Liam

I downloaded and brought Nick Driftwood's 10 bit V-Log L samples into Davinci and applied the Panasonic VLog_to_V709_forV35_ver100 LUT, and also the Arri Alexa LogC to Rec709 LUT. Created this album on imgur to make comparing them easier.
http://imgur.com/a/FGcTr#0
My intent was to start looking into what LUT I will want to load into my monitor during production. Ultimately it will be a custom LUT but one of these will serve as the basis.

I explained it a bit more in my previous post, but in a nutshell:

I was offered a corporate job based on some music videos I'd made. That has snowballed. I know the camera I was using, but not because I understood it - I knew if I did certain things, certain things would happen. I have no background in photography, and aside from a ridiculous obsession with film I never saw myself as connected to film/video. I am a professional musician, and own a mastering studio, but neither of those make very much money. 

So when the corporate videography work came my way, and I had a camera, I took a shot... surprisingly I was offered more and more and now I have pretty constant work with pretty high profile clients where I live. 

Now the loaner camera is gone, and I have to have something I can use to keep my work going... I asked on here a few months back and people suggested a variety of things... the RX10 ii seemed great as it was all in one, and good enough for what I need, but ... I have also come to realise that if I had better gear, and could produce better quality content, I would get more work.

I am in no way trying to be a film maker.. I wish I was, as I LOVE film... my artistic idol is Chris Doyle... maybe he's old hat now, but back in the 90s I was obsessed with HK cinema, and saw literally hundreds of HK movies and became obsessed with that sort of film making... not the kung fu stuff, the dramas and art house stuff.. 

Anyway, if you wanna talk technical stuff about music I can do that alllllllll day... I am just wary of being sucked into the whole technical side of this as I just am not... music is what i have invested all my emotional and mental space in for decades... it's hard to even consider being willing to throw myself into this as an art... I just... maybe I will at some point, but right now I wanna just keep working... 

I hope that doesn't offend everyone; I LOVE this stuff as an observer, but just can't commit to trying to be anything more than a glorified technician at the moment. Saying that, making music videos is a great outlet for my arty side - which is my largest side - so to speak - and I love being able to just explore and learn when I get the chance to make those.

Oh and yes, I have found that being good with clients and delivering things quickly has gotten me more work than anything else...  I see people a LOT better than me losing work because they can't deliver on time, or more often, they can't deal with clients without their ego getting involved... which is absurd when you're making corporate stuff, IMO. Just make the client happy, get the next job, and try and enjoy it as much as possible.

Thanks for your honest and thoughtful post though... I understand your position very well.

So,
 
Yesterday I went out and took the camera with me, just to try and film something that would probably be worth putting on, Heres some examples of what I shot, it was some random event going on (Wine), so I grabbed a few grapes footage, no landscapes yet. But this left me with a question, do you guys sell them graded, corrected or ungraded ?





Is these even worth uploading ? Should I search around and see whats the demand from the people who buy stock footage ? I have absolutely no idea what sells and what doesnt.

it's probably easier to get a deeper depth of field on a large sensor than it is to get a shallow depth of field on a small sensor, sometimes. if it's you're only camera, go for some middle ground sensor size (micro four thirds, aps-c) to have (sort of) the best of both. focal length could be all you need to change to get either result you mentioned with the hypothetical interview.
could you handle raw or a higher end codec if you got a blackmagic? no offense, obviously we're all learning, but you sound a little new to all of this (which you can stop apologizing about btw ). gh4 is a great image, not too expensive, and some slowmo ability if you ever want it. g7 might be a better option - cheaper, pretty identical image, still some slowmo ability, though you'll never get log. might want to keep this next camera you get as cheap as possible, with a workflow and ergonomics you know you can handle, while still having an acceptable image and somewhat large sensor, if this is one you'll be learning a lot on. and then if you decide you need something later, you can upgrade no harm done. used to be the t2i everyone would recommend here (still what I use), but the g7 is a big jump in image quality and not a big jump in price. kit lens and a fast, vintage prime, you'll be learning a lot and have very few restrictions.

Here's this I shot on the sony f3 and fs700.  
And now more and more reason to rejoice -the fs700 and f3 price drops to now around 1k used - cheaper than the NX1 or A7S and better sensor, better motion, and it is such great news - thank you latest and greatest technology.  Because I still think there is a lot of magic to be had from what you can do with the f3 and fs700 - and save yourself $3000 that you can put towards lenses or other things.
The march to newer and newer technology makes the old stuff so much cheaper and with the same results.

Crop mode is better. The Chris has posted some examples in another thread:
http://www.eoshd.com/comments/topic/9027-sony-a7r-ii-official-user-thread/?page=9

Im really confused

It's good enough for almost anything, man. Check out this wedding photography work taken on the last generation of M4/3 cameras. http://www.mu-43.com/threads/61628/

I'm not saying the Nikon isn't a great camera, but the difference in stills quality between APS-C and M4/3 isn't nearly as devastating as forumites would have you believe.

By now you might be wondering which to pull the trigger on - the RX10 II or RX100 IV?
The good news is I have now finally got round to finishing my review of the RX10 II and have also bought the RX100 IV to compare it with...
Read the full article

Just watched the trailer. What about the look is it that you are liking? If I had to guess it has a lot more to do with the lighting than the grading. Everything looks pretty natural, lots of practical lights and windows. 

It's Sunday! Thwack...Thwack...THWACK!!!
 
....i'll get my coat..

