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Posts posted by BenEricson

  1. 2 hours ago, Trankilstef said:

    I'm pretty sure I'd go for a super 35 camera like the C300 MkIII  for video and keep a full frame camera for my photography.

    The C500 Mkii is nice, with the ability to switch between Full Frame and Super 35.

    That being said, you certainly do not need some giant sized sensor to create cinematic visuals.

  2. Am I wrong to think that a pair of earbuds is pretty sufficient for monitoring small crew run and gun audio. I usually use a pair of EarPods and I am always able to pick up the usual - LAV mic scratch, line noise, loud fans, etc. I have found that larger studio headphones are almost too revealing and leave me being overly obsessive with things that are beyond my control.

    I've shot 100s of interviews like this and have never heard any complaints when we send it off for a mix. 

    Here's a BTS from Cartel Land. If you're running around with a camera, you're bound to get the headphones sweaty and you'll end up with irritated ears. It all depends what you're shooting I suppose. 


  3. On 7/31/2020 at 7:37 PM, Matt Kieley said:

    Can anyone who's owned the BMPCC original and/or BMMCC compare those to the 1080p from the P4K? I want the slightly soft but finely detailed, sharp but not too sharp, rich, nice color and skin tone look of the BMPCC/BMMCC but with the more convenient body and features of the P4K (big touch screen, better low light, bigger sensor, 120fps, the ability to bake in a lut in prores). I've seen a convincing side by side video where the P4K was made to match the original BMPCC, but I honestly kinda suck at that sort of thing, plus I hate the added time and work in post so I want to try and achieve the look I want in camera as much as I can. And the look I want is the original BMPCC/BMMCC but with more features and convenience. I'm also wondering if the S16 crop can only be utilized in 2.6K BRaw, or if it can be used in 1080p ProRes as well. I want to be able to use my FD lenses with a focal reducer with the full sensor, as well as my c-mount lenses with the crop, depending on the project. I'll be using the camera mostly for narrative film projects of mine, and the occasional paid video gig.

    I've shot with both quite a bit. I really prefer the bmmcc or bmpcc skin tone, color and highlights. The P4K or P6K is much better camera all around and is a lot more user friendly, but strictly image wise, the bmmcc and bmpcc in my opinion, produce much more unique and film like images. 

  4. 10 hours ago, gethin said:

    how hard can it be?

    i know theres a company that makes them, but not for my z-6.  i guess id' need to cut a rectangle out of a filter. is this a terrible idea? 😄

    Exactly. It shouldn’t be. My Bolex from the 60s has an internal ND slot built in... Takes two seconds to drop in a filter. The cost and development required wouldn’t give companies a high enough ROI... So nobody does it.

    I think I remember someone developing a internal ND for the original black magic pocket. If I remember correctly, it took a few minutes to install. 

  5. On 8/15/2020 at 8:31 AM, kye said:

    Nice colours!

    It needs more saturation though - see below reference image!



    That’s a different time of day! Blue hour! Much more natural saturation.

    In this case, I think ETTR would really help you out. Push those clouds up a bit on the wave form. 

    Have you tried running some tests setting your exposure with a baked in profile and then switching back over to c-log? This method might give you a better idea of how to expose for the exact look that you’re trying to achieve.

  6. It really depends what you're shooting. For run and gun / quick setup, the C series cameras are hard to beat.

    You might want to consider a used C300 Mk2. The prices have really dropped and the images from those cameras are absolutely beautiful and very easy to use like the C100 mk2. You'd feel right at home.

  7. The 300d is nice, but there is a bit of a magenta tint from my experience. The Lite Panel Astras are really nice / industry standard if you can afford them. The color quality of the light is very excellent. Very quick and easy to setup.

  8. iPhone XS. I use the "Halide" app as my main camera app, as it seems to apply less noise reduction and allows me to under expose without some sort of weird HDR look. Edited in the Afterlight app on my phone.

    Edit: Not sure why they look soft until you click on the thumbnail*

    AfterlightImage 20 copy.JPG

    AfterlightImage 20.JPG

  9. 3 hours ago, Geoff CB said:

    I think people might be downscaling. They are selling their expensive gear and then picking up cheaper cameras, hense the low end getting more expensive. 

    Because while I've seen used gear get more expensive, I've also seen a lot more of certain gear than was on eBay before COVID.

    I sold a ton of camera gear that I had sitting around, simply because I had the time to sort and list it all. 

    It is a really great time to be selling on Ebay. Tons of people are shopping online.

  10. 6 hours ago, zerocool22 said:

    Yeah did kinda like this footage, nothing mind blowing but looks like stup up from mirrorless and dslr's type camera's. And I did not like the first footage that was released of the komodo, the dynamic range looked kinda low at the first video's, but just also saw that comparision video with the pocket 6K and it has similar DR to the pocket 6K, highlight rolloff is nicer though so it might have a stop over the pocket 6K. 

    Yeah, this looks closer to the Original BMPCC than the 6k. The colors and highlights are really smooth and nice.

    Black Magic really misses out on a huge market by not selling accessories like RED does. That handle is awesome. 

  11. I use the iPhone XS. Looks great in the right settings. You need to use a third party app like "Halide" or the color can look weird.

    If I am actually going out to shoot photos, I'll bring a medium format or 35mm film camera. The phone is good enough for snaps.

  12. 4 minutes ago, Jeremy Clark said:

    Thanks yall! Any opinion on the Sigma 18-35mm f1.8 vs the canon 17-55 2.8? Thats the other lens I keep having be recommended to me. 

    We have one at the studio. It vignettes a bit on the wide end so I don’t use it.

