kidzrevil

Starting to fall in love with the 5D. voigtlander 28mm f2.8 How do you guys feel about 3:2 aspect ratio as an aesthetic ? I want to start playing around with that

@Kelly it may be due to how adobe premiere is debayering the image. Im shooting in the 14 bit mode and exporting to 16bit cinemadng idk what’s causing it im glad it just isn’t as prevalent as it used to be.

@mercer yeah and it works waaayyy better than in raw than any camera I shot compressed h.264 or h.265 with. It does such a better job of creating a pleasing noise profile and you don’t have to worry about compression artifacts. In adobe premiere I edit the source dng file exposure and color temperature then I apply neat video and start my grade from there. Works wonders for that chroma noise @Mark Romero 2 I forgot to mention to you better than dynamic range you get better tonality like @HockeyFan12 mentioned AND you can create your own highlight rolloff with a curve. Unlike compressed footage where your adding a curve to a baked in curve raw you have better control over that. I underexpose by -1 to -0.5 of a stop and in the highlight curve I model it so it smoothly rises and rolls off from black to the clipping point. I think if you expose the front of a house in raw at 100iso you have so much room to adjust how dark the darker tones get + you have all your highlight information. idk that’s how I would do it !

@webrunner5 3K A DAY ?! HOLY SHIT How do you think they got such a low res camera to look so good ? This looks incredible even by today's standards. That THX certification is no joke

the sony a6500 has 13.7 stops of DR vs. the Canon 5d 11 stops at 100 iso. You are not going to gain any more DR than the sensor is capable of with ML raw. Please keep in mind though rec709 if im not mistaken doesn't exceed 7 stops so you are fine. I underexpose by up to a stop with the a6500 and -0.5 with the 5d to maximize my DR. 11+ stops is plenty. I think Kodak Vision film was rated at 11 usable stops if im not mistaken

Well damn ! Still gorgeous ! Really thought george lucas would be shooting with some huge 8k custom made camera or somethin @IronFilm

I may sell my Sony A6500 for this Fuji lol those colors are incredible. When I get it im going to tell everyone im shooting with a RED to see if they’ll still hate on the image quality ??? @Django amazing image quality, damn

@Spgreen65 thank you ! Glad I can help !!! another one from the voigtlander 28mm f2.8 color skopar. This one is with the Tiffen Black Satin.

Color skopar !

Update for those still using Premiere like I am to work with Canon Raw cinema dng’s. I may be being captain obvious here but I stumbled out of sheer curiosity I noticed something with how adobe lumetri handles these files. The basic color correction panel actually does control the raw data of the image. I confirmed this when I brought my highlights down too low and it revealed the pink highlight issue that occurs when your white point is shifted too low with bad transcoding from mlv files. Since then I started putting my LUT of choice in the creative panel make my neccessary adjustments there then move onto the curve panel to finalize a “look”/grade. Then when I want to make adjustments to the raw image I use the basic color corrections panel and adjust things like exposure contrast etc. DO NOT add a LUT to the basic color correction tab, it doesn’t use the raw data anymore for some reason. Or I should say it controls how the raw data is used. @hyalinejim I definitely plan on it. I was playing with it earlier and it just looks so much better. Im having a hard time with understanding the nodes though but Ill eventually learn it

@hyalinejim im going to try out MLVFS I’ve already started to try and teach myself resolve. These files give you an incredible amount of options in post ! Is MLVFS the only one you recommend ? Im not sure it works as well on windows as it does mac

Wasn’t talking about your comments. Didn’t see the one in question that you are talking about tbh I will look through the thread for it. My new mantra is if it looks good why question it ? I settled on the fact that these people are engineers and they know things about cameras and color spaces we need years of education to understand. However sony found out how to get 8bit HDR to work is amazing and just another sign of whats possible when you hire great engineers. They make hdtv’s so im sure they knew a long time ago how to get hdr to work in an 8 bit color space @jonpais

@Django AGREED !! This is exactly what im saying. What client have these people sat with that went “ugh....why isn’t it in Rec2020 color space ? We could never sell these cupcakes now ! Call marketing we need to book another videographer. Make sure the next guy shoots 10bit HDR” I want to know what project they shot that made a client go “don’t book this guy again that footage clearly wasn’t in 10 bit” lmao but its easy to make these claims when your only “client” is an internet message board

