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Everything posted by Gregormannschaft

  1. I'm editing CRM on a mid-2014 MBP (16GB ram, i7). I don't know about multi-cam, but I can edit the CRM files natively within FCPX without any LUTS applied. As soon as I apply any LUTS, or colour correction, the whole thing falls apart. It's not a massive issue though, just create proxy files and you should have no problem.
  2. We have a Wally Dolly at work that is an absolute breeze to setup, and can get you a solid 6-9ft of smooth movement. Might be worth looking into for rental, it’s relatively easy to transport.
  3. Haven't posted on here in ages but still lurk, just wanted to say you've done an amazing job kaylee. I don't really 'get' the story, but I'm all for films being mood pieces and trying to evoke a particular feeling rather than being as accessible as possible. I'll try not to repeat what others have said on the visuals, but I really really liked what you did with colour. The opening shots of the man on the bus, at work and then on the subway home were stunning. My favourite set of shots has to be the woman travelling on the bus which felt very cinematic. I liked the idea with the very dark shots and they'd probably look beautiful in a pitch black room, but I couldn't much on my monitor during the day. I like the idea though, did you underexpose these or did you push the levels down in post?
  4. The C300 Mark II image is certainly superior if you're comparing the C200's 8bit codec vs anything higher on the C300 Mark II. Colour graduation, noise, sharpness are all noticeably better from the C300 Mark II. I'd be curious how RawLite holds up in these tests though, I know Ed did a few test videos with it and I'd be interested in why it couldn't get close to the Alexa image.
  5. Quick tip, buy a bigger ND filter. That way, if you buy lenses with a larger diameter filter thread (77mm or 82mm are common), you wont have to buy another one. You can always buy a step up filter ring for next to nothing, but going down isn't an option.
  6. To me it looks like there's minimal NR going on with CRL and it's most noticeable in the shadows. I'd be interested to see what you find when you get to looking at your files.
  7. Used RX6 noise reduction quite a bit and have been impressed, although when it fails it really stinks. Wish this had a demo version but will keep an eye out in case the devs have a change of heart.
  8. Really nice shots. Curious why you went with Wide DR? Don't get me wrong, it's great for stuff with a quick turnaround but I wouldn't have thought it would be the go to choice for narrative work. We shoot with a bunch of these at work on a very regular basis. The 8bit footage can be made to look great, but the 10bit footage from the C300 mk2 is noticeably better in quality, as it should be. RAW Lite is beautiful though, if you have a good data management system on set (basically just offloading 1 of 3 cards and juggling them) it's very doable to shoot all day. Just prepare to use Neat Video a lot in post.
  9. Big thanks for this rec, I've gone ahead and bought the book as a paperback – I find the theoretical side of colour theory just as interesting as the technical side. Ripple was also the first course that I found on a cursory Google search and their free classes have been brilliant so paying for their full course sounds like a good place to get started. @capitanazo (your English is great) @kye thanks for taking the time to post, the LiftGamma forum recommendation looks great, too. No doubt I'll spend a long time lurking but that's often the best way to start learning.
  10. After years getting passable grading results I've decided I want to really invest a bit of time and money into learning how to properly correct and grade footage. Does anyone here have any recommendations for online resources or courses that have helped them? Most of the free tutorials I can find on YouTube really only start covering the basics and a lot have errors that even I can see are a bit amateur.
  11. Curious why you think the C300 Mk2 is a flop? I also have a C200 and absolutely love the image, even the 8bit stuff. I know it's been said countless times before but the colour science just makes footage sing. The RawLite footage is beautiful, and will become easier and easier to manage over the next few years as storage prices continue to drop. The AF is incredible and the ergonomics are lovely. Buuut, I don't see why the C300 Mk2 would be so much different. It has better codecs, but crippled by poor slow mo options and slightly bulkier ergonomics?
  12. This is lovely. Really like that you tried to weave a personal story into it. Can I ask what your process is like to get those beautiful video portraits of locals? Are you travelling with a native Spanish speaker or a Columbian local?
  13. Great test, Ed. I picked up a C200 a few months back and liked what I saw, except for the noisey shadows. Always liked your grades in the past, curious what your workflow is here with the Canon RAW Lite footage? Do you start off with a base conversion LUT?
  14. Nice! Post back with your thoughts. The 24-105 is a pretty loud lens for AF (right? Or it might just be my lens with sand in the motor from years ago...) but works pretty well taking into account just how old it is. I picked up a Sigma 18-35 second hand for around 450 euros which is a beauty of a lens.
  15. Cheers! It still looks a little darker here than it did in FCPX or in the exported still before upload. I was using the Sigma 18-35 at f2, ISO 800 with a Tiffen Black Pro Mist 1/4 filter. Used Neat Video to process the noise, dropping the high frequency noise reduction to about -50% to avoid that plastic look and added some sharpening. Neat Video is incredible. @HockeyFan12 You've inspired me to do some more tests in the same spot and mess around a little with the exposure. I'll report back later this week.
