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studiodc

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About studiodc

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    Member

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  • Gender
    Not Telling
  • Location
    Montréal, QC
  • My cameras and kit
    GH4, GX85

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  • Website URL
    http://vimeo.com/studiodc

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  1. Yes. It works fine for me. I had to handshake twice. The second time it said "connected, encrypted" and that worked.
  2. Absolutely fantastic. Thanks @BTM_Pix for the work to make this happen. It's proof that not only is the profile actually loaded in the camera but that it's quite a good one too. I'll be setting this and trying it out under some, er, "trying" conditions hopefully in the next week or so. @jonpais I have to say that while the Natural profile looks pretty darn good to me when exposure is set I'll definitely concede the point that Cinelike D appears to have higher DR. I'll have to poke at the actual bits to see if this is an actual new mapping of light to bit value or if it's because Cinelike
  3. Just to be clear, I've got nothing against Cinelike D, when used properly. On my GH4, I preferred it to V-Log, at least with internal recording. The dynamic range is great. I did find, however, that in changing lighting conditions, it was non-linear with colour (especially skin tone) in a manner that made it very difficult to grade shots to match. Tracking white balance on a partially cloudy day with roving patches of daylight, for instance, either in manual mode or in AWB (I prefer not to shoot in AWB), just seemed to be smoother and easier to match when I didn't use Cinelike D, for instance.
  4. Both Smallrig and Hondo Garage make a variety of rod adapters that function beautifully as a standoff for this sort of situation when you don't want to run the rods, and of course are useful for rods when you need 'em. I never liked the look on Cinelike D and found that shooting natural or standard, with a few modifications (actually quite similar to Jase) worked the best on the GH4 and still work fantastically on the GX85. Of course, I colour with either Colorista IV or Resolve, depending on the shoot, so that might have an effect on the ability to pull the grade out of the final ima
  5. Not to be pedantic but it's a Trojan, not a virus. It doesn't spread to other computers unless you download and manually give it admin permissions. That said it's still bad news!
  6. What I think some people are missing is that there are three main modes of image stabilization. 1. The default "stabilization" is 5-axis IBIS - as in, physical mechanical movement of the sensor to compensate for unintended camera motion. 2. The "dual-IS" modes use the physical stabilization of the lens (usually 2-axis) plus additional stabilization of the sensor (usually the other 3) to accomplish the same thing, but because the lens handles some of those axes optically the correction can appear more natural. 3. E-stabilization is nothing more than applying something like 'warp
  7. Actually the buzz from my pro photog friends is that Capture One Pro is the best Lightroom replacement (and better at pretty much everything). The raw processing there is astounding and it uses resolve-style colour wheels and HSL qualifiers for grading. Best colour workflow for photos that I've seen yet. I'm switching literally today, as version 10 has really impressed me in demo so far. So, I've found a replacement for everything except After Effects and I'm by no means a strong compositor - shoot, cut, and colour are my focus. As for graphic design and audio, I've already got great tools for
  8. Yes, that's a deliberate part of the grade - warm glow look to the footage. It's easily cancelled but I was going to add it anyway to match the rest of the shots. Looks "pink" against a white website, but in context of the film your eye easily adjusts to the colour balance and it seems "warmly neutral" in context. Edit: Also, that's not a "guy".
  9. Doing some wonderful things with the footage I've been working with. This is with the alternative LUT in place - could even out the exposure but I was going to grade it darker anyway, so this ended up perfect for my taste. I love the original colours but the LUT really put the feels on the grade. The before is what the grade would have looked like without starting from Andrew's LUT - so in both cases the artistic grade is kept constant. This way you see a more legitimate before/after of the LUT alone, without my edit being a factor. "Colour" me thrilled. P.S. the blacks a
  10. studiodc

    GH5 Prototype

    You can actually count to 10 bits (or much higher, even) with just your 10 fingers ! https://en.wikipedia.org/wiki/Finger_binary
  11. Can't say for the G85, and I just got my GX85, but on a 4K camera I never shoot in 1080p unless I need slomo and in that case it's not a big deal if it's a little soft as the slo-mo I shoot (unless I'm renting a seriously capable rig) is going to be for dreamy stuff anyway. If you plan to work in 1080p, do yourself a huge favour, shoot in 4K and use something like EditReady to transcode to 1080p ProRes as part of your ingest step (possibly applying Andrew's excellent LUTs at the same time). You'll end up with roughly equivalent to 4:4:4 colour and the downsampling will increase sharpness
  12. studiodc

    GH5 Prototype

    @mercer I think we're all in agreement that it exists, if in perception only. It may mean different things to different people. Personally, in the (admittedly unscientific) studies I've done on the subject, it's got to do with things like precise frame timing, proper frame exposure (there was a bug in the original C300 - not sure if it's still there, I haven't shot on that camera in a while - where footage shot as 24p would always have a 1/60 shutter speed, reducing motion blur from the expected 1/48 by enough that was noticeable - it made all the footage feel slightly less "smooth", for insta
  13. studiodc

    GH5 Prototype

    This is true, but the monitor refresh rate doesn't change just because you're playing a video on it. The refresh rate stays high (60-120hz, variable depending on settings, card, etc...) and the video is displayed at the closest frame interval that matches. You have to be using custom hardware out (like a BlackMagic mini monitor or other dedicated video apparatus, or set your video card's output explicitly) to drive a monitor at a dedicated refresh rate that matches the frame rate of your project. So, yes, if you're doing that and you set the output of that device to a matching frame
  14. studiodc

    GH5 Prototype

    I can definitely understand what you're talking about - but that's not something I would at all class as "motion cadence", which to me implies a) regularity in frame exposure duration and b) regularity in frame exposure timing. Judder is a big factor here - the playback interpolation of frames during 24p -> 60p telecine pulldown to match most modern monitor refresh rates makes a far bigger difference in the viewer's perception. For instance, when shooting GH4 footage at 30p it will often be described by clients as more "cinematic" when in fact, they are discussing video shown on monitors ve
  15. studiodc

    GH5 Prototype

    Agreed, I'm curious too. The GH4 has always had a very filmic motion cadence in 24p 4K if you ask me, and I've been crew and DIT on productions with Alexas and C300.
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