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Posts posted by Aragonnarun

  1. Hey folks.

    I'm flying to LA next month to do a corporate BTS shoot. It will be the 3rd one I've done for this company and now I have a pretty open budget. I shot the first two with the Sony A7s, and I was relatively happy with the results but you can still tell it's shot on a lower tier camera. I'd like to give this newer film a more professional aesthetic. 

    We had folks visit our offices a few months back and shoot on Arri Amira. I can't stretch that far, but was thinking about the Sony FS7. I'd like to shoot in 4K and downscale it to 1080p delivery. Only problem is, I've never used the camera before and am a little nervous about shooting a project with a camera I've never used before. Does anyone have any advice about this?

    I've looked at a few video walkthroughs and reviews to get a better idea of how to set it up. I'm a little bit more concerned about equipment.

    I'd like to handheld shots, does anyone know if it's useable out of the box?
    I guess we'd need to buy XQD cards. Would 128GB be sufficient for about an hour of 4k footage?
    Would I be able to lock it down on my Manfrotto tripod? Would I need a new baseplate? Can I screw in my shitty cheap one?

    The other option was hiring an Atomos Shogun, but I think we'd also still need to buy media for that. And a rig or cage, I guess, to secure it to the camera. And quality wise, would the FS7 still blow it outta the water?

    Any tips/advice would be greatly appreciated. 

    FS7 is pretty good. I've just done a shooting with it last week. The menu is very complicated, but once you set it up, you don't need to change much. The new handle attaching to the camera is amazing. It helps stabilise the camera a lot. I think it's good enough to film with it. 

    You would probably prefer 64GB*2 cards rather that 1 single 128GB since you can transfer and check the footage when you got time. I don't suggest you to use a shitting little tripod. It's much heavier than the A7S, especially if you want to attach a external monitor. I think you'll like FS7. The s-log3.cine with CineEI mode produces pretty good results if you know how to expose with the system. The built-in ND filters are amazing. Just don't forget to put on the monitor lut and the waveform display.

  2. Not sure what you're on about fake anamorphic and all that...

    But some extremely beautiful shots. Really beautiful work. And great edit.

    What did you shoot on? Camera, lenses? Please share. Again. Beautiful...


    I second this post... really captivating work. 

    Thanks guys. I did the color grading before my monitor was calibrated.. So some of the shots are actually a little too red. 

    I filmed it on my GH4, mostly using the 12-35 F2.8 because of the great stabiliser, and partly using Canon FD 50 1.4, and the old Helios 44-2. Since I was traveling during the hottest time in Europe this summer, so no tripod, all handheld except some of them are filmed on a small banana steadycam. Then it was too hot after Greece, so I never used it after.. lol

    4K mostly shot on Cine V, and slow motion mostly Cine D. Edited in Premiere and Colored in Resolve. 

    Thanks again for the great words. I'm really happy that you liked it. :)

    I also posted it on vimeo, but youtube offers better quality to even non-vip users. 



  3. Tried this test with a harsh backlight, mainly iso1000, 1250. See any noise people? I can't assess the image properly at the moment, my eyes are going funny with all the pixel peeping today 

    Also from my tests, I haven't got any issue with the noise with ISO 1600 and below. But the real issue is the color falling apart easily when you try to tweak it a bit in resolve. I wish they can have a firmware update to bring 14bit raw external feeding like the A7R II. Everyone would definitely buy their package in order to release the V-log horse power..

  4. I tried a little more today after work. Filmed a clock on a white wall. When I tried to pull down the mids, the color bandings are showing clearly. It's quite severe. I over exposed around 0.5 stop. There's not much room to play in post due to the color banding.. Obviously the 8bit bottle is not enough for v log.. 00860941_V1-0001.thumb.png.546e5a3d7b8e3

    In Premiere/AE it's actually an effect converter instead of a 3D LUT. I know that Impulz makes a Cineon LUT if I'm not mistaken.

    yeah. I used it. It's not bad but I think the Arri Log C lut works better in impulse. 

  5. Hi guys, it's not a hack at all. I would rather call it a bug than a hack.. it's actually really simple. I was gonna order it from the japan amazon yesterday and $99 is really not bad. I don't want to say too much in case getting into legal issues, but I'll just give you guys a hint: try to connect your camera to your Panasonic app on a smartphone.  ;)

    Hugo likes taking the caps off bottles?

    yes! Hugo loves bottle caps! Try to visit him on his instagram page: hugobritbull.  ;)

  6. I was wandering around a Chinese filmmaking forum and someone said that he found a bug in the firmware 2.3 and unlocked V-log L for free.

    So I came back home and tried. It really worked. Just did a test shot with Hugo in the sofa and loaded it in resolve with the Vlog lut and did a little adjustment. Here are the before and after frames. P1060708.thumb.png.84c32320b100c8890fdde00858769_V1-0002.thumb.png.81b873bfe8c75

  7. Most probably because of the double focus.. I've experienced it before. The aperture should not affect the sharpness that much.

    1. try to keep your Nokton on the same axis with your Kowa BH

    2. try to estimate the distance from the camera and the focus point and then focus your Kowa based on this. 


  8. ​Don't get me wrong I love the GH4 for a lot of reasons, but I sold mine and bought a mk3. The RAW recording is amazing, and 720p 60p looks really really nice when you shoot raw. 

