mercer

Of all the camera companies on the market, I actually believe Panasonic will be the next to bail out of the consumer/prosumer camera business. I assume the GH line will be moved up to their cinema division by the release of the GH6 and with it... a price increase. But to stay on topic, I think the Terra 4K is really exciting and has a beautiful image... a true cinematic image at a reasonable price point... and I’d love for Kinefinity to take on BM where it will hurts... the Pocket Cinema Camera niche.

Even Resolve’s Default Timeline Color Space looks pretty good for a quick turnaround.

Thanks! Between this and the MLVApp, it’s almost impossible for even me to mess up this footage... lol. I recently processed this through the MLVApp as LogC. Even though it’s in B&W, I used a LogC to Rec709 LUT and an S-Curve before desaturating it.... I love my Nikkor 35mm 1.4...

Thanks Stathman... as I expected... user error. I went back and downloaded everything again and now it’s working brilliantly. I have some reading to do but it seems pretty amazing I don’t know why I’ve been fighting this. I suppose the “local host” is a good way to preview your clips and see the metadata before opening in Resolve? But I noticed there are some fixes you can do... pixel fix, vertical line fix, etc... I didn’t click any of these before opening in Resolve... do you recommend I do?

Do you know anything about the Mac version? I downloaded OSXFuse (or whatever it’s called) and followed the directions but I am not seeing any options for MLV when I right click. I see there may be a script to upload somewhere, but again it seems unclear... but I’m sure it’s me. In FCPX, when you cut a clip and then delete the unwanted portion, the gap left in the timeline is instantly and automatically filled by the remainder of the clips in your timeline. It seems your right clip selection sounds what I’m looking for... thanks.

You have to do fade to color. And yes, there are some silly effects included and it’s silly that I can only save one effect at the top but then again everything else works better than any other editor I’ve used. It’s more intuitive than Premiere or Resolve. Or I think there is a fade in in one of the drop down menus... maybe.

Thanks Deadcode. Here’s a Resolve question that I was wondering about. In FCPX, the timeline will regroup clips after a cut, is there a way to do that in Resolve? I’m using the newest version and prior to a few days ago I was only using Resolve to process the Raw clips through to ProRes but I tried doing a rough cut of my clips before rendering it out and that sped up the process a bit.

Is selling the dongle even an option anymore now that the full version is so cheap?

Considering the cost of Neat Video, is it worth the extra bit to get full Resolve for NR? Is there anything else that is helpful in full Resolve for ML Raw? I’m hoping it was the 100mm f2.8 because that lens is on my list. It should go nicely with my 24-70mm f4 and my 35mm f2.

Not at all... unsure where you got that from? Just curious your thoughts on which lens he used for the opening shots.

I was under the impression that most Canon USM lenses arent FBW... well there’s obviously an electronic focus but nothing like mirrorless lenses have and still slightly mechanical with how the focus ring turns the motor.

I tried the auto ETTR once in Shutter priority mode and everything went bonkers. The ISO was jumping all over the place. Full manual works way better in my opinion. Although I have tested Shutter priority at +1 and it was okay when all things were equal. @webrunner5 good find. The separation in the earlier shots is insane. I saw he shot with the Sigma 50mm and the Rokinon 85mm (among others) I wonder which of the two were used in those early shots... I’d ask him on Vimeo but his page hasn’t had an upload in 4 years... so I may be waiting a while for a reply...

That happened with me too on the 50D and eos-m... regularly. But I haven’t had one issue with the 5D3... it’s a different beast.

To add @hyalinejim and @squig gave me the most helpful information I found anywhere online about setup and exposure when I first started with my 5D3. Little things like exact shutter speed, the ETTR Hint, etc, etc were so valuable. Now the conventional wisdom is that to get the best results you want to expose to the right as far as possible to avoid that horrible chroma noise but then @zerocool22 has that amazing Japan Wolf video and I believe he exposed to the middle and used noise reduction? And there’s also the guy who made that Alexa LUT that says to get better color fidelity you should shoot ML Raw 1 stop under. Either way @kidzrevil, whichever method you prefer... you’re off to a great start and, resolution aside, I don’t think I’ve seen a more organic image from any of your previous work. Once you get comfortable with the workflow and get your in camera settings down, I think this will become your go to camera.

Speaking of metering... has anyone used the Histobar with ETTR Hint? I read the post a1ex wrote up on it and I have found it quite useful at 0.5 but I’m still testing it out. I do like how it appears off frame as sometimes the Histogram and Spotmeter can be distracting for composition. With the Raw Histogram I can usually get good exposure by making sure I back off a little more after the red channel stops clipping... although it isnt a scientific method, nor consistent. The one good thing about Canon and Raw is that it is really tough to get bad skin tones but consistency is important so I’m really trying to fine tune a quick approach. Great info. So do you use a combo of the Spotmeter and Raw Histogram to Check your color clipping? Or would you recommend the Spotmeter for subject exposure and zebras for an overall overexposure metric?

@seku what are you shooting with now? With results like that, I have to assume you went with a cinema camera?

Thanks, that’s one of my better attempts. With the bad weather out here, I’ve been going through one old footage and trying some different workflows, so I’ll definitely keep an eye out for that program.

Resolve has the amazing highlight recovery tool that has saved my ass in some high contrast shots. Plus if you use Resolve as an intermediary, you can export as ProRes and still have plenty of wiggle room to grade in Premiere. For instance, using the Raw Histogram with ETTR Hint I took this shot that I did a quick transfer to ProRes using the Footage App (which I like a lot)... With the sun behind his head, it was just too blown to correct. Now I processed the same shot through Resolve using the Highlight Recovery and... voila... I do agree with Seku, Juan Melara’s linear to Log-C method is really cool and works beautifully.

The V90 cards needed to shoot the highest bitrate on the GH5s costs more than CF cards. An for the money, the GH5s just cannot match the IQ of the 1DC. But there are other perks to the GH5s... hmm... tough call. I’d go with the 1DC every day of the week.

Haha, it’s not always what is said but how. Either way I’m only joking around.

I’d say 90-95% of YT videos are watched on smart phones... So it comes down to AF and color science... it’s as simple as that.

Jesus, I think this forum needs a moderator for its moderators... ugh.

Thanks, Marty. I appreciate that. I’m trying, sometimes with more success than other times.

BlackMagic magenta spinner that only spins for like 2 seconds before changing batteries.

And the Panasonic one will cost $5 more but it doesn’t spin... they wouldn’t want to lose sales on their $1 model. They also have their spinning, microwave carousels to consider...