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austinchimp

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  1. Like
    austinchimp reacted to agolex in Meeting with Sony to discuss FS5 cinema camera improvements - optimised firmware available Friday 7am London time   
    This. Noticed it when I did the comparison R II vs S II in the other thread. Both cameras interpret WB values very differently and are probably both pretty far off.
  2. Like
    austinchimp reacted to Oliver Daniel in Meeting with Sony to discuss FS5 cinema camera improvements - optimised firmware available Friday 7am London time   
    I've used the A7S II extensively at the moment, and I'm finding that a lot of these colour issues might come down to white balance. It just doesn't work properly.
    You light a scene with 5600k top end lamps for a daylight scene, yet when setting the 5600k on the A7SII, skin looks green-ish. 
    When lighting an indoor scene with only 3200k lamps, and setting 3200k on the camera, skin is blue-ish. 
    Auto white balance works, but the colour shifts to red in tungsten and magenta in daylight. 
    The most accurate I've found for white that is white, is Underwater Auto! However this makes everything that isn't white into purple. 
    This is across all picture profiles. 
    FS7 and F55 don't do this at all. 
    I'd do a proper in-house test but after this post I'm busy for the day!
    It seems a similar thing happens with the FS5. Maybe Andrew can feed this through to his contacts? 
  3. Like
    austinchimp reacted to Don Kotlos in Skin tone and texture in Sony FS5   
    For all sony shooters I would strongly suggest reading this manual about picture profiles:
    https://docs.sony.com/release/Help_C198100111.pdf
    With the FS5 you have the ability to change pretty much everything you need to get the color response the same as any other camera. 
    For skin tones look at color phase and color depth settings and also expose for the skin. 
  4. Like
    austinchimp reacted to Shield3 in Confessions of a former A7r2 hater...   
    Oh, and the stills?  Here are crops all from one picture.




  5. Like
    austinchimp got a reaction from sam in A7s 2 vs. 1DC - Must choose one TOMORROW Please Help   
    I agree with Andrew's points. I've been thinking about writing about my experience of going from an A7s to 1DC and then back to the A7rii actually. It's been a slightly confusing but very illuminating journey in the development of my skills and tastes.
    In my experience I'm yet to find a 'bulletproof' consistent workflow for s-log. It's maddeningly different depending on the light and color temperature. Having said that I haven't used S-log3, just S-log2.
    If you're running and gunning then I'm not sure s-log is ever going to be easy.
    But I am finding the Sony (with the right post work) to produce a more modern look, if that's what you're after. By modern I mean more on trend with adverts and music videos thesedays, but not necessarily a 'better' image per se.
  6. Like
    austinchimp got a reaction from kaylee in A7s 2 vs. 1DC - Must choose one TOMORROW Please Help   
    I agree with Andrew's points. I've been thinking about writing about my experience of going from an A7s to 1DC and then back to the A7rii actually. It's been a slightly confusing but very illuminating journey in the development of my skills and tastes.
    In my experience I'm yet to find a 'bulletproof' consistent workflow for s-log. It's maddeningly different depending on the light and color temperature. Having said that I haven't used S-log3, just S-log2.
    If you're running and gunning then I'm not sure s-log is ever going to be easy.
    But I am finding the Sony (with the right post work) to produce a more modern look, if that's what you're after. By modern I mean more on trend with adverts and music videos thesedays, but not necessarily a 'better' image per se.
  7. Like
    austinchimp reacted to cpc in budget "cinematic" small sensor?   
    BM Pocket with an optical AA filter?
  8. Like
    austinchimp reacted to sam in TRUMP +1DC + F35   
    The Trump lens series is a perfect match for the F35, right down to the black and gold!
    I wanted to get a general idea of the look from the Trump series of lenses  in a simple natural daylight setting without flaring. Realize there are a million variables, attributes, characteristics, mechanics, etc... The optical characteristics the Trump lenses are most famous for (wide open low contrast, flaring, custom bokeh) are not shown here.
    Camera settings:  1DC      iso 400, roughly 180 degree shutter, standard profile, daylight wb, 4k 8bit 422 (log is my preference, but wanted to use a profile all Canon cameras have in common so it would be easier to see the lenses characteristics without a custom grade getting in the way)   
                                  F35      cine ei mode, adjusted exposure slightly in Resolve, slog, sgamut, 180 degree shutter, daylight wb., 1920x1080 12bit 444 dpx, upscaled to uhd (for easier comparison to the 1dc files) keep in mind the scaling probably doesn't do the F35 any favors.
