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BenEricson

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Posts posted by BenEricson

  1. I started creating a tutorial for good skin tones on the A7S- higher priority projects have taken my time. There a many ways to get good skin tones on the A7S- creating custom profiles can help, though stock PP6 can work very well as is. Slog2 gamma with Pro or Cinema also works well. It is possible to get good skin tones with the A7S using Resolve and no LUTs at all: everything from scratch (scopes are indeed helpful). Casey posted some test images shot in Slog2 on dvxuser. Here is the thread: http://www.dvxuser.com/V6/showthread.php?334239-a7s-skin-tones-slog2-vs-pp-off-(shogun-4k) (IIRC, account login required to view images). Here are the stock Slog2+Sgamut images:

    ​These look nice, but the model, amount of make-up, and the lighting make a huge difference… The amazing thing about the Canon 5d, etc, is the how the skin seems to always look, in just about any setting.

    Locking a nice WB and exposure obviously helps tremendously. 

    jcs, do you own the pocket camera? That colors that camera is capable of producing with proper grading is just amazing.

  2. I would just comment on the shirt, looks either clipped or very near. Maybe lower the gain and raise the gamma. 

    Honestly, I would shoot an interview with a 5D/proper white balance, low contrast and color, and try to match that. If you did a side by side, I feel like that would be a great reference. If you're anywhere close to that, then you know you're doing it right.

  3. So now it's been about 2 years since I started messing with Resolve and time after time, I find that Visioncolor Impulz luts are the best tools to get any footage - from DSLR to Alexa to look like film and in my eyes to look the best.

    Their webpage has an incredible manifesto about why using a LUT is good - is cool - is acceptable - and I couldn't agree more:

    http://www.vision-color.com/impulz/

    The other luts I tried aren't - and I've tried them all - well the big ones and the new one but I don't want to mention their names because I don't want to say anything negative but the popular one has too much magneta in the highlights and has weird film pattern that looks artificial and the other one that just came out just has like 10 luts - not customized per each camera's view of what is acceptable for a film stock.

    ​It seems like these work well in the right setting, but people should really try to create their own looks as well. Half of the bmpcc pocket footage stuff looks terrible because of the LUTs applied. 

    The captain hook LUTs are free and actually provide a really nice base. 

    Just to clear it up, all of these LUTs still look like digital that is trying to look like film. I guess that creates a sub category. 

  4. Wow, they're killing it are BM. As thers have said a 4K version as well next year ... I know a few people who have been wanting monitors for 1080p recording and put off by the prices. This will sell like crazy, especially if it will downscale 4K from GH4s and NX1s.

    ​Grant said it will do 1080/60p, which is awesome for people who own the A7S and want that clean 1080p/60.

  5. ​I think he must've interpreted 'You can simultaneously record full 10-bit 4:2:2 HD files on the Video Assist and capture full resolution 4K RAW digital negatives on your camera!' as such. But I'd say nothing points in the direction of it actually taking 4K signals and downconverting it, so my guess would be that that particular statement is false and it in fact does not do this, it just takes monitoring signals that are conform the ones described under SDI/HDMI Video Standards.

    - Hum, well. It actually does say 'You can view any SD or HD format and, since it includes a 6G-SDI connection, you can even monitor Ultra HD!', although that seems to go against the specs saying '1 x SD/HD/3G-SDI'. But maybe after all? :P

    ​Grant Petty confirmed that it will convert down to 1080p in the monitor. This is in one of the No Film School converge pieces, regarding the Black Magic Micro Cinema Camera. 

    Mentioned in the video below.

     

  6. "The fact is when Shane Hurlbut recently tested a modern Kodak film stock he found digital more emotionally pleasing in every way. The fact is that the modern film stocks are more clinical than the older, discontinued ones. Yet most people don’t see it that way."

    First time posting here. This site is wonderful resource. I agree with a lot of you have to say, but I can't agree with this one.

    The film example looks like boyhood the C300 looks like a commercial spot. The film literally makes the talent look better. How could you or Shane find this to be a better image. I think you're fumbling here, because you focus on the specs on everything. You zoom in on 4k images and dissect every aspect of a camera. 

    If you're on the pro level, and you can get 95 percent of the quality with digital, you will probably still choose to shoot film. 

    What are your opinions on the different guages? 16mm and 8mm certainly capture a very unique look. This doc shot on 16mm looks beautiful in every way. It just seems more believable to me. I watch so much commercial stuff shot on the 5D, this is such a nice break. If you have the money it seems like the way to go. Obviously different tools for different jobs. 

    https://vimeo.com/49445992

    I still feel that video with a film effect, still looks like, video with a film effect... 

     

     

    Film_Digital.png

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