mercer

So the Eterna LUT is a utility LUT and affects exposure? Or do you mean it is burning saturation and a look into the image. Are you exposing to the right before using the FLog-709 LUT? Great info thanks, I look forward to your tests.

Good info, thanks @frontfocus!!! I didn’t know FLog was 2020. Is anyone experiencing any color shifts with a Rec709 transform?

Sorry if these questions have already been asked but 53 pages are a lot to get through... I’m curious why there are noise issues with the 2K if there isn’t in 4K? Is it common practice to ETTR F-Log? Does anyone know where middle grey is at in F-Log? Is there a Fuji white paper floating around that explains the Log Curve?

Looks wicked!!! I also agree with Django, this is THE most cinematic image from a hybrid to date. I personally like the image better than the P4K... but I like the P4K. Couple questions about your video... I didn’t notice... what lens did you use? Also with F-Log, did you ETTR? From your exposure change in the one shot, I’m gonna guess no? And finally, that Eterna LUT is amazing, I almost don’t believe you that there wasn’t any grading other than the LUT. Lol. Anyway, nice work. I am so tempted to buy one but I am in the middle of a shoot so it would just collect dust until I’m really ready to use it... which could be months away... maybe it will be a little cheaper then. Thanks Bruno, you really can push those files around. Thanks for posting. What are your thoughts of the 2K vs 4K?

Has anyone tested the 200mbps All-I 2K? I must say, I think this camera may be the best camera available right now for the price and output.

If you’re using IBIS, and shooting handheld, I would think you’d want them on the left side since you’re holding the camera with your right hand?

For small, unobtrusive set up, I’ve been using a long strap, and a Benro monopod, with a Manfrotto tilt head, completely collapsed, with the bottom of the monopod inside the kangaroo pocket of a hooded sweat shirt. Obviously you can’t walk around with it but for quick set ups I am getting some steady shots.

Here’s a still I grabbed in Resolve from a shot I used Midtone Detail fairly liberally. Before I applied it, my actor didn’t look nearly as weathered. I’m having some display issues where I cannot get the exported image to completely replicate what I’m seeing in the timeline... but that’s a topic for another thread... And I’m really just starting to scratch the surface of the cool tricks Resolve can do. I also just realized that I can copy a grade from a still I grabbed... what a timesaver. I can’t see myself completely using Resolve as an NLE but as an intermediary before bringing the footage into FCPX, definitely!

It seems it. I imagine it becomes really impressive when you’re doing power windows and secondaries but even for a self-proclaimed lazy colorist like myself, it really adds a punch to the image. Nice use of the tool. Thanks.

I’ve been testing more parameters of the Raw Tab in Resolve... I’m still on 14 if that matters... and I really like the subtle effect the Midtone Detail has on skin tone and texture. I know some people use masks and keys and lower it via the color wheels to clean blemishes and smooth the skin, but I actually prefer the wrinkles and imperfections of the human face... they tell a story. It’s like the old saying... be proud of your wrinkles... you’ve earned them. Anyway, just curious if anybody else utilizes this tool and to what effect?

You have one? I’d love to see what you’re getting out of it.

Canon 24-70mm f/4 on the 5D Mark III. Processed through Resolve using its basic Rec709 conversion in the Raw Tab and then some curve adjustments...

Great work! The set up and payoff worked, so not much more to say. Excellent use of light and shadow to hide the gags... even better that it was a construct of the story. Your actor did a good job. He seemed natural in his ambivalence to intrigue to fear. I felt the sound was fine. You illuminated the important sounds that helped to tell the story. If I had to make a critique, I’d say that the antagonist’s walk by was too slow and projected the ending, but that’s just me nitpicking. Thanks for sharing. I love watching short films on here. Being a gear site, not enough people share their work because we tend to argue about which camera is better. In this instance, I was engrossed with the story, so you really achieved the ultimate goal... getting a filmmaker not to worry about the technical. With that being said... what camera did you use, because those shadows were clean! Also, did you only use the practical lighting? Anyway, again... great job!!!

I’d do that! I prefer the most ghetto, roundabout ways possible. Lol. Do you use Resolve? I had heard that ACR has better color than Resolve, so I am curious. Thanks, I’ve heard good things but I use a Mac... mlvproducer is for Windows only, right?