@Yurolov does the footage I sent you look like a consumer camera ? And yes that is exactly what im saying. The cinema camera SLOG will intercut with the consumer SLOG. You ever see an A - B side by side test in a theatre ? No. Plenty of movies have even thrown in Gopro footage for certain shots and the audience will not notice. And I find it funny that people like you talk real loud on these forums with no footage and real world experience to support any of your claims. I have plenty real world experience and probably graded more footage than you have shot. I am currently shooting in 14bit with a Canon 5D mark iii and im telling you your 8 bit gripes really aint that serious The audience will not notice and we are playing ourselves if we think we do. The movie Tangerine was shot on an iPhone and became a hit on Netflix. 8 bit,10bit, 12 & 14 bit at the end of the day the consumer only cares about the aesthetic and for those that have actually been in a high end theatre for a screening knows that most modern day footage looks good on it. Wasn’t it Philip Bloom who DP’d Red Tails which was shot with a stock canon 5d mark iii / mark ii ? It looked amazing on the big screen so it blows me away when I hear how these 8 bit cameras and this format that has been widely used for years is suddenly this dinosaur people are making it out to be. I am tired of talking about these things on forums because it is now becoming useless to my personal education and development of my own work. anyway that Fuji color science has been sought after and emulated by so many. I just payed $100 for some Mastin Labs presets that claim its modelled after real Fuji 400h film. Filmconvert has a bunch of LUTs for Fuji as does visioncolor. So I ask myself why not just buy a fuji camera and then here comes the x-h1 in all its glory giving us real Fuji color from a 14bit sensor. Idk how people aren’t seeing how great this can be ?

im learning more and more about working with the 5d in post and it gets better and better

im getting the hang of working with cinemadng in adobe premiere. The canon is as organic as it gets

more from the Voigtlander 28mm f2.8 on the Canon 5D mark iii. I used a black satin filter this time which is one of my absolute favorite diffusion filters. The rendering of the voigtlander is unbelievable to me. So much character. The defects feel the same as my vintage lenses but the voigtlander optic is incredibly sharp in the center

I love these often regurgitated and equally misunderstood forum talking points @Yurolov SLOG was designed for 8 bit 10 bit and 12 code values cameras so any camera that shoots SLOG can be intercut between eachother. Is it a mystery as per why they have a xavc-s & xavc-L codec ? This falls in line with how they planned on implementing SLOG into ALL of their cameras. This is why these people have engineering degrees and we don’t. They think ahead. slog was not designed for only cinema cameras it just premiered on cinema cameras first. Its the same as CLOG. These log profile all map your exposure to a specific code value that a LUT later decodes and maps to a rec709 color space. (Soon maybe the camera manufacturers will create LUT’s to output to rec2020 etc.) I’ve heard hollywood dp’s namely William Wages ASC say himself that cinema cameras are just the industries stubborness and unwillingness to let go of bigger cameras and old standards. He says he personally shoots with a GH4 and has intercut with varicam footage and pulled it up for the audience to see. Your argument is null and void and im sure you dont even have your own footage to support your claims of 8bit & 10bit implementations in “consumer cameras” are worthless. Have you even worked with a cinema camera before ? I also forgot to mention that I use SLOG3 on a Sony A6500. When you know how to grade you don’t complain about things like how wide color spaces like SGAMUT look straight out of camera on your rec709 display. Noob

@webrunner5yup ! My guess is they as well as other manufacturers have figured out how to shift the colors around so it doesn’t create too much visual artifacts. When you think about it there is little to no real world colors that can exceed most color gamuts so thats my theory. and for the guys that think 8bit cameras are crap they are forgetting the image comes from a 14bit sensor. You gotta be crazy if you think these Fuji colors look unacceptable for client work. I need to meet these peoples clients...spielberg must be one of them ?

God damn that looks good ! I wouldn't even ruin the look of this with a LUT. This thing truly looks like its own film stock...which would make sense when Fuji MAKES the film people try to emulate with software how does this make sense ? SLOG is designed for Sony sensors you know....the same way umm FLOG is designed for Fuji.When you start using words like "better" when comparing unreleased cameras to what people have shot and tested it makes me wonder what you are basing this evidence on. It sounds more so like your really hoping its better than Sony cameras when in reality it doesn't matter. Does it produce a good image should be the question. If its 8 bit it wont be true rec2020 color but it will have enough colors to fit inside the rec2020 spec. So in essence you take advantage of the displays wide dynamic range and not so much the total color depth. Your eyes are more sensitive to changes in luminance than chrominance so the color difference is not that big of a deal

Voigtlander 28mm f2.8 w/ Tiffen Black diffusion FX on canon 5d mark iii raw. I used the filter to help take care of the ugly highlight aliasing from the 5D. At least its not noticeable in these shots ! I love the voigtlander rendering

MAke sure to turn the detail all the way to -7. Sometimes the judder is from in camera sharpening.

@IronFilm same here ! People forget Samsung literally left without warning. There were dozens of people contacting them via email from this forum alone and they gave the “everything is ok” PR statement and still abandoned the hardware. I think their business practices are poor and because of that like you said they will get less traction no matter how great the camera is. They dont share the same loyalty as the NX1 fans do

I stopped listening to revoewers a long time ago for a good reason. Now I just view the cameras footage on the big screen and I let my eyes make the decisions for me. As long as the fuji covers the basics like full pixel readout, doesn’t overheat like a toaster oven etc I think people will find the color to be very pleasing

I hope this is true because fuji’s color science is some of the best out there. Class leading