Gregormannschaft

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.

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.

On 8/11/2018 at 4:46 AM, HockeyFan12 said:

Where'd you get such a good price? $6k US is about my cutoff so I would have jumped on that, too.

And Jeez... I might switch to FCPX. How good is its integration with After Effects and Resolve? I don't use dynamic link (I export to After Effects manually) so dynamic link isn't an advantage to me, but I'd want to be able to render out/export 4k 444 ProRes in Canon Log 2 without a LUT and then ingest that into a timeline that's otherwise raw light and edit online in raw light. Amazed to hear it's real time on an older machine... maybe I won't need to upgrade after all.  

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. 

On 8/11/2018 at 6:37 AM, Asmundma said:

I have had the camera for 9 months. Use Fcpx, I question your report on the 2014 MacBook Pro editing of RAW. It does not run smooth on my MacBook Pro 2015, nor on iMac late 2014, but definitely smooth on my IMac Pro 10 core, with the best GPU. However, if you create proxies you can edit smoothly. The older Macs has max out configurations. Report says that even the 2018 MacBook Pro have issues with playing back RAW. 

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.

On 8/6/2018 at 7:05 PM, Z_Cunningham said:

Yea that's what I saw in a lot of test videos before we got the camera. However, when we were doing our camera tests before, ETTR did something weird to the skin tones of our actors that our DP didn't like. One of our main actors has really dark rich skin and we definitely wanted to preserve the fidelity of that. But you live and you learn. All in all I think the images came out solid. 

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. 

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.

4 hours ago, Jordan Lee said:

Thanks! Yes, a lot of this was shot during harsh sun mid-day, hence the difficulties with highlights. As for the movement, I was using a Zhiyun Crane Plus

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.

On 7/30/2018 at 5:57 PM, Jordan Lee said:

Shot this video for a Bible camp I was at last week entirely with Pro Color V4 HDR: 

 

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.

5 hours ago, IronFilm said:

Indeed, that is of course what I proposed to them when I found out today. 
But it is something they need to check in with post about first, so there is no surprises. 

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.

Casey is fine. I've watched a few of his videos and he's entertaining, he pushes himself and his life mantra is fairly inspirational. He seems relatively true to himself and he doesn't seem to be projecting a fake persona, like a hell of a lot of these content creators. But his views need to be taken with an absolutely massive pile of salt. People watch these videos and listen to his mantras they think, 'THIS' is how to be successful, how to be happy, how to do what I love' and because he only preaches 'work work work' and that must make a lot of people feel inadequate. It's normal to relax, it's normal to want some downtime, and not everyone can or should be a workaholic.

Casey's life view is that this is how you get what you want. If you break it down, it's capitalism 101. You are a component in a larger machine, if you're not working you are an unproductive member of society. If you work more, you will reap the benefits. Completely ignoring socio-economic background, ethnicity, physical or mental disabilities. He is a walking 'American Dream' machine. I'm so glad I dodged this generation of hyper ADD attention seeking 'content creators' but part of me wonders what kind of dangerous precedent it will set in creative industries.

Todd VanDerWerff, Vox's culture editor, wrote a really quite brilliant piece on this whole thing that I think is really worth reading through.

https://www.vox.com/culture/2018/7/24/17599132/james-gunn-fired-gamergate-guardians-of-the-galaxy

Ever think you're just watching the wrong films? If you expect cutting edge critique and edgy material from your big studio films then you might be looking in the wrong places. Off the top of my head, did you see the horror film Raw, released last year? Yorgos Lanthimos previous films spring to mind. I wouldn't say filmmaking isn't taking any risks. I remember watching Gasper Noe's Love a few years back which featured a 3D cum shot.

I'm curious, Trevor Noah has recently been called up admist all this Twitter drudging on a joke he made about Australian aboriginals a few years back, here. Are we thinking this is PC culture gone mad as well? Where is the line drawn here? Because having lived in Australia, and having plenty of friends with Aboriginal background, I know how a joke like this would be replayed over and over again at schools and universities to make them feel like shit. I'm sure it's the same with people who are overweight. I mean, what a boring target anyway. The most risk adverse 'joke' you can make. And for what? All for a quick cheap laugh. Is that something we should be desperately striving to protect?

Maybe, in this age of mass hysteria, we shouldn't be looking at the fat, the young, the disadvantaged to get our jokes and our kicks. Maybe we should be looking at people a little higher up in the food chain. Basically what Sasha Baron Cohen's new show is trying to do right now. Not with a lot of success, but still, it's nice to be laughing up rather than down.