    Apertures:             T3.1 very roughly for the Canon and Trump, T3.9 on the Cooke
    I used latest version of Adobe media encoder to export tiffs with best settings possible.  I delogged the F35 footage in Resolve with Sony's  F35 Aces input transform with an srgb output. Captured stills and exported as tiffs from Resolve 12.
    Below are low res jpegs.  Srgb Tiffs to download here :https://drive.google.com/folderview?id=0B6dC48Sfvqr4c3k1aVh4UkhBS2M&usp=sharing
     
     

  9. Like
    austinchimp reacted to M Carter in My review of The Revenant, shot on the Alexa 65mm in only natural light   
    Man. To me, this was the most Kubrick film since Kubrick. Not as far as lighting or shot design, but a film where subtext and symbolism seemed far more important than the story - almost at if the story was an afterthought, a face to stick over a very different skeleton. I spent most of the movie marveling that europeans were able to eventually conquer north America, and found the juxtaposition of nature vs. human nature to be the real story; from nature itself and its power (storms, rivers, bears), to the native people who seem one step removed from nature and can be as viscous as nature, to the trappers who are almost proto-humans by today's standards, up to the guy at the fort trying to enforce notions of honor and law when surrounded by people reduced to a near-animal status. And how this played out against human desires - the trapper and the chief both on journeys based on the breaking of familial bonds (recall a bear and her cubs put the story in motion), how tenuous the more evolved ideas of morality and character become in the face of greed, vengeance, and self-preservation, the size of the stakes (from starvation to freezing to a pretty awful death at the hands of the natives) and how different people respond to those fears.
    I don't go into movies seeking this stuff (I usually just wanna see shit get blowed up, and some boobies) but was very surprised that those thoughts kept me more rapt than the plot. Not trying to sound all intellectual and I don't have the vocabulary to express some of this - but in novels and films "tone" and language, rhythm, symbolism - they hold my attention much more than plot does. For me, one of the absolutely best films I've seen in years. (But as you can tell, I'm weird).
  10. Like
    austinchimp reacted to graphicnatured in My review of The Revenant, shot on the Alexa 65mm in only natural light   
    I was literally gripping my seat throughout much of this film. Two things are known to me. I loved this movie and we have become total pussies since 1820.
  11. Like
    austinchimp reacted to BrooklynDan in RODNEY CHARTERS: BM POCKET CAMERA, 4K ACQUISITION & ALEXA   
    This is half the reason why I got a C100 instead of the 4K options in that price bracket (think GH4 or A7S II). I can make it look the way I want it in camera. I don't need labor-intensive color correction beyond basic gamma and RGB tweaks. I certainly don't need to fool around with LUTs. I grew up shooting on film. I'm comfortable working this way. And needless to say, I find HD perfectly usable for my needs.
    The other half is form factor. So nice to have a proper camera with proper XLRs and an ND filter.
    I actually just came home from watching The Revenant. Most of it was shot in 2.8K Arriraw on the Alexa M. Some of it was shot in 6K on the new Alexa 65. I couldn't tell which shots were which camera. And that's a massive gap in resolution. In the right hands, resolution is practically irrelevant. That said, I'd rather see what Emmanuel Lubezki could do with a VHS camcorder than what 99% of other DPs can do with a Red Dragon and Master Primes. He's a true wizard.
  12. Like
    austinchimp reacted to dhessel in RODNEY CHARTERS: BM POCKET CAMERA, 4K ACQUISITION & ALEXA   
    I see comments like this a lot and it always reminds me of the revenge of the great camera shootout 2011 where they compared among other cameras an Iphone and G2 to an Alexa. They had an identical scene set up and the DP could modify it as needed by adding lights or adjusting intensity of the lights that were already there. Yes the G2 and even the Iphone to a degree where made to look pretty good and it showed that a good DP could make them look great. Some took away from that video that even the much cheaper DSLR's could be made to look almost as good as the Alexa, the camera tech doesn't matter it comes down to the talent of the DP.
    While true I took a different lesson from it. If you watch the video the Alexa team says that they only adjusted the intensity of the lights that were there to add some contrast to the shot since the camera could handle the scene as it was just fine. The G2 team due to the limitations of the camera went through a long list of like 15-20 changes they made - adding lights, etc... Not to mention the extra time it takes in post as well. Now take that scene and multiply it by 100, all that extra time you spend dealing with the limitations or quirks of the camera. Yes you can make the image look great but it can take a lot of extra effort to do so. 
    The big players use cameras like the Alexa because they are rock solid reliable with a flexible and fantastic image. They can spend their time being creative, not trying to over come the limitations of a camera. When you have millions of dollars on the line why risk it only to save some rental money on a quirky or unknown camera when you can use a tried and true proven work horse that you know will get the job done smoothly?