    One could argue that noise removal/coloring/web compression matter just as much, if not more than the camera specs these days. I'm having fun with the mk3, work flow is a pain but shooting with that camera is definitely not. 

    I definitely like the build of the mk3 camera body. It feels great to hold and the biggest thing I miss about the 5D is actually still photography. It is a much better still photo camera than GH4. I also tried the ML RAW workflow with the it but it was very inconvenient in the post, so I gave it up.

    After exploring with the GH4 for a while, I really like the video quality and the light camera body. Plus a cheap old Canon FD or Helios 44 2 produces great images. Instead of a Canon 24 70 F2.8, you can actually get a bunch of the super nice manual lens. Besides, the Lumix 12 35 OIS is super steady. Much better than the stabiliser on canon lenses from my experiences. The DR of GH4 is lower than the 5D RAW for sure, but for me, it's already enough once you exposed correctly and grade in post.

    What I don't like about the GH4 is that the photo quality is not as good as the 5D3, and the LCD screen color looks very differently than the actually footage. Maybe it's because of the touch function that makes the screen looks bad? I don't know. Sometimes I miss my 5D with the the hotshoe flashlight combo and wish I were rich enough to keep them both. lol. 

  9. ​At least you made it interesting with what you had. Covering a runway is a bit different though in that once you have a viewpoint like you had in the video you have everything in the frame, and you can add interest by creative cutting. The challenge with a wider frame, like a stage in my case, though is that you need to shoot at two focal lengths: one to cover the whole stage to show what's going on and one to go tight. My point was that if you shoot with 4K, you can do both in a sense, as if you shot with two cameras and mixed. Which can be a lifesaver.

    Did you do anything with the GH4 to take advantage of the 4K in particular? Please share if you did. Always good to see others' work.

    ​Haven't done much with GH4 yet. Only 2 anamorphic tests. But I'm going on a vacation next week and would definitely film some stuff with the new camera during the trip. I bought a small and cheap stabiliser to bring on the road and now I just wish I could have a small drone. lol

  10. How can you access YouTube in China?  Need some trick?  As I know, Vimeo is not accessible too.

    ​There's a magical thing called VPN here. After you connect to their servers, you can visit all the sites freely. In some ways, blocking some of the foreign sites creates many jobs for these VPN providers I guess. lol. Vimeo is accessible, but it's a bit slow. 

  11. thanks a lot, Hans, I moved the video to Youtube here: https://www.youtube.com/watch?v=EMUlVT1Mefg

    Now the quality looks much better than the free version of vimeo. 

    If you pay the fee to upgrade your Vimeo membership to a Plus or Pro account, you can upload your videos in higher resolution and then make 1080p the default HD stream for playback (rather than 720p). Also if you enable downloads to your videos, people can download and view your 'native' resolution of your uploaded file.

    ...or just upload your highest resolution file to YouTube and let the viewer (or their bandwidth) decide what quality to choose for playback, it allegedly supports up to 8k now.

  12. Hi guys,

    I did another test on my new anamorphic lens a few weeks ago and uploaded on Vimeo. It was a quick walk next to a river in the city and it was quite difficult to shoot without a lens support.

    Anyway, I squeezed the video for better quality in vimeo to 1920*720, and exported in 20,000 kps bit rate. However, after I uploaded to vimeo, the quality is so terrible that I don't even want to share the link with my friends. I'm just wondering why did this happen and what are the best video uploading settings you guys are using for vimeo. In China, we have a famous video website which gives you the option to view the original uncompressed video aka 'original quality'. Are there any cool international websites like this?

    Here's the vimeo link for the second test: https://vimeo.com/128875666. By the way, part 1 of this test is here: http://www.eoshd.com/comments/topic/8537-a-newbies-test-kowa-for-bh-2x-anamorphic/

    thanks in advance



    Thanks, guys. I shot Carte Blanche from February-March 2009, and there aren't indeed any criticisms I hadn't already heard or thought of myself, even before I finished it. I don't think it's very good, but I had fun making it, and it's like a time capsule of my life at that time. Most of the film is deadpan, with a mostly static camera because I was heavily into Jim Jarmusch at the time. I often think of what Scorsese said on the commentary track for his first film Who's That Knocking At My Door. I'm paraphrasing, but it was basically this: "Watching this film is like looking at my old high school yearbook photo." I've occasionally attempted to re-edit the film, but when I look at the footage and think of the story, I realize I can't edit out the adolescence, and I'm not the person I was when I made it.

    Matt, as someone still making corporates and commercials every day, and dreaming to have my own film (let alone feature film), I have to say that I wish I could make a feature like this. Time is passing every second and everyone is growing and gaining experiences. If your film has its style and it's the style you wanted in 2009, why don't you watch it in the heart of that time? The best thing about films is that they can capture what the director wanted to express at that moment when he created it. So when we watch old films, we can certainly feel the passing trail of time. Recently I'm also having the dark moments and worries for my career, but I told myself that just keep on going with the big plan. Maybe opportunity would hit me if lucky enough but if not, I have to work harder to create the opportunities myself. I'm not rich and I'm not super talented, but I learn fast and work hard. That will help a lot in both the job and the dream.

  14. ​What method would you use to make an image neutral?

    ​I use colorista for premiere, speedgrade and davinci resolve. Whatever footage you are looking at has 3 sections: highlight, mids and shadow.

    To make it neutral, you just need to correct them to