Zak Forsman

Which Hoya NDs did you have? Their ProND line is very good. But their others, not so much. If you want a variable ND, I've have very good experiences with SLR Magic's. In this video I compared it to the Tiffen VariND.
 

my understanding is both settings record the exact same information. what you are changing is the flag that tells your NLE how to display the image data -- across the full range (0-255) or across the broadcast legal range (16-235). but I don't think it inherently changes the data captured by your camera, only how that data is mapped out when you're looking at it. and as andrew noted, when you have a file flagged to mapped the data across the full range and an NLE that overrides that flag to adhere to broadcast values of 16 to 235, it's going to clip 0-15 and 236-255.

I shoot 16-235 because everything I produce has to adhere to broadcast standards. if I didn't things would look pretty effed up on blu-ray to television. one of the reasons I love media composer is the full control you have over the luminance range (data/full vs video/broadcast) when importing clips.

Actually, I always argue with box office, record sales, home improvement design, etc.  Creating materials and content for the largest collection of market requires a certain mundanity that allows for that broad appeal.
It's why comedy slapstick will never go away.  A 5 year old and a 95 year old can relate to it; Rich man or poor man.  It's not anything great, just silly.  Which is fine, but nothing that necessarily needs to be exalted and appreciated on a particularly impressive level.  On the other hand, you can't hand Faulkner to a 12 year old and expect him to have any profound self-reflection after reading through it.  You can't get most people to do that.  It's just beyond their grasp.  Thus, less accessible.  
Which book is more impressive and which has broader appeal:  http://tinyurl.com/ogmx44b or http://tinyurl.com/nc4n33d
Same concept goes for the cheap door you'd buy at a Home Depot or that new Taylor Swift album.
So, no, I don't readily agree that financial success is in any way a marker of creative success.  Not in this society.  The complete opposite.    

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

I don't know who you're talking about.

If you can't detect a beat (or rhythm) in a song, it probably means:
-The song is poorly written
OR
-The song is atmospheric,experimental,etc and shouldn't be edited to a beat
OR/AND
-You should practice more at detecting rhythm, as it's one of the most fundamental tools of editing

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

1D C keeps an astounding amount of colour information in the 500Mbit/s MJPEGs.
The weird thing compressed 8bit footage should not have that amount of colour information in it.
And of course it is 4:2:2 but I never see the same advantage on other cameras when switching from 4:2:0 to 4:2:2 over HDMI.
So either those other cameras are lying to us and simply wrapping 4:2:0 colour in a 4:2:2 ProRes file or the 1D C is doing something else that the specs don't hint at.
Fact is, 8bit 4:2:2 internal on the 1D C just looks WAY better than ALL my other cameras doing the same 8bit 4:2:2 over HDMI, hell it has better colour than the GH4 doing 10bit over HDMI.
You know when I shot with the 1D C and NX1 side by side, the NX1 ended up having a crazy amount of green and less info in the reds, yellows and blues...
If you look at the way 4:2:0 vs 4:2:2 colour sampling works, far more red and blue is thrown out in 4:2:0 but the green is kept...


Source: http://www.creativeplanetnetwork.com/news/news-articles/dv101-411-444-422-and-420-understanding-digital-cameras-and-color-dissemination/423608
But if that really had such a dramatic effect on the image and didn't just pixilate the edges of red highlights (the most visible 4:2:0 artefact I always see), why don't the reds and blues come back with a vengeance when switching to the 4:2:2 HDMI output? HUH?!
From a Canon white paper on XF100...
Sampling at 4:2:2 takes advantage of limitations in the human visual system to avoid transmission of unnecessary colour information. The human eye is more sensitive to black and white detail than colour. The 4:2:2 ratio refers to the ratio between black and white and colour. 4:2:2 sampling is especially useful where advanced video processing, such as compositing and colour correction, is required.
Both models in the XF100-series capture twice the colour detail of camcorders which use 4:2:0 sampling, and combined with Canon’s powerful DIGIC DV III processor and CMOS sensor, offer unrivalled image quality for camcorders in this category. 

thanks a lot for posting this shawn
i downloaded your clip –– an astounding amount of true detail and rich color
pulled the frame grab into photoshop to add a bit of magenta and yellow in the color balance..... wow at those canon skintones i gotta say. if i can ever get slog2 to do this ima start a blog lol
the subtle modulation in the faces of the five children closest to the camera definitely reminds me of canon raw.... amazing
 

 

 

As an A7s and 1DC owner there really is something about the 1DC colour - particularly for me in C-Log - that just feels right. Without talking about magic and starting an argument about what exactly that is, the colour just feels right on an intuitive level - almost as if I'm looking through the optical viewfinder and not a recording on a screen. I can totally understand the importance of capturing a real feeling image when shooting your loved ones.
While the Sony image is much cleaner and can therefore be pushed more to higher ISOs and to an extent pushed around more in post without worrying about noise, I could never quite get the colour to the sweetspot of looking natural.
 
On the other hand the 1DC is physically a bit of a brute, has huge heavy batteries, requires an external monitor to expose and focus corectly, uses expensive CF cards, has no decent high frame rate mode and isn't exactly inconspicuous.
 
On balance I'd say they're both great in different ways. I was meaning to sell my A7s when I bought the 1DC but I've found I can't yet bring myself to do it.

heh-heh...

heh-heh...

over time, you develop an ear for this sort of thing. as a trailer editor, it's pretty much mandatory to be a good music editor. rather than relying on some plugin, looking at the waveform can help you make a picture or audio cut (or cuts) to the beat/percussion/etc. personally, i don't need to place markers because the waveform is right there.

heh-heh...

Man, does EVERYTHING have to be some sort of damn algorithm these days?  This is the arts (supposedly).  Just do it for yourself.  If you can't find rhythm in an edit, I don't know how you're ever going to be a successful editor.
So say I, grumpy old man.  Now get off my lawn.

Hey video and film lovers,
Messed around with an Input Lut for flatening the footage before grading. More messing aroung with curves and color wheels.
Don´t know, if it would have done better without the Input LUT?
Footage is lowlight. Rest of the info in the video. It´s G6 all -2 on Natural. Quiet happy, though I recognize the obvious flaws, not the less obvious ones though:)
If I can be happy with my G6 for low light footage and a somehow filmic Gestalt, then GH4 should do easily. 10bit, killer!
By the way, why doesn´t anyone put out a YAGH like device, little smaller with big internal battery?
 
 

heh-heh...

What's that?  All I see is a muppet.

No doubt.  Personally, I like standard and portrait.  That's just me.  Then again, I'm also enamored with Malick, so it's all good.
Do not talk to me about Bay.  I like to pretend he doesn't exist.

right?
so i finally saw The Master last night and that happens... a lot lol

have you guys seen this? v interesting photographically speaking
great work rich  
love the forbes 70 project!!!! wishing you all the best

Not sure, but I'll definitely check. Thanks. I'm a big horror, thriller fan and obviously sound mixes are so important, but I find myself lowering the volume because I think someone is gonna call the cops on me, thinking I'm murdering my gf.

Focus travel is only 1 centimeter.

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