Tim Sewell

Ha. Yeah, well I don't think it's gonna go to 3 or 4 stops (else Arri would have a problem here) - but, coming from a Canon stills experience, there is a depth to the underexposure in their imager that gives you tonality rather than just noise soup. Canon log, especially, seems to retain colour in underexposure that can give you really painterly tones. I'm experimenting with it now.

Hey guys - yeah, I know. I'm chasing that super 16 feel with this, so I'm selecting that grain structure - but I'm dialling it down to around 60% as I find the filmconvert implementations to be a little aggressive (plus, we're, like, in the digital age, right?). Thanks for the thoughts though - I respect the work you put out and I'm always happy to hear your comments. Coming from you I take that s high praise indeed - I love your stuff and aspire to be able to create anything even half as good! I thought that was pretty cinematic too - the beauty of this camera is that it has a depth in underexposure that allows you to grade to the image, not to the noise, which is kind of like... film!

A couple of stills from my Disneyland trip (don't ask!) that I've graded in FilmConvert with the new profiles. 5207 Vis3, 60% film colour, 65% Super 16 grain. Tweaks to curve and saturation. Edit: shot in Canon log at ISO 500 (apart from the last one, which I think was at 2000. I'm really loving the image I get this camera - it may not be for everybody, but it matches my sensibilities. Knowing it is capable of producing exactly what I want and that it's so easy to use makes me want to shoot a lot more, which is - obviously - the best way to get better at anything!

Heh - I think that might reduce the stealth factor a bit! More seriously, I'm reasonably happy to forego a constant fast aperture for the sake of the amazing reach. That, coupled with the IS makes the camera (to my mind) a lot more of a proposition than something with a faster constant lens with a much shorter reach would be.

Yeah, I was looking at standard too, probably with the sharpening dialled down a little. Would you still add any post LUTtage to that, or leave it as is (your work always seems highly stylised to me, so I'm guessing the former)? As an aside, just for fun, I manually 'legalised' some of my C log test shots then played around with some looks LUTS (DeLUTS) designed for Sony Cine4 and they didn't look too bad at all.

That's lovely stuff! Be very interested to hear your findings on a good WYSIWYG profile. BTW - are these Impulz Tetrachrome LUT again?

Apparently the flavour of c log in the XC10 puts a dull white at around 65 IRE, so you may find your highlights easier to recover if you set your zebras to 70%, and keep whiteish elements just looking like they're clipping. For myself, I'm currently trying a different, simpler approach, which is to expose so that the exposure meter shows around 1 stop over. I haven't had an opportunity to grade anything shot this way yet, but the ungraded files look to have a good tonal range. I'll post some still grabs once I've had a chance to look more closely and play with them.

They're fairly responsive if you tweet them @AtomosNews. FWIW, additionally, I tweeted them during IBC and they told me that CDNG recording for the Flame is in internal beta and looking good for release 'in a few weeks', so I would imagine the Inferno timescales are similar.

Imagine how great this camera would be with the FS5 auto ND! I'm still finding my way with post on this, but my best results so far have been getting it legal manually then applying rec709 looks. Canon log seems to be really really easy to deal with and the results just knock me out - super 16 vibe with enough resolution that you can afford to throw some away. I'm grading it for colour and exposure, then adding a filmconvert layer with the colour dialled to zero but with super 16 grain to 35% or so and it's making me wet my pants.

I've got my zebras set to 70%, but I'm actually finding (so far) a more reliable guide is just to ride my variable ND (you *have* to use a variable ND on this camera) to stay just about a stop over. By the same token, I'm also finding C Log on this thing considerably more forgiving than either my GH4 or my FS700. It's also got that Canon trick of maintaining a pleasing image in underexposure. Most of all, I'm just finding myself wanting to take it everywhere with me and wanting to shoot with it all the time - the thing just cries out to be used, it gets the shots and the images delight. Maybe I can get a bulk deal on external hard drives.

I'm already having very similar thoughts - trying to suppress them until my bank balance recovers.

Why do camera manufacturers put up sample videos of 4K cams in HD?

Just to throw in my two penn'orth: I received my XC10 (its purchase partly inspired by this thread) late last week and gave it a baptism by fire on our family trip (3 kids, aged 20 months to 13 yrs) to Disneyland Paris. I can certainly bear witness to its effectiveness as a 'shot getter' - I was able to get far more footage than I would have done with my GH4. I had an initial play with the files last night and they seem to grade up very nicely so far. The 2 best elements of the camera, for me (and after pure IQ) are the amazing stabilisation and the tracking autofocus. I also found the digital teleconverter in HD mode incredibly useful.

I could be confused. Don't have it to hand right now - I'll have a look later.

Depends on the camera - I think some Canons don't output audio over HDMI. Audio transfers just fine with my GH4 and FS700 to the BMDVA (non-4K). Also you can audio in directly via mini-XLR inputs on the recorder.

Hey guys - this thread and the other XC10 one have piqued my interest sufficiently that I have one arriving on Friday (I thought about waiting for the XC15 but decided there weren't enough differences important to me to justify the extra cost). One thing I haven't been able to find out so far is if it has frame guides for 2.35:1 etc. Please say it does!

On a related video the creator says "Alexa with the Cooke 25-250 T3.9 MK2"

Shameless plug: I've just posted a GH4 kit (cage, couple of lenses, Lockport, Speedbooster etc) that I'd like to trade for a XC10!

... apart from clean HDMI out!

Didn't they say that about the 5D Mkii?

Love the film. We should also note that Ed is only listed as the DP, which implies that he neither wrote the script nor came up with the hashtag, so maybe we should confine our comments to his cracking camera work.

I have one of these and there's no adjustable diopter - if that's what you mean. Of course it may have changed - I see they're calling it new - but the images on the website look exactly the same as mine. I'm a glasses wearer, so I had to construct an adjustable sleeve to get it to the right distance from my BMDVA screen. It's definitely well made, however.

Blackmagic Design have announced a new camera, which they added is already shipping and available in all major retailers from midnight.

They do - but there are still plenty of theatres (actual theatres, not cinemas) showing a healthy profit. Some art forms, once invented, do such a good job of capturing the human imagination that they will likely last forever.

Thanks! I must say that the 'HDR' on the Flame, coupled with the fairly decent waveform, makes exposure considerably easier in SLog3 than before!