Ed_David

Ed I believe that you would like Jim and that your sense of his transgression would be lessened if you were around him ...
The shame of the written word and the internet is that it casts those one off statements into stone ... forever etched in the memory of 
someone. And they more than likely will take offense ... now a word spoken in a moment of weakness can be easily forgiven if we know the
person and the circumstance ... those are wholly outside the perimeter of the internet forum.
My concern about the Reduser Forum is that everyone there engages in a shy form of Orwellian double speak ... as they know that being 
BANNED is a real possibility. Everyone exists as the classic battered spouse ... waiting for the next crisis and shoe to drop.
My Red One had major mojo ... color and grading very organic ... the Epic replacement was too sterile and clinical for me.
 
But no one ... with a couple of exceptions either saw it or were willing to call out the Emperor's new clothes.
 
Self destruction can seem rewarding ... but ultimately how we remember ourselves may not be how history depicts our actions. It is 
a tightrope act to pull off without a safety net ... I recommend you find one ... safe place with individuals of substance and integrity to 
stand in the gap when needed.
 
We should all save our pennies ... perhaps a F35 replacement is just around the decade.
 
Bob

that's nuts - it has no audio in or out.  man curious if these guys have used a c300 or fs7 before?  Mid range productions usually like to record audio into them. Lord help us all.

thanks Ebrahim - well said.  That is a place of frustration especially for filmmakers who exist to be critical of the current state of affairs.  Filmmakers should not be sheep.

thanks Ebrahim - well said.  That is a place of frustration especially for filmmakers who exist to be critical of the current state of affairs.  Filmmakers should not be sheep.

I suppose that 8th grade episode might also show the Edvolution some kids are made of ; ) I also anticipate if you all had the chance to personally meet, you'd find more similarities full of proficuous diversity than somewhat substantial differences between you at both sides. You, a lesson for a lot of readers if they could accurately read you...
In any case, I also believe you fairly guess I appreciate the way you really are an authentic breeze inside a virtual container and never hostage of somehow politically correct at any rate. God be with you!
PS: That thread is a classic today, Ed... I've just had a good laugh each new reading on the characters' dialogue present there. You truly created a legit narrative essay throughout a simple thread: it is now a masterpiece of the web.
Emanuel :-)
PPS: Ed's other (genuinely ;)) disruptive sin : P http://www.reduser.net/forum/showthread.php?133547-Reduser-Viewing-Count-has-Been-Off-Since-Beginning&p=1522588#post1522588

That was my revenge mission after billionare Jim cussed out two important members of the online cinematography community.  For that post and another I was banned.  The ultimate in nerddom shame for a kid who's only violation in his life was an internal suspension in 8th grade.

This a modest homage to Ed... RED Weapon is already included! : D

Time for your Raven footage... Spill the beans! ;-) That is, RED Weapon Raven MX footage... : P
Who doesn't miss your incarnate posts , Ed?
PS: To those who don't know the story:
http://www.reduser.net/forum/showthread.php?133440-Red-One-Short-Film-Falling-Pieces-A-Short-Film-by-Anh-Vu-about-Alzheimers

I don't know where the Red Raven fits.
It's cheaper than the C300 Mark II but the fs7 is cheaper too and the ursa mini 4.6k is on the horizon and well...it takes away some from people wanting their red weapon - the crop factor is random - again, just wait till the camera is out and in people's hands.  Until then its worthless.
 
And still, the red one mx is still the best red deal to have.  Because it exists and it works.

Well after extensive testing with BM ProRes [film] footage, whilst using FCPX, it really seems that the Alexa profiles are so much better than the BM specific ones - skin tones, contrast & colours appear much nicer.
However, I have found that to get the best results (or at least, to my liking) in FCPX, I am taking the flat Film footage & adjusting exposure, WB & saturation - this gets the footage looking like it should do e.g. revealing all the goodness of the BM footage. Its only then that i've put the Alexa rec709 profile from Filmconvert on top of all this & it adds that extra something that was really lacking in the BM profiles of Filmconvert. Now my footage really seems to come to life in a much more pleasing way than before.
This is especially so for this Doc i'm finishing up - Black skin tones just always came out looking un-natural, with hints of orange/yellow. The Alexa profile just nails it perfectly or at least a lot better than before!
The 2 flavours of Log profiles didn't seem as nice going straight onto the BM flat film footage though - got me thinking that I could try making Film footage flatter before adding FC...
cheers Ed for pointing us towards Alexa FC profiles, more work for me now, but better looking footage!

I think based on Phil's FS7 slow motion video I have an idea of what he does to grade which I always liked.
 
I recolored my slo mo fs7 video with same style:
 
Basically I think he applies even to sony cameras in filmconvert an arri alexa lut - probably fuji eternal and or kodak 5219 - and raises the shadows up - milky shadows. From here he just affects the offset and plays with sharpness over the final image.  The alexa lut in filmconvert gives really nice greens and blues as a starting point.
I did that plus went to a kodak release print by going after filmconvert to rec 709 generic impulz luts to a cineon then off to a film print.
But not every video is the same technique at all and not one lut works well for each video - each is different depending on scene - color balance - etc - but I like the rich look he got out of the fs7 and it made me reevalutate the camera.  I am now pro the fs7 again and think the fs1 will be a pretty amazing camera.  I am still completely mesmorized by color - by how it all works - to get good skin tones but also to create looks that feel unique and interesting.  It's a very patient and experimental artform.
I no longer think we should all be trapped to c300 for skin tones - great skin tones and feel can come from s log 3.
 

yes I throw the flimconvert plug in on it - then next node - go with a REC709 generic impulz - pick one with a .CIN extension and you are in CINEON - then from there - next node - I go to the CINEON folder and choose kodak d55 or just play with them - then next node - I modify the "film print node" - sharpen it, etc

thanks - yes it's a LUT from for instance Visioncolor Impulz makes one - or some people make them for free - convert from log space or rec 709 space (the default video space) into cineon then in cineon go from cineon to a film print and you can make your film feel bigger and control the image more.
 