20 minutes ago, kidzrevil said:

@webrunner5 I posted that image earlier. The fact that people found a way to defend that...is...eye opening. Im questioning if I should even keep contributing here. These opinion based posts have been alarming to say the least. I don’t have any kids but if anyone found any of those tweets remotely funny or even socially acceptable aint for me.

I don’t mean any disrespect but If I get banned for this comment like @Damphousse did then so be it. 

That would be a very sad thing, kidzrevil. I always enjoy looking at your work, but I've gotta agree, I'm finding it increasingly uncomfortable to come here and read these opinion pieces.

It's not a one-off either. There have been an increasing amount of posts here (not Andrew's, but on this forum) that I've found pretty reprehensible – there was a topic a few months ago where posters made fun of an initiative to encourage more female filmmakers in pretty vulgar terms. I have learned so much from a lot of very talented posters here over the years but I really think discussion with a more political bent should be taken elsewhere. I think it's important to encourage open discourse wherever possible, and that's a hugely important role that films do very well, but when it quickly turns into ugly insults being thrown around I think it's clear these forums are not the place.

I feel like this is a trend and I hope Andrew finds a way to reverse it.

On 7/15/2018 at 2:38 AM, Drew Allegre said:

I must be daft, because I can't seem to get the "PP2" HLG3 clips to show up correctly in an FCPX (10.4.3) timeline.  What's strange is that the thumbnails for the clips look too bright in the media pane.  However, they show the correct levels when I scrub the clip in the media pain, but then it goes back to the incorrect brighter levels when I drop the clip into the timeline.  

I do have "Show HDR as raw values" in Preferences.  Is there something obvious that I'm missing?

Had this the other day with slog 3 clips from an FS7 and it confused me too. FCPX auto adds a viewing LUT to footage sometimes, check the media library clips affected and click on the info panel. Check if there’s been a LUT automatically applied.

8 hours ago, Zak Forsman said:

you're from new zealand? that's awesome. I've been here two months with three weeks to go. I wish i had more time to explore. we have a trip to queenstown scheduled before we go. but i've been cutting and shooting out of park road post in wellington and have been working through nearly every weekend to make deadlines. doesn't leave much time for anything else. still, i love it here.

that music is a track I got off Artlist.io. I have a subscription. As for the color rendition, I think Canon's emphasis on great skin tone brings an amazing "living photograph" quality to their imaging. It's fantastic. For me, it was between an EVA1 and C200. Made a list of what I thought "won" in over a dozen categories and it was close. but ultimately I chose the EVA1 for its color fidelity, more detailed image, actual 2K rather than HD, and its finer noise character.

Australia’s home, but I used to travel to NZ frequently. It’s a beautiful country, the nature is incredible, would love to be there and be able to explore and shoot a little, very jealous of your remaining time. 

And so many good options for cameras in this price point, EVA1 certainly wins out for codec and slow mo. Like the ‘living photograph’ remark as well, can’t wait to do some traveling with the C200.

On 7/5/2018 at 11:58 PM, Zak Forsman said:

My wife and I have been working in Wellington, New Zealand for the last two months (shooting and cutting behind the scenes for a movie) and finally got a weekend to go explore. We drove onto a ferry to the south island and made our way along its northern coast to Golden Bay. I brought my EVA1 & Gratical Eye with me. Sadly, I couldn't shoot some of the amazing hikes we went on due to heavy rain, but got some good stuff nonetheless.

Most of this is DCI 2K in 10-bit 422 All-I at 120fps. At least two clips are scaled down from DCI 4K at 23.976. Lenses were my Contax Zeiss 35mm & 85mm. Both modded with a 2x oval fixed aperture for a faux anamorphic look. Everything was composed for 2.39:1. Graded in DaVinci. Couldn’t spend as much time on it as I wanted to because of work. Might revisit when I have more time. Sweet as.

The North Side of the South Island - New Zealand

 

Some lovely shots in there, the 120p is killer. There's still something about the tonality of the shots that I find a little off putting though, been looking to invest recently the C200 still has it for me in terms of colour. I'm nitpicking though, it's beautiful footage and makes me miss home.

Quick question, the track is lovely. I asked Siri but it directed me to a death metal song. What's the track?

Just dropping here, have we actually seen any decent footage from this camera yet? I didn’t like those staged set tests from NAB earlier this year. I want to see it out in the wild, moving.

Agreed. I see a lot of part time videographers forget about setting shutter speed and it annoys the hell out of me. Motion blur matters, even if it’s not obviously perceptible on occasion.

Secondly, learning how to maintain good exposure is a crucial part of the job. It’s hard at first but it quickly becomes second nature, just learn it. Don’t look for shortcuts. If you move upwards to bigger shoots with cinema cameras you will be exposed (pun unintentional) and there’s no reason to be. 

