shanebrutal

The perfect camera for jail-ees?
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Nope, I don't work on Roadkill. Great show though. 

Among other shows, I'm the DP for a series that runs on Motor Trend On Demand called "The House of Muscle" (it's about Muscle Cars.) This is a fun series to shoot since we travel around the country and drive some amazing cars. Weather is always an issue. For the series our primary cameras have been a Sony FS7 as primary a Canon 1DS Mk2 for secondary and a Sony A7S for rigged and gimbal shots. The A7S was good, but it wasn't perfect. 
After already shooting several episodes for this season, this past week we filmed in Alabama and I replaced the A7S (typically used with Nikon 20mm f/2.8 or Sony Zeiss 16-35) with an A99II (using a set of Sony Zeiss primes: 24, 50, 135). The show is delivered in HD, so 4k isn't necessary. Episodes 1, 3 and 4 were shot in Slog, and since I wasn't thrilled with the coloring done in post on episode 3 (totally different team handles post), that, plus needing fast turn-around pushed us to going with cooked 709s. Versus the A7S, the A99II delivered a much better shooting experience with negligible difference in quality. Here's some thoughts on how this overlooked camera performed:
When rigged for in-car commentary, the rotating screen of the A99II allowed me to run without a second monitor.  For exterior mounts the weather sealed body make me feel more comfortable with the occasional splash Much, much better battery life. It's a pain to de-mount a camera just to change a battery.  Full support of the dual-channel wireless lav receiver (I didn't use it for the House of Muscle like this, but for a 22-part series I shot for Autoblog last month we used it extensively on the A99II.) It's possible the A7S support it, but I haven't tried. More a plus for running Sony across the board I guess. Since we travel all over the USA to film this series, bag space is a premium and we're already packing 10 cases as it is. With the A99II I don't have to bring a second camera for photos (I always take a few for promo use.) The A7S simply wasn't good for action photos.  My FS7 has an A-Mount adaptor, so I can swap my Zeiss prime set between both cameras easily. The 135mm f/1.8 is a beautiful lens.  The full-frame video is good. Yes, there is some minor aliasing in FF mode, but nothing the client or the viewers will ever notice.  Autofocus in video mode is excellent -- for how I use it. The ONLY time I auto-focus is when the camera is mounted on a Ronin gimbal when we do tracking car-to-car shots. Even with the f/3.5 "issue," the camera performs very well in this situation. To reduce the shutter speed in bright light, I just add the appropriate number of ND filters to hit my target exposure.  The full-size DSLR-style body is more enjoyable to use. I found I shot a lot of run-and-gun with the A99II when I could have just as well grabbed the FS7 this past week. Built-in stabilization helped damp vibrations when running with a hard-mount on a chase-car.  Like the A7S the dynamic range works magic to "save" exterior details when filming inside a dark car interior.  A few areas where the A7S was better:
Sharper image overall (negligible as far as the client was concerned.) Smooth aperture adjustments "on the fly" thanks to a manual control on the adaptor we used with the Nikon lens.  

Fantastic job! What strength/grade black satin filter did you use?
 
I just got the zhiyun crane with my nx1 and it handles the 16-50s very well. Its a little heavy though and makes me want to buy the 2 handed grip option.

thanks, NX1 with 16-50 premium lens, the sharpness is -10 but since I prefer more of a flat look I use a Tiffen black satin filter to reduce 4k sharpness, pilotfly gimball, I use 0-255 because I find better skintones with it somehow redness in cheeks shows more with this mode for me but I add -15 contrast and -3 brightness as suggested in this forum to work with premiere. gamma DR with -3 con -4 saturation and 15 MBL, I tend to expose for the sky because It brings more drama to the scene but you'll need extra lighting on your subject because he would be underexposed otherwise. This was done all in one day! it was very cold in january so we shot mostly inside places but it's run and gun situation. 

I use vasile's hack and In 1080 especially 120 fps I can't go over 100mbs without getting dropped frames. Makes the slo mo all choppy.

Thought I would share this just for fun.
These days I think most shooters know that the black hole sun problem in some Blackmagic cameras isnt new. For example Arri experiences it as well.
And its easy to avoid and even easier to fix in post.
Today I experienced a pretty much identical phenomenon on an even older type of sensor... film.
These are shot with the ever so lovely and joyful Fuji Packfilm System. FP100 glossy.

Its more blue, but still.
 

I think these camera chase politics and obsessions slow down the progress of many. 
We're at a time now where sticking and investing in the system of one brand is the best way to go. 
i currently shoot with the FS5 + Inferno, A7SII and A6500. I can do pretty much everything with these cameras. I have Sony as they cover a much wider spectrum of uses than any other brand. 
You understand the operation, the dynamic range, color space, the community, the workflow, the lenses etc without having to change your mindset and learning development much. 
I'd love a GH5, but it would be a camera too much in my kit, and the odd-one out. Plus I'd need native MFT lenses to get full performance. That money can be spent on native Sony lenses, a new soft light or even marketing. 
If you're not invested in a system, the GH5 is a no-brainer. 
 