Cineon colorspace is really something beautiful to work from.

Dear EOSHD community,
I am an independent french graphic designer and I regularly work in photo and video.
Over the years, I created a collection of 3D LUT files to ease the color grading of my projects.
Recently I created a pack with my 38 original LUTs.
They are profiled on high-resolution color matrix and were built to preserve skin tones as best as possible.
I had the chance to work with many different cameras and I spent a lot of time creating these looks and testing on raw footages, from 5DMKII and 7D with Magic Lantern, GH4, A7S, BMPC 4K, and stills from RED EPIC.
About HDSLR, these LUTs are calibrated on CineStyle/Cinelike profiles.
Also in my pack is included a LUT to properly « flat » a footage and get a good working basis before grading.
Website for more infos : http://luts.iwltbap.com
Instagram with short video samples : https://instagram.com/luts
At the end of this post you will find some sample images before-after.
My LUTs pack is for sale $20, but I created a discount code of -25% for EOSHD community.
So you can get it for $15 instead of $20 via : https://sellfy.com/p/Ainy/-EOSHD
My pack is regularly updated with new LUTs and all updates are free.
On my website you can download a free LUT with the famous teal-orange look.
Also, I offer for free a 4K film grain based on 35mm film scans (10sec video encoded in Apple ProRes 422 at 25fps).
Hope you will like my LUTs.
Best,
Benjamin

I have 2 of them- damn I love them.  those colors are unmatched by any other digital camera.

I think the secret is sending off to cineon then to a film print stock via visioncolor impulz - and it makes it more interesting - to raise the blacks slightly on the film print.
Anyway let me know what you think - it's interesting to try to bend the ftg to make it feel older.  
 

I have 2 of them- damn I love them.  those colors are unmatched by any other digital camera.

not stupid at all
 
so filmconvert takes log or rec709 (normal standard footage like from canon 5d) and converts to a film-like color palette in rec 709 space.  
From here I go from rec 709 to cineon color space - created by Kodak to maximize color fidelity and exposure information.  From there then I modify it with an impulz lut then go to the final print - the film print - which I then modify at the end too.
SO basically I color the footage in three stages - each stage effects the rest - it's pretty amazing - it's like a three tier coloring process.  Each stage's color work effects the next.
Sometimes I put too much blue in the shadows of the final print - but it all is exploding my brain - coloring is fascinating.
I wish I knew more - and I am learning on my own and if others have ideas
 
I'm proud of my new work on this sony f35 thing I did - really making the final print have some interesting turn to the brighter greens and feeling meetier and more organic.
 

Ed, thanks for the Filmconvert Alexa tip, it really is so much better than the BM one I was using - the only downside is that i now have to re-colour an entire Doc! But it'll be worth it.

even without log - use the rec 709 generic and it helps

not stupid at all
 
so filmconvert takes log or rec709 (normal standard footage like from canon 5d) and converts to a film-like color palette in rec 709 space.  
From here I go from rec 709 to cineon color space - created by Kodak to maximize color fidelity and exposure information.  From there then I modify it with an impulz lut then go to the final print - the film print - which I then modify at the end too.
SO basically I color the footage in three stages - each stage effects the rest - it's pretty amazing - it's like a three tier coloring process.  Each stage's color work effects the next.
Sometimes I put too much blue in the shadows of the final print - but it all is exploding my brain - coloring is fascinating.
I wish I knew more - and I am learning on my own and if others have ideas
 
I'm proud of my new work on this sony f35 thing I did - really making the final print have some interesting turn to the brighter greens and feeling meetier and more organic.
 

I think based on Phil's FS7 slow motion video I have an idea of what he does to grade which I always liked.
 
I recolored my slo mo fs7 video with same style:
 
Basically I think he applies even to sony cameras in filmconvert an arri alexa lut - probably fuji eternal and or kodak 5219 - and raises the shadows up - milky shadows. From here he just affects the offset and plays with sharpness over the final image.  The alexa lut in filmconvert gives really nice greens and blues as a starting point.
I did that plus went to a kodak release print by going after filmconvert to rec 709 generic impulz luts to a cineon then off to a film print.
But not every video is the same technique at all and not one lut works well for each video - each is different depending on scene - color balance - etc - but I like the rich look he got out of the fs7 and it made me reevalutate the camera.  I am now pro the fs7 again and think the fs1 will be a pretty amazing camera.  I am still completely mesmorized by color - by how it all works - to get good skin tones but also to create looks that feel unique and interesting.  It's a very patient and experimental artform.
I no longer think we should all be trapped to c300 for skin tones - great skin tones and feel can come from s log 3.
 

I think the secret is sending off to cineon then to a film print stock via visioncolor impulz - and it makes it more interesting - to raise the blacks slightly on the film print.
Anyway let me know what you think - it's interesting to try to bend the ftg to make it feel older.  
 

I think the secret is sending off to cineon then to a film print stock via visioncolor impulz - and it makes it more interesting - to raise the blacks slightly on the film print.
Anyway let me know what you think - it's interesting to try to bend the ftg to make it feel older.  
 

that is sexy but does it do thunderbolt 3 - also lenovo p50 does look like a pile of heavy and clunky - thank you for this - need some benchmark tests
No reason I need os x - I just need resolve -but I like os x more than windows 10 - feels more stable.