  13. Like
    austinchimp reacted to Andrew Reid in David Bowie is gone   
    His last album is brilliant. Check out the other video too, nicely shot -
    Very sad he's gone. Every artist on earth today has lost a part of themselves somehow.
  14. Like
    austinchimp got a reaction from exomonkeyman in Achieving consistant warm orange skin tones   
    this is my best tip too. Learning to do secondary colour correction on skin is one of he best things you can do, then you can push the skin tones where you want them. I frequently rescue and improve shots like this.
    of course you need to start with well exposed and white balanced skin in the first place.
    if you're editing in Premiere you can use the three-way colour corrector to do secondary correction without having to get into Resolve or Speedgrade. Find a video tutorial and give it a go.
  15. Like
    austinchimp reacted to Hans Punk in Achieving consistant warm orange skin tones   
    Resolve,Colorista,Speedgrade all have ability to isolate/key/punch skin tone to where you want it to be. If you going in with a heavy orange and teal grade in mind, maybe try to avoid reds and oranges in wardrobe and props where possible. If you can load a LUT onto your camera monitor...great, it will show you the ballpark of what a stylised grade will give you as you shoot. For exterior/overcast weather, you could favor a warmer colour balance to bring skin looking less washed out. If your actor is very pale, that is something you can't do too much about - without helping with makeup.
  16. Like
    austinchimp reacted to Inazuma in Achieving consistant warm orange skin tones   
    You can also use davinci resolve or adobe speedgrade (and probably some other software that I don't know about) and pick out the particular hues of skin in footage and adjust them to your desire
  17. Like
    austinchimp reacted to kaylee in SLOG 2 with Stills colour mode - anyone else tried it?   
    thats great andrew!! could you post a couple screengrabs?
  18. Like
    austinchimp reacted to cpc in SLOG 2 with Stills colour mode - anyone else tried it?   
    SGamut isn't friendly to manual adjustments because of the heavily offset green primary. This is the reason Sony introduced SGamut.Cine which aligns much better with P3 and sRGB/Rec709.
    Cinema, Pro and Movie (same as Stills or at least very similar, I think) gamuts have primaries aligned with Rec709/sRGB and are for this reason easily moldable with simple luma curve adjustments without introducing hue disbalance. Skin hues are subtly rotated between these (Cinema is a bit towards yellow, Movie - towards magenta, Pro in the middle; but these are subtle), and there is a small difference in hue compression (Cinema > Pro > Movie; Movie is the most compressed) but all three are fine. I've been shooting s-log2/Cinema, but wouldn't hesitate to use any of these.
    It is really a question of how you interpret the color values. Since SGamut is the largest it may appear less saturated (= more subtle) even after treating it. But it certainly does have the problem (without proper remapping) of pulling skin towards yellow.
  19. Like
    austinchimp got a reaction from jpfilmz in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    I think this proves just what a one-off the 1DC has been. Canon and Nikon obviously don't want to make a high-quality 4k DSLR, going by their releases since the 1DC and also Canon's refusal to support that camera in any way with firmware updates or even a proper LUT. Surely they could do better if they tried, but they choose not to.
    Why? Market segmentation? Internal politics?
  20. Like
    austinchimp got a reaction from agolex in Nikon D5 versus Canon 1D C for cinematic 4K video - which wins?   
    I think this proves just what a one-off the 1DC has been. Canon and Nikon obviously don't want to make a high-quality 4k DSLR, going by their releases since the 1DC and also Canon's refusal to support that camera in any way with firmware updates or even a proper LUT. Surely they could do better if they tried, but they choose not to.
    Why? Market segmentation? Internal politics?
  21. Like
    austinchimp reacted to Jimmy in Nikon D500   
    In terms of image? I have an NX1 and think it has some nice characteristics, but the poor highlight roll off and general lack of DR put it below the 1DC. As for Sony, the colours just don't cut it, for me.
    For overall image and performance as a hybrid, I think the 1DC still reigns supreme.
  22. Like
    austinchimp reacted to aaristim in 5 underrated cinematic images from "forgotten" cameras   
    Not true. You can shot slowmo in raw with the Markiii, not with Markii. Here's a video i made with my 5Diii
  23. Like
    austinchimp got a reaction from Nate Mook in A7Rii Skin Tones + 1DC quick compare   
    Just had a look at your comparison. I'm surprised to see how soft the 1DC is on that screen grab. It looks to me like we're seeing motion blur from the shaking of the 1DC while the Sony is much better stabilised. I wouldn't expect the image to be that different in sharpness otherwise.
    so did you shoot the Sony in Andrew's picture profile? Looks incredibly close to the 1DC in colour. Very impressive.
