caseywilsondp

A short sci-fi film I'm directing. Shot on BMCC + a lot of CG/vfx. Mixture of anamorphic (Kowa B&H on Voigtlander 28mm) and spherical (Samyang 16mm and 35mm). Filmed in London, China, and Hong Kong.
Link: http://alexeymarfin.com/blue-eyed-me/

any feedback welcome :-)

Hello everyone !
This is my new movie.
It's entitled « eet Gourmandise ».
This is a film about the preparation of cake, a "entremets", specially created for the film.
You can see it there :
It was shot with : Canon 5D MarkII with Canon 24-70mm f/2.8 L  + 70-200mm f/2.8 L + 100mm Macro.
It was editing with Avid and color graded with DaVinci Resolve.
I wanted to show you and to have your feedbacks.
So if you like it, do not hesitate to share the link of the video on social networks, with your community (Facebook, Twitter ...)
Thank you.
Have a nice day.
...and "Bon Appétit" !!
Florent.

Since mention of the price drop with used F35's, I've been meaning to compare similar shots from 2 different seasons of a show known to switch from the F35 to the Alexa (w/o a heavy grade), finally got around to it... Alexa on the left, F35 on the right. Season one and four are compared (or 4 next to 1).

The color grading was less consistent with season one and these are final, so I'd say take it with a grain of salt. You can download a full size jpeg here to see at 100% actual (cropped). 
 
 

Thanks, ​I shot almost everything on an old crappy Vivitar 28mm f2. It's not a great lens, but it worked.

Cool thanks for the article JCS.

Blackhat means malicious intent, and that sure isn't ML. Otherwise cool news if true.

I've searched for official docs and specs for correctly processing the A7S's custom Slog2+SGamut implementation (not the same as the Sony Pro versions). While the Pro LUTs get close, colors aren't quite right, especially skin tones. Slog2+SGamut with the LUTs found so far can provide very cool looks. If one is looking for something accurate for skin tones, I haven't found LUTs which can do this. It's puzzling that Sony hasn't released tech specs for the A7S's custom Slog2+SGamut or official LUTs (as they do with the Pro cameras).
I found the best all-around stock PP is PP6. Example here (stock PP6, auto ISO, auto WB, auto AF- event style shoot with many different skin tones and multiple colored lights): https://www.youtube.com/watch?v=aq8m2FaVL1U . You can bump saturation a little in-camera and along with carefully set WB, get good out-of-camera footage. Indoors, PP4 isn't too shabby after dialing down saturation. I'm putting together a tutorial for matching A7S to 5D3 RAW with an emphasis on accurate skin tones. Currently testing the results on models/actors- so far so good. Will publish the results when done.

On my first shoot with the Sony FS7 - I was very impressed with the image out the camera and the ergonomics, but I was very disappointed with the performance of the firmware. It was slow, glitchy and hard to use. (The video is out Jan 29th - edit this week). 
I chose the FS7 again for another shoot as the client was adamant on 4k and slow motion. I agreed and received a brand new unit from my rental provider. Things were a bit different this time, as the body had the extension unit and battery bolted onto the back, plus a Vocas railing system underneath. I chose ProMist filters to diffuse the skin of our lady pop star with a matte box, locked off on a Satchler tripod. 
I shot the video in XAVC-I 4k 25fps and slow motion in 1080 150fps, SLog3. I had plenty of lighting such as Kino Flo, Arri and Dedolights so I could light the vast location which was a decadent seaside theatre room. 
I have to say, the dynamic range wowed me even more. Lighting the large interior was a smooth process. Detail is very impressive. The zebras and peaking are very good. Noise looks minimal. Motion cadence however does look a little 'video', although I can't judge this fully until the grade. 
Handling the camera was fine on the tripod, as expected. An annoying issue with the extension unit is that it gets in the way of the HDMI port. You have to really force it. We didn't get it to work in the end. May have been an issue elsewhere, so we used the very good LCD throughout. 
Firmware wise - the camera performed better than before. I'm not sure if the unit before was a bit faulty, as it was slow and crashed a lot. Still - it wasn't as responsive as I'd expect. The menus are dreadful and over complicated, it takes so much time just to change the most simple settings. As a user experience - the firmware performance and user experience is very poor. I've got used to it, but it really does need a complete overhaul. 
The button layout on the side of the camera is also slow and fiddly. They really need to come up with a modernised way of button layouts on these types of cameras. Finding where to play a clip was a nightmare, until I found a little button called 'Thumbnail.' Not the best name! 
Another issue was the Speedbooster. Changing aperture on an EF lens was terrible, as the aperture setting would go crazy and go from f2 to f16 with a slight dial. Metabones and Sony need to chat. 
With these issues aside, the camera is great to shoot with and delivers a lovely image. It makes the FS700 look like a toy. For the money, it is fantastic. I much prefer using this camera compared to a RED Epic and Blackmagic CC. I do miss the quicker setup times with a DSLR/DSLM camera, but you gain quality features for a better picture. 
I will definitely use it again and can't wait to edit the 2 music videos I've shot. When they are released, I will share! 
Here is me and the camera: 
 