It's simply a dof adaptor on steroids.  a modified bmpcc inside a larger camera body, capturing an image from medium format lenses on n oversized medium format rear projection screen (made from ground glass) through a relay lens array and prism.  think of it as a macro lens filming a medium format focusing screen.  Before the 5Dmk2 came round, people were using similar things to get a 35mm format look.  it would appear even the best options back then were pretty bad quality, and there was a lot of diy stuff too.  It would appear not one of them were refined to the level they could have been.  i decided to go mental and make an ultra refined one.  its taken about 2 years of back and fourth, improving each element of the design. the most complicated part was the relay lens design getting resolution and even exposure accross such a huge area. i think the next version will be the final unit with the final refinements to make it a system suitable for dry hire use.  

A video we just completed with NX1/NX500 for a label this week
 https://vimeo.com/brainstem/review/136679800/daa914d0aa

Looks good for sure, although I don't like the smudged corners in the wide shots.
Also, I'd love to see it compared versus full frame with bright lenses. Sony A7S + Nikon / Sigma 20mmm f/1.8, Voigtlander 35mm f/1.2, or any 50mm f/0.95 / f/1.2 will give some crazy shallow dof. Different aesthetics than big format lenses, but It would be interesting to see what's the actual difference.
 

Hi Chaps.
I decided to take my FORBES70 camera out to play last weekend.  I'm happy with the results but wanted to ask for some honest critique.
I'd love to hear opinions on the image quality - resolution, perceived dynamic range / highlight/shadow rolloff, colour, and general 'look' of the images.  
Please bear in mind that the current maximum res is full hd, but in terms of full hd res, how is the image looking?  
 
I'd also love to hear some views on the large format aesthetic the camera exhibits.  Maybe in comparison with the recent trailers for Hateful Eight and The Revenant.  Is the added expense over say a full frame camera and fast lenses justifiable?  is the current resolution cap of full hd a real issue?  
curious for your thoughts! - ps.  larger file available for download (and detailed info about the system) on the vimeo page

As an tangent...why are these modes activated in default by the manufacturers?  As for Avatar; could care less about the frame rates on that one, the story was a joke and therefore so was the movie.

there are aspects of a camera that might get left in the dust because everyone's chasing after 4k, so I get the question from that standpoint. also I personally cannot handle 4k video editing on my crappy pc, so

there are aspects of a camera that might get left in the dust because everyone's chasing after 4k, so I get the question from that standpoint. also I personally cannot handle 4k video editing on my crappy pc, so

sorry, old topic. But I was just remembering this surprisingly good B horror movie, Inside. at one point the killer is hidden beautifully in the darkness in the grain in one of the jump moments. Don't think it would have worked with a clean image. pretty sure some of it was on actual film, couldn't find much info - I would wager more grain was added. idk, just felt like it actually helped the film and especially the shot. not just in general style, but to tell the story right, which if you're a real cinematographer should probably be the first thing you look at.
Can anyone else think of moments like that? I think it's easy to argue black and white has helped certain films etc. Just thought it was interesting to think of this as an actual tool
peace

read a book.
 
you don't think you need to make the jump to 4k, or you can't handle 4k? Are you asking if, for instance, shooting 4k on the nx1 has advantages other than the 4k itself since it won't really matter in the final image? (e.g. would you turn down 4k if it really was the best setup considering everything everything else? - but not filming IN the 1080p option of the camera?) Not trying to wrap around to the argument you really do need 4k, just wondering if this is a philosophical question or a practical one . don't know if it's helpful to say 4k is sometimes more easy to grade, punching in advantages, and better image by using more of the sensor.

there are aspects of a camera that might get left in the dust because everyone's chasing after 4k, so I get the question from that standpoint. also I personally cannot handle 4k video editing on my crappy pc, so

Or some kind of sadist, because here's another test...
Enjoy.

Get it now
I have just released a Setup Guide for the Samsung NX1. This guide makes the camera compatible with a range of LUTs so you can more easily apply stylistic moods to 4K footage in post.
Along with the LOG conversion workflow, the guide explains the best settings for the NX1 and what you must know before using it for video work.
The Samsung NX1 is one of my favourite cameras for video and the 4K image quality is simply the best you can get for the money right now.
I have been hard at work on a guide for a while now. This is essentially a 'brain dump' of everything I know about the NX1.
It is an all-in-one reference so you no longer have to search forums for the information and the 12 page arguments that goes with it.
The LUT and workflow included with the book, I am particularly proud of. This converts footage shot with GammaDR on the NX1 to ultra-flat LOG in post. When used with a transcoding app like EditReady it creates 10bit ProRes with a Canon LOG style gamma curve and saturation. This allows you to then apply a LUT in your NLE such as the excellent DELUTS range from James Miller. The whole process is made easy to understand in the book and the camera becomes so much more fun for colour correction as a result.
Introduction and general recommendations
Firing up the NX1 for video and about the spec Filmmaking Settings
Optimal settings for 4K video and slow-mo The NX1 In Post
The best way to transcode H.265, convert to LOG and apply a LUT Recommended lenses with character
Lenses I recommend fitting to the NX1 Get it now
 

The Nx1 has amazing video quality, heres 2 frame grabs from a 4k video from the NX1 (taken from facebook, cuz I lost the original files).
 


 
Ungraded, straight from the camera (once again, taken from Facebook, so its compressed by facebook). I was using the Canon 50mm f1.8 at the time, camera settings were Normal Gamma, -10 sat. -10 sharpenning. You really cant get any better, specially for the price...I had a Canon 600D, and its just another league, even comparing to the D800 video mode, the only thing I'd love would be a Speedbooster to make it "Full-Frame", that would make these cameras sell like hot buns !

When it gets Texas hot ... 106F at 5PM today I shut down long before any camera will.
 
Bob