's no denoising, but I did add some grain and crushed the blacks as hard as I could. I shot it with my Leica-Rs, mostly the 35mm f/2 Shooting raw, shadow noise isn't usually a problem when you ETTR up to 3200 ISO. For example:
  8. Yeah totally. Films shot on actual film can be cross-processed or have a tonne of other old school processes applied to them to get the look the filmmaker wants to tell their story, digital just gives us even more options to work with. 'The Road' would just look wrong over-saturated like 'City of God' and vice versa. A film can have a bunch of different looks in it to suit the narrative. The beauty of raw is it makes it a whole lot easier.
  9. Who made you the "filmic" police? I like it. Filmic is anything that doesn't resemble video. @kidzrevil's work is some of the most filmic Magic Lantern stuff I've seen, and has me thinking I need to lift my game colorwise.
  10. I do everything but storyboard. I do plan and compose all my shots however. As the complexity of scenes increases, I might consider storyboarding; I prefer to pre-shoot scenes to figure out where I want the camera.
  11. I would imagine so. They don't have time to fuck around.
  12. It's been years since I worked on a commercial, but the same phones off rule I employ on my films applied there. Phone use was restricted to designated break times, and the director called for "phones off" before we rolled after breaks, that's how I do it. One of the rare exceptions to the rule would be to allow someone with a pregnant partner to check their phone between takes, I''m not an ogre, and I've been there.
  13. As it should be. Anyone who isn't down with that doesn't belong on my set. Nobody has ever complained about or defied my phones off policy, so I must have chosen the right people. And yeah, phones play havoc with sound recording, particularly due to the interference that only we sound guys hear in our headphones. I came to film from a music production background so anything that interferes with sound is particularly annoying to me. I get that freelancers have to check their email regularly for work, but on a professionally run set there's multiple opportunities throughout a shoot day to do that. It's a good idea to explain the phone interference issue to newbies when you ask everybody to turn their phones off to save them the death stares they'll get from the crew when they inevitably ruin a take because they thought it wasn't a cardinal rule.
  14. My policy is all phones off when we're shooting. Phones can easily ruin a take, and if it's a good take there will be blood. Cast and crew can play with their phones during breaks. The only time I might need to use my phone is to calibrate my Ronin-M or get a light reading, but it gets switched off immediately afterwards.
  15. Old BMPCC filmconvert SuperX 400 profile.
  16. Have you checked out MLV App? https://www.magiclantern.fm/forum/index.php?topic=20025.0 Way cool. Fast too on a 6 core Mac Pro.
  17. I thought maybe Compressor 4.4.1 would transcode CDNG to ProRes Raw, but it's not an option. Oh well, back to Resolve, AE, and proxys it is then.
  18. Hopefully this announcement will force the big boys to put ProRes raw in all their future cameras, and maybe even a few current ones. I'd probably choose a GH5s over this if it shot raw.
  19. I was hoping the sensor/lens mount was going to be a detachable micro with wifi control from the pocket mothership, so there's that.
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