  24. Like
    austinchimp reacted to Nate Mook in A7Rii Skin Tones + 1DC quick compare   
    So this is absolutely not a scientific test, but I was curious how the A7Rii would hold up to my 1DC, which I believe gives a wonderful cinematic image, especially when filming people. Chalk it up to Canon's color science, a great sensor, 4:2:2 color, whatever -- but at current used prices I think the 1DC is a steal (and it takes amazing stills) That said, it's also getting long in the tooth, and the A7Rii was an attractive potential upgrade, especially with 42mp stills, IBIS, and small body that makes gimbal work manageable. But I wondered how it would fare image-wise, especially when it comes to skin tones.
    I didn't want to use S-Log2 or C-Log, since I don't have any experience grading S-Log2 and I know it can be a challenge, especially on the 8-bit codec. So I shot my 1DC in the neutral profile with sharpness and saturation down, which is what I normally do when not using C-Log. I did my best to match it on the A7Rii -- Andrew's EOSHD Flat settings (Cine4, Black levels up, Detail down, Saturation down a bit) come quite close actually, but I used Pro gamma as Cinema gamma just made the reds look off.
    Again, this is by no means a scientific or extensive test, and I did very little grading (no LUT, just a single color correction layer in FCPx). And I'm sure someone could do a better job matching the shots, but this at least gives you a sense of the general differences. My big question was whether I could easily get an image out of the A7Rii that could compete with the 1DC without a ton of post work.
    Both cameras are using the same white balance, ISO, and aperture, although the crop factor is slightly different due to APS-H vs APS-C. I used a Canon 50mm/1.2 on both cameras, and both are handheld with no loupe to stabilize, making it easy to tell which camera is which due to Sony's IBIS.
    Although I did a number of tests, here's a quick comparison for those interested. This is 4k scaled down to 1080p to make it easier to share: https://dl.dropboxusercontent.com/u/2135/1DC-A7Rii-Test.mov
    Here's a frame grab from FCPx that's higher-res (1DC is zoomed slightly to match so will look less sharp when viewed at full res): https://dl.dropboxusercontent.com/u/2135/1DC-A7Rii.jpg
    My personal opinion thus far: The A7Rii can indeed put out a beautiful image when filming people, although it's still not quite as gorgeous as the 1DC. This could be because the 1DC is slightly softer (maybe due to the low-pass filter, so perhaps the A7Sii could be better) and the A7Rii sensor detail just doesn't benefit skin (most photographers end up smoothing skin a bit, I imagine), or due to color, or maybe I just need to spend more time tweaking Sony's insane number of settings.
    It seems like the 1DC has smoother highlight roll-off, and just gives a touch of softness that benefits people, making it *feel* a bit better to me, even if it's technically inferior.
    That said, it's close (some might prefer the A7Rii look). And with the A7Rii I gain a lot of great video features the 1DC does not have. Don't know if I'm quite yet ready to retire my Canon and go all in on Sony... but it's tempting and I will be keeping an eye on FS5 firmware updates.
    Curious to hear from anyone else who has worked with the A7Rii or A7Sii when it comes to filming people.
  25. Like
    austinchimp reacted to jcs in Sony FS5 - why I bought one   
    Agree top looks more like Sony color, bottom looks more like Canon. Additionally, bottom has shallower DOF; full frame vs Super 35.
    Shooting a live person is the real test- skintones are the toughest to get right.
    Here I matched the C300 II to the A7S II: https://www.youtube.com/watch?v=0Ulmgc_a39Q
    The Canon looked great with little work needed, it took a lot more to get the A7S II to match the Canon (still not perfect, but close enough for a test. C300 II has much more detail). That's the point people are making about Canon/ARRI/Red Dragon-(or later): when time is money, the tools which provide the best quality in the least amount of time will be used, even when the tools cost a bit more up front. Over time, the cost is much less due to less time in post. For hobbyists who only shoot tests, for fun, family, etc., this point doesn't really matter: initial cost is more important.
    Sony is indeed getting better with color, however Canon is still ahead (as is ARRI and Red), especially in challenging light (multiple and/or gapped spectrum sources). The best way to see this is to shoot with both cameras on the same shoots in the same conditions.
    The C300 II currently has the best skintones + autofocus of any camera at any price. Would love to see ARRI/Red come out with an even better autofocus/assisted-manual focus system.
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