​
In my experience, grading is very consistent with Blackmagic, RED & Canon. I always have a challenge on my hands with GH3 and all Sony cameras. I use the latter by far the most due to the high FPS (music videos) and all are Sony sensors. I have to twiddle every nob imaginable, don't mind much, just more time consuming! 
Canon and Blackmagic lack the high frame rates so I don't use them no where near as much, although they are much, much easier to grade. This is the reason I've stalled on a new purchase on the "new era." 

This is a great shot, and maybe a key to how we should be lighting with this camera. Warm backlight with a cooler fill and key... Almost the opposite of how I'd light with film or Alexa.

I liked the posts of Matt James Smith. He challenged Andrew. He's gone.
I like your posts. You challenged Andrew. Please don't leave

A while ago EOSHD had dissolved into a non-productive confrontational forum. Other forums bashed EOSHD and personally insulted Andrew Reid. I suggested to Andrew (as did others) that he use moderators to help clean up the forum: http://www.eoshd.com/comments/topic/5456-potential-changes-to-the-forum-to-prioritise-good-content-suggestions-welcome/?page=3. I was a moderator at Cinema5D but stopped going there after it moved to Planet5D and died (I made it clear I didn't have time to be a moderator again).
Politely challenging someone with facts and logic and focusing on what is being discussed is not confrontational. It's how we learn and grow. I learn a great deal doing research in these discussions. I share the results with everyone.
When one runs out of facts or logic, many times they turn to emotion and begin personal attacks. In debate, this is called ad hominem, and is an instant fail.
When the site owner is participating in ad hominems with antagonistic and confrontational interactions, that sends the wrong message to the rest of the moderation team, and also encourages members to exhibit the same behavior. Leading by example is important. Is this post confrontational? It's critical and fair given what has transpired in this thread.
Perhaps the current moderation team doesn't have time to help out. If Ebrahim has time, I think he'd make a great moderator. Perhaps there are others.
 
 

What JCS said was challenging, but lafilm has made it much worse with his comments, there is no need for such confrontational attitudes from anyone. Especially in that tone. It's fair for people to judge from their own conclusions, different eyes see different things. At least be civil about it. 
 

Either the 1dc's sensor has taken steroids or the a7s is not delivering its advertised dynamic range.  what was the a7s ev meter saying in spot mode on the highlight?  I recon you could have slammed the a7s harder on the highlight without the information breaking up.  maybe by as much as 1-2 stops harder.  I'm finding my s-log footage is looking the best it has done after ragging it by +1 to +2 stops on the highlights.  the zebras are useless on the a7s as is the metering when in s-log mode i am finding     

S-LOG on A7s XAVC-S , this codec is so good you can basically grade it how you want....... As soon as you learn and understand how to grade using RGB curves you will see exactly what it is you need to do. Two frame grabs from a project I am editing which I also shot in S-LOG A7s Iso 3200.
 
 

​That's interesting to hear from Art Adams at DVInfo about the luma vs saturation of blues.
Film can't do a bright saturated blue.
Alexa caps saturation to avoid the same clipping problem of bright blues the Sony cameras suffer from.
That's where the knowledge of film comes in useful. Take a hint Sony.

