froess

Source: http://www.cinematography.com/index.php?showtopic=66581&p=425881
Irrefutable proof that the Cinema Camera and Pocket Cinema Camera produce the best picture under $2000. Lighting and composition are the cornerstones to producing filmic work. So is grading. 13 stops of RAW is an incredible canvas and medium to work with.
The counter arguments to these cameras are so laughable. It all comes down to effort. These cameras are "hard" to work with because they take just a little more time to work with. What's ironic is that producing filmic works always takes a little more effort. If you're not constantly chasing for that extra little bit, you're producing schlock. If a camera makes X easy, then you should be tackling Y. No camera should let you settle. This work isn't easy.
 

Someone should message Samsung and ask them to implement a 2:35:0 crop mode where it only records the image in that ratio. allowing the Camera to have better and more controlled rolling shutter results. Its the same with how the full 4k mode has less rolling shutter over UHD because its not scanning as much of the sensor do to a slight 1:85 crop to the top and bottom. Now image now much better it would be in 2:35?  Plus that aspect ratio works perfectly for a lot of filmmakers who'd be cropping their videos anyway.  I don't know how to submit suggestions to Samsung on future firmware features but I definitely think this would be a welcomed idea. 

LOL
 
This is much better
 
Gotta love those Canon colors, what say you? ;)
 

Hello all,
 
I've been a DP most of my career, a situation where I shoot footage and then the manipulation of the footage is literally out of my hands. With movies, I sit in on the grades and supervise, but I don't actually work the tools. On commercials, the footage is completely out my control after wrap. Except with cutting and grading finished  footage for my reels, my experience with hands on grading is moderate. Now, however, I'm originating many of my own personal projects: shooting, cutting and grading them.
 
Much of this burst in personal creativity has been inspired by the A7s. Its size, sensitivity, etc has truly liberated much of my shooting. However, while I've for the most part have been able to get the tones I like, the A7s has been exceedingly difficult. I find getting a rich and accurate flesh tone difficult.  I know it can be done because I've seen a few excellent examples. Most examples I've seen have been disappointing. 
 
So what I'm asking is for anyone who's unlocked the secret sauce to share their LUTs, CC settings and shooting protocol. 
 
Here's some footage I recently shot for B roll for project I'm shooting. S log 2. Exposures have plenty to play with. I boosted the saturation in camera by 10-13. I did a pass in FCPX CC. I can't get the grade right.
 

 
And this is footage from a screen test for one of our talent. I was able to get considerably better colors on my 5d3 in the flesh tones. Also originated on Slog2, A7s, Sat +13.
 
 

 
I'm considering purchasing Osiris. Any thoughts or alternatives I should consider.
 
Please lets keep this on topic and constructive.
 
Thanks,
 
Tim

Hello Josh,
 
Just download the link at the end of this article.
 
http://vashivisuals.com/every-filmmaking-aspect-ratio-for-free/
 
You have all sorts of aspect ratio guides to help you.

Thank you Damon, I agree with you as we know the reasons of shooting anamorphic nowadays. Those reasons are different from the ones when the cinemascope method was invented.

i would say it's because of it's price. A new anamorphic adaptor for roughly 1500/2000$ it's a little pricey.. And with so little test footage from it it's hard to make the jump and buy it