Still so pissed we never got a successor. Still my favorite skin tones of ANY camera.

Heres my latest entries :
 
 
This last one is still private, its only due next week, but since this is a specialty forum, there should be no harm. Everything shot on the NX1+16-50s 2.8, and graded with my own Vellichor luts, available for purchase here if any of you wants to have a look - https://sellfy.com/p/HNAk/

Hope you guys enjoy :D

Well, you want the warmth in the right places. So, what I do is, I treat the highlight, mid and shadow areas separately. No tricky masks or anything. Just three way color wheels. If you do it globally, it indeed won't work that well. You can also create more weird Hollywood looks like this by contrasting shadows/mids/highlights with eachother if you don't like realistic/accurate...

Your kitchen & you're the chef. Whatever you like best, but just about anything is doable in post. You can create your own LUTs of course. The one provided works as a solid base in a bunch of cases probably. But I would take care in some cases. The discussed way of shooting preserves the best information so it seems, so that's definitely good stuff.

I had some free time today and so I went into the studio and did some tests. They aren't very proper and they aren't the best in the world...but hopefully this will help someone out there!
I used some of the EOSHD Canon picture profiles for the 1DC part so check that out!
I am by no means a professional colorist. I tried to balance the images best I could in Resolve. You will notice that some shots are a tad blurry....I'm sorry about that. I had continuous autofocus on.
Here are my findings:
Canon 1DC:
It's totally still relevant. The fact that this camera came out in 2012 and is competing with the new C300 mkii is incredible. 
Official Canon Log: Is great. It grades really nicely and is really clean and natural looking. Totally recommended. The 4k 4:2:2 8bit is much better than the 1080p 4:2:0 of the C100. 
EOSHD C-Log: Its good for sure but not as good as built in Canon Log on the 1DC. I need to play more with it but I had some troubles with it. 
Other EOSHD profiles: These are fun! I love the Monochrome one a lot!
C100:
Its done. Too old. Image is soft. Has terrible artifacts. Built in codec is total crap. Get this guy out of here. 
Wide DR if handled properly could be a good profile to shoot most things on. Its not too flat so the low bitrate doesn't fall apart as much.
C300 mkii:
This is the best camera of the three (as it should be) but not by much in relation to 1DC!
Canon Log and Canon Log 2 aren't very good. Canon Log 3 seems just about right as far as nailing the color science. Everything balanced really nicely and looked great. 
4K 10Bit really holds together nicely when grading. 
I thought 1080p 12bit would be stronger...but I really didn't notice much of a difference between it and the 4k footage. 
Slow motion: It's OK. There are other cameras coming out that have better slow motion abilities. To go past 60fps you have to crop in on the sensor by 2x which turns the crop from being 1.4x (Super35) to 2.8! That's more than micro four thirds.

In the beginning of this video he shows of some pretty sick skateboard footage that showcases the X3000 stabilization.
 

I was wondering why they had all the lights off. Evidently a low light show off. 
Funny they leave the Sony headphones obviously on the table in front of them. 
Ah, his coming film about ICE is also GH5.
 

Filmed using a Nocticron. Are there any 4/3rds cameras already shooting 4k 60p?
That has to be the GH5 and it looks amazing on my 5k iMac. Looks like they have vastly improved skin tones and the shadows are as clean as can be.

Cool, nice find!
Looks amazing on my 4k screen (too much red in their skin, but great otherwise!!).
There's no way that this isn't GH5 material.

Could this be gh5 footage? Griffin Hammond is apparently working with panasonic on the gh5. YouTube says this vid is 4k60p.
 

Could this be gh5 footage? Griffin Hammond is apparently working with panasonic on the gh5. YouTube says this vid is 4k60p.
 

Just grabbed the LUT pack. I really like how they are customized for your NX1 settings, @ricardo_sousa11 . Really liking the stylized looks. I put Lisbon and Denver on a couple random test shots I had from the fall season when I also happened to be trying out your NX1 settings. Thanks! 
 
 

Could this be gh5 footage? Griffin Hammond is apparently working with panasonic on the gh5. YouTube says this vid is 4k60p.
 

This pack is concluded, but im already making a few more to be released in the future, but they will have a different overall look, less faded and more contrasty. I will also be making some creative ones that will shift colors and so on, but thats a work in progress.

Thanks! Fall is great in the woods. Just wondering, do you plan on adding any more to the vellichor lut collection in the future?

Sharing a small clip that I shot in Aug. on a trip to the US with a fellow NX1 user, that is also a user here on the forum, Mr. Adam Bradley :D 
 
 

wow! I like this a lot, you got some really nice colors over there!

Just grabbed the LUT pack. I really like how they are customized for your NX1 settings, @ricardo_sousa11 . Really liking the stylized looks. I put Lisbon and Denver on a couple random test shots I had from the fall season when I also happened to be trying out your NX1 settings. Thanks!