Ebrahim, good stuff. Love that step by step tutorial. Casey, just remember to expose to the right. I get as right as I can to the clip threshold. Also, I like screwing around with the pre-sets in camera such as boosting saturation and magenta signal (ever so slightly) in both S Log or PP6. I find this gives me a signal I can bend to my tastes better without breaking down or looking so "thin".

There is still a bit more micro blocking with A77II in fast-motion sequences versus the A7S. You can see a little of that in the penultimate shot of the van passing (I don't include such a shot with the A7S in this sample, but I've done it enough at this point to know it's not a serious issue.) Also, as you probably noticed, the A7S definitely has more detail. 
 
As for latitude in post, both are now on XAVC-S and seem to behave rather similarly when doing color corrections. I'll have no problem cutting these two cameras together and outside of pixel peepers and large projections, a normal person probably wouldn't notice the difference. For a web spot I would have no problem using the A77II in a pinch. 
 
The biggest problem with the A77II was nailing focus. For some reason the Zoom to Focus doesn't really improve the clarity of the image. It looks like they just took the screen information and made it larger on the A77II. This is implemented much better on the A7S, which shows more detail on the enlarged image. To make sure these were both in proper focus I had to attach a SmallHD screen. 
 
It's funny. These past couple weeks I've been editing a project I filmed two years ago on an FS100 and a Canon 5DMkIII. Both those cameras were great for their time, but my god the fast motion micro-blocking on the FS100 is awful (nice image tho). Then there's the 5D with an image so soft I constantly think it's out of focus.  (Note: I recently sold my FS100) Both the A7S and A77II are better modern options. 

​Don't. You have the right to ask, and you deserve an answer, even if it's a simple "it's none of your business". Way too much emotions in the reactions, let this go.

It's news to me that the C100 Mark II's image competes with the full frame A7S 4K output, or the 10bit 4K GH4 output or the NX1's 4K output oversampled from a 6.5K sensor output.
 
"DSLR killer" it isn't.

I tried these settings from Kholi Hicks for my A7s. Definitely a big improvement for grading accurate skin tone. Restored much hope in my A7s.
 
Black Level: 0
Gamma Slog: 2
Black Gamma > Range: Middle , Level: -3
Knee > Mode: Auto , Auto Set > Max Point: 95 , Sensitivity: Mid
Colore Mode: Pro
Saturation: +8
Color Phase -2
Color Depth > R+1, G-1, B+2,, C-2, M-1, Y-3
Detail > Level, -5 Adjust > Mode; Manual, V/H Balance: -2, B/W Balance Type3, Limit: 0, Crispening:0, hi_light Detail: 0

White balance > Manual > Grid setting B 1 (one to the left)

3000-3600 = Tungsten
5000 - 5600 = Daylight
6100 - 7000 = late day or shade/shaded interiors in daylight   It gives a very juicy and gradeable flesh tone.

Ebrahim- there are lots of 5D3 RAW (5D3R) vs. <insert camera here> tests out there. Here's a pretty good one comparing 5D3R to Kodak film and Red Dragon:

 
5D3R has fantastic skintones and a very filmic look. Skintones look better than Red Dragon (at the time of the test- Red is constantly improving their color science: skintones look better now).
 
Keep in mind ARRI and Canon colors aren't necessarily chart accurate (though ARRI is both more accurate and produces nicer skintones). Part of the secret to good looking people/skintones results in making other scene colors off a bit. Here Shane Hurlbut prefer's Canon's C500 'golden color bias' over Alexa's color (to my eye Alexa is more accurate and could easily be made to have the 'golden' look of the C500 if desired):

a personal favourite for dslr's with live view through a built in evf is to use a battery grip and bring the evf to exactly the right eye level when the base of the battery grip rests against my shoulder.  it adds a very solid point of contact, and since the shoulder is all bone you get no heartbeat/micro shakes.  
 
this technique has 4 points of contact-  the eyebrow, the shoulder and both hands.  added to this, the elbows can be kept close to the chest forming a very solid shooting position.  pans are also easy since you can lock your upper body and just rotate your hips/waist for a smooth 180degree pan.