17 hours ago, Charlie said:

Thanks, appreciate the comment. I do get that the excessive movement might not go down well with everyone, in fact as it's the only wedding video I have to show people to get more wedding work, I'm concerned because this is not a "traditional" wedding video, it might put other couples off from hiring me!! 

Yes the GH5 rolling shutter is that good!!.. I'd love to move to Sony but the rolling shutter SUCKS and i like working with my shoulder rig, not a gimbal. 

Incredible. I heard the A73 is much closer, but that is really impressive. One thing I will say with the movement is make sure it's motivated. At times it can look like you're moving for movement's sake. I think in these high end fashion videos of the same style, the movement tends to follow a 'logical' path the human eye would take. I checked the original video and the movement tends to go like this: eyes > feet, feet > eyes, swinging bag > eyes etc etc

And if you watch again, there is a lot of movement, but a lot of shots are focused on the eyes with some swaying here and there. There's a shot where she's running through a pool, the camera focuses on her smile, and then moves down to view her feet going through the water. It feels like a natural and logical movement.

That's probably a lot of words on pretty much the same point, but I think it's an interesting topic. Movement is so rarely discussed and is a huge part of cinematography.

Actually pretty impressed with how it ended up, nice work! Slightly too much movement for my tastes as well, especially when you're swinging around the guys while they laugh. But I like the energy, and the grade emulates the style you originally showed. Like others have said, I felt it could have used a few more beauty shots in between the movement. And perhaps the movement could have been slightly less agressive, it feels you are reaching for a style.

It's definitely 'there' though. I like the use of primes, shots have great character to them that I feel is lost with zoom lenses a lot of the time.

(edit: Oh! Also, does the GH5 REALLY have that little rolling shutter? Couldn't dare do some of these movements with the A7SII. I've heard it's gotten a lot better with the GH5/S and the new A7III, but I didn't know it was that good)

I'm just editing a little highlight reel from the Berlin Fashion Week last year, and I deeply regret selling my Canon FD 24mm 2.8 lens now. Some of the rendering is really nice, to my eyes at least. I replaced it with the Sony 28mm lens, and that's great, but it is just lacking something. Also used a Tiffen Black Pro Mist 1/4, GFILM settings and Deluts Downtown Alt as a base LUT if you were curious.

 

1 hour ago, zerocool22 said:

Yeah I should note, working with prores or RAW definitly saves time in post. As if I would edit GH5 h265 files, it would not be a joy working in post . And in a professional enviroment every minute must be payed, so definitly a money saver in that perspective. And I dont really have that much free time anymore as I am juggling a baby around. So this workflow saves time for me and allows me to have more quality time with my family as well. You cannot put a pricetag on that, Time is the most valuable thing. 

But RAW wouldn't save time right? You would have to edit with proxies and export with the original RAW files as far as I understand. 

And I even thought H265 was a better editing format?

1 hour ago, webrunner5 said:

Out of Likes. Yeah that sounds like a great plan.

Have one on me.

10 minutes ago, webrunner5 said:

Well I have owned a few Cine cameras and I can tell you the benefits of having ND filters built in, and a Ton of buttons that are easy to get to really are a Hugh benefit. Not counting you just look a heck of a lot more Professional. And well, you are.  I think you will have No regrets of going with the C200. It will have a better output also. And naturally the Raw will be over the top looks wise in a Good way.

Did Canon Ever announce the Middle Codec on one yet??

Agreed, plenty of positives. It's a lot of cash, but I have found some second hand units out there for 6000€ with a few CF 2.0 cards included. Just waiting for something more local and I'll bite.

And they did announce the middle codec, still 8bit unfortunately. Only difference was it stored all the metadata. I think I could look to film most corporate work in RAW, use the proxies created in camera and then switch out for export. Should be a pretty easy workflow now that Premiere and FCPX accept the RAW files natively.

Confused. On the WEX video, they tested the straight out of the camera look. On the Vistek video they seem to be inferring 'Venice' color is a picture profile. I would have thought Venice colour was simply the colour science present in every profile. Anyone understand this better?

Either way, certainly in the WEX video colours are hugely improved. They look awful on the FS5 Mk. 1 - blown out cyan skies, horrible magentas, orangey reds. None of that on the Mk. II.

2 hours ago, jonpais said:

I've been doing this for years and nobody's ever said anything. They're probably just cursing me under their breath.  

I don't do anything special or ask for permission. If I did, they'd probably smile at the camera, which would ruin the shot. 

Hah, this is really impressive. I'm a sucker for getting nervous, or feeling overly intrusive when filming or photographing people.