  13. The 50mm is still probably a great bet for an interview. You can back the camera up and create some separation.

    The Sigma 18-35 is a must purchase lens for a C series camera. I also really recommend the 35mm F2 IS or the 24 - 105 for handheld stuff.

  14. On 7/20/2020 at 9:17 AM, TheRenaissanceMan said:

    It's RAW. You don't lose any information pulling color casts out of shadows. That's the entire point of the format.

    Alexa skews green out of the box. Canon has issues with blue-ish grass, inaccurate reds, and blue fringing around bright highlights (depending which matrix you use). RED has had heavily documented color issues since they've been around, including massive IR problems with all their pre-Dragon sensors.

    "Perfect color out of the box" is a myth perpetuated by pretentious gearheads; every camera (and many a lens) has quirks that must be managed. Try using the heaviest internal ND settings on a C200 and not seeing IR pollution!

    I understand that you were unable to screw an IR filter on some BM cameras in the past, which bit you in post. That's unfortunate; however, the issue is easily managed with skilled workers who do their homework. 

    That's not how IR pollution works though. Raw might help you slightly, but you'll spend hours applying masks to the effected areas. 

    I'm not sure BM ever even officially announced the IR pollution issues with the bmpcc or bmmcc, even though the camera is basically unusable without one.

    For what it's worth, I use the C300 Mk2s constantly and have never seen a trace of IR pollution. The baked in color profiles on a Canon C series camera are pretty damn close to "perfect color out of the box." 

  15. On 7/18/2020 at 5:06 PM, Yurolov said:

    No, I'm sorry; if you have the glass, fine. Otherwise, I don't see why anyone would purchase for this reason. I doubt ONE person will buy s16 glass to use with this camera.

    A lot of people like that sensor size. Shooting wide open on a zoom lens is much more manageable. 

    I think mainly they would shoot with Super 16 to get away from whatever those example frames were shot on. Everything looks the same these days, people are looking for a different texture and style, vintage glass can help provide that.

    Zooms are the big one. You can get a pretty nice 16-100 f2 for around a grand. The s35 zooms are huge and 10 times the cost.

  16. 15 minutes ago, TheRenaissanceMan said:

    Interesting...I've heard the opposite--that the picture profile version of SLOG is inferior and has "incorrect" color compared to the "proper" SLOG out. I've never noticed a big difference in my (admittedly brief) tests, so I use the latter option for the ability to toggle the LUT on and off in the onboard monitor. 

    The clips I [posted above use the non-picture profile version of SLOG.

    I originally had a non 444 model and when I switched to the 444 model, the colors felt slightly off. I kind of thought I was imagining it, but my issue was due to the S-LOG out. You should try shooting some green grass with both profiles. The straight S-LOG out will look a bit more artificial looking. 

    Here is a quote from a member on DVX user form 2017. 


    "The camera has two kinds of output, which you select in the "Dual-Link & Gamma Select" menu.

    One output mode is Video. In this mode you can customize the picture profile to set the gamma and color matrix.

    The other output mode is S-Log. In this mode, picture profiles are unavailable. The gamma is locked to S-Log and the gamut to S-Gamut. I found the colors to be weird in this mode and I could find no way to compensate in post, even using a proper S-Log & S-Gamut transform. I believe Sony screwed up S-Gamut on this camera.

    So I suggest you forget the S-Log output mode and just use the Video mode. In Video mode, the most useful gamma settings are STD5 R709, Cine1, and S-Log (I mean S-Log the picture profile gamma setting, not S-Log the Dual-Link & Gamma Select mode). S-Log gamma works fine in Video mode. Personally I think the most versatile gamma setting is Cine1, for reasons I explain here. Cine1 is easy to grade by hand with just a levels filter, and you can also use my Logarist LUTs for that. If you want output that doesn't need to be graded at all, set the gamma to STD5 R709.  

    I found a matrix of Standard to give the most natural looking color."

  17. 1 hour ago, ntblowz said:

    So from that dslr video shooter video, the Slog look much more nicer than slog2 on modern Sony? WTF?


    Yeah, you can grade F3 footage easily with just the Lift, Gamma, Gain in any grading tool and get nice results. No LUT needed. 

    It is important to mention that there are two S-LOG settings on the F3. For best results, you want to set your camera to video out and enable S-LOG in the picture profile setting. If you do a standard, S-LOG out, the color is altered and harder to deal with in post. Specifically in the green channel.

  18. 1 hour ago, sanveer said:

     Also, while PDAF (and the Dual Pixel version of it), is usable for stills and video on Canon and Sony, it is far from actually being usable from a creative perspective. 

    The DPAF on the C300 Mk2 and C200 is really incredible. The “one touch focus” feels very natural and is totally usable. The manual focus with auto assist also works really well. I think you’re wrong that it is not usable from a creative perspective. 

    I would love to be able to record a focus adjustment and the have the camera mimic it back. Doesn’t seem too difficult. I’m not sure this feature would do much to help Canon sell more camera though.... 

  19. 1 hour ago, Antoin e said:

    Thanks, did a 4K export with full data,x2 upscale and keyframe every 1sec worked much better https://vimeo.com/436731326/360b61af6c

    However rec709 is what da vinci was set by default. I found that in order to not get this gamma shift when uploading to the web, i had to put the output color space to P3-D65 wich is what web video players like youtube and vimeo use and it's slighty different than the rec709 that is based off TV standards. This allows the preview of da vinci to be exactly like it will be on the web. Quicktime still is not accurate tho.

    This is my conclusion on the color spaces for the web:



    Nice looking frames. I love your rig as well. 

    I have had good results with ProRes LT to Vimeo.

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