  16. The C200 is strange in that manner. You're recording a CLOG2 signal, and yet, you can only monitor in CLOG3. Very odd. I've read CLOG2 should really be exposed around 2 stops over, whereas CLOG3 is around 1 stop over. The extra stops of dynamic range of CLOG2 is in the shadows, but from what I've read, and seen, there's a lot of noise down there. I'll have to wander out and do another test, as I'm pretty sure, despite trying to expose for the grey card, I was underexposing the whole time. Oh, and the monitor (the viewable screen space) is exactly 5cm X 9cm.
  17. Cheers for the input, I'll measure the C200 monitor in an hour or so and post results back here. On the exposure, I used a pop up 18% grey card and used the waveform monitor + spot feature of the camera – it basically highlights an object you select on the waveform monitor, which in this case was the grey card. I've found it to be really useful but felt like I was underexposing most images from the other night. I was being careful not to clip highlights with zebras at 100%, but feel like that was really throwing my shadows under the bus. I've looked around and there are a bunch of great tests done by Clockroom Media and they reckon that 5000 ISO is the max ISO you'd want to shoot at with the camera – so I was probably underestimating the camera. Although they did an interview shot at 32,000 and used Neat Video to produce great results. Either way, haven't shot much CLOG and feel like I'm still very much learning it's limitations.
  18. That's shot at ISO 800. It must have been underexposed. But there's a fair few other shots as well with similar noise patterns in the shadows. Others look pretty good. I really wouldn't want to go too high with RAW lite though, 3200 would be the absolute maximum unless you're planning to use de-noising software for every shot in post.
  19. Exposure is a funny old thing with this camera in RAW so far. I took it out for a walk last night around Friedrichshain in Berlin, tough conditions. The max ISO I'm wanting to push this too at the moment is around 1600, and when there isn't enough available light to overexpose the image you're going to have noisy shadows. Here's a screengrab before and after noise reduction – it's most obvious in the car windows. The noise reduction did an incredible job. Either way, while middle grey should be exposed at around 38% with CLOG3, I'm tending to want to overexpose and bring down the exposure in post. The highlight retention is really impressive, and it helps combat the noisy shadows. edit: The upload seems to have crushed the image a fair bit, but the noise is still visible.
  20. It was pretty much an open box deal from a production company that didn't use it for a shoot, went for a decent price on eBay. The maxed out 2014 Macbook Pro handles the injest well in FCPX, I can work around with the colour a little, do some retiming and make a short edit while it creates optimised media and proxies. Once you have a bit of footage on the timeline it does start to chug, but that I can edit and grade RAW footage at all was a very pleasant surprise – I was expecting to have to buy a new machine. After I've created proxies and/or optimised media it works very well, the caveat being that I haven't worked on a test edit longer than 2 mins or so. It could be that with 5-10mins of footage on the timeline I see different results. I'm also editing off a Samsung SSD if that helps clarify anything.
  21. Stoked to have bought the camera last week. Everything brand new in the box for around 5,500€ which I feel was a pretty good price. Bought a couple of Komputerbay CFAST cards which seem to be working out well so far. I've heard they can be hit and miss but didn't feel like paying 2x that price for the Sandisk. The camera is a dream to operate, but I'm kind of surprised how tricky it is to shoot RAW at first. My first tests had a ton of noise, and the post-production workflow in FCPX makes things a little complicated by automatically applying a Canon CLOG 2 viewing LUT. Started grading the RAW footage first and then applying a standard Alexa Log LUT from IMPULZ and have been seeing some great results. The 4K 10bit 60fps is really beautiful and produces really smooth, rich results. Will be testing it out over the coming fortnight and will hopefully edit something together to show some results. Oh, one thing. FCPX is magic. I'm on a maxed out 2014 Macbook Pro (yes, 2014) and I can smoothly playback and grade the RAW before transcoding. Which is insane. After creating proxies and throwing a little more footage on the timeline I've had hardly any issues at all. Also, if anyone has used the C200 and the Sigma 18-35, could they share their experiences? I'm looking into grabbing that but not sure how it would be to operate handheld without lens IS.
  22. And purchased. Very excited to put this camera through it's paces. If anyone had some specific technical questions they'd like investigated, happy to add them to my list when I get my hands on it next week. Looking to use it for my next doc, which will probably mix Raw Lite with the 8 bit codec.
  23. Wow, very impressed. I have the Crane as well but find it a touch annoying when it's movement makes a robotic jerk to the left or right. Boring alarm (!!) , but mind if I ask whether you've inputed your own custom settings? It has a very natural feeling, but that could also be down to the good edit. Kudos either way, I know how hard it is to make random meetups or events cinematic but you did a great job.
  24. Love this, so impressive and wonderful colours. The only technical downside I can see is slightly difficult highlight rolloff, but that's nitpicking. I'm curious, I love the movement in this, were you using a glidecam for a lot of the shots? Gimbals have become so impressive but the movement is smooth and has a very natural feeling.
  25. I'm a real audio noob, but is the tentacle system a viable option here? The last audio guy I worked with on set loved that setup as we were working with a lot of Sony Alpha cams.
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