Well, some FF cameras have a better crop mode than FF mode in video, so one could shoot in crop mode and then gain back the FF FOV and an extra stop by using a speedbooster.

@kaylee I only use Resolve as an intermediary to process my footage to ProRes. Well that’s not entirely true... I’ll trim some fat in the editor, make WB corrections, tweak the exposure if needed, turn it into BMDFilm (or sometimes I’ll just leave it in Rec709) and then I’ll transcode it to ProRes. I’m pretty settled with FCPX and don’t really have the time to learn Resolve. So I do any final color work in Final Cut. But I’m really just doing test grades at this point. But I haven’t really settled on a final workflow yet because I am just testing methods as I shoot the film. How do you process your footage in Premiere if you aren’t using ACR?

So, I’ve been shooting ML Raw with my 5D3 for over a year and a half now and I’m still as happy with the camera and the image as the day I bought it. I’m even thinking of buying a used one as a backup and to have set up for 48p/60p. I’ve been using a 2014 MacBook Air to process, edit and temporarily grade the footage so far but I really need an upgrade. I’d like to say with a Mac. So I was wondering what bate minimum requirements are to edit 1080p ML Raw? What I have actually works pretty good but the screen is killing me. Any recommendations? Can an iMac or MacBook screen be calibrated with a Spyder or similar product? Also I’d like to know more about the ACR workflow. I was thinking of picking up a pre-subscription copy of Premiere or After Effects if I can find one. Thanks

I did... twice. The first time didn’t work out so well, although I really liked the camera, the second time I used it for B&W.

and HIS professor might have told him... what the fuck’s a photograph?!?!

Sorry, I’ve been meaning to reply to this for a while, but haven’t had the chance to get into it. So yes, there is no chance of me buying an F4. I am sure it is way better than the cheaper handheld models but for what I need, and the way I shoot, the F4 is just not possible. Not to mention, that $500 can go to so many other things. I don’t know if I can stress how no budget my film is. I would bet most people would laugh at me and not even bother making a movie if they knew how I was shooting. I’ve always been involved with DIY productions, so for me, it’s just another day. I intentionally designed my film to have the least amount of dialogue as humanly possible just due to audio disabilities. So, I need to be very thrifty with where I spend my money and time. From last experiences, I’ve realize that close to 90% of the dialogue used will be captured with the bodypak recorders and lavaliers... so the field recorder and boom will mostly be back up/scratch audio. Hell, if I could ADR 50% as well as Hollywood does, then I wouldn’t even bother with on location sound other than an on camera shotgun mic. So yeah... the F4 is just a bit much for my needs. One of my next films will be a contained thriller, with all static shots, so I will definitely look into an F4 or a MixPre3 for that film. With that being said, since I will be buying an F4 sometime next year, would it make sense to get an H5 or H6 for this film, instead of the DR40, to better match the F4 for my next film?

And in some ways the iPhone makes more sense than a low end or middle of the ground camera. I was working an event this weekend and the local Fox affiliate had a news crew there with their heavy hitters from the morning show and the event was shot with a small iPhone rig. Well, it’s a commercial for internet ads... who even listens to them?

Yup, in the $1000 ad, there was a whole scene where the actor gets in the shot of the other guy sitting on the sofa while filming the other commercial. Plus his office was within the larger office. I don’t think that location was the production companies’ office building.

Interesting concept for a commercial with the funny part being that I understood the product the most from the $1000 video. The whole budget aspect is really irrelevant though since they were shooting the pieces at the same time, so the location budget was probably paid for by the highest budget production. In the end, the entire process is irrelevant because Wistia will save everybody from having to spend any budget on an internet ad. So while we as filmmakers argue which budget looked and sounded the best, Wistia is selling a product directly to our customers that show they don’t need us... well they don’t need you guys because I don’t make commercials. So in summation... Wistia paid $111,000 to make a commercial to show their potential customers that they can make commercials for next to nothing... oh the irony... the lesson here is that Wistia probably should have used their own product.

Another one from the Canon 28mm 1.8. Say cheese...

I am so tempted some days to order one. So many good videos out there with it. Hopefully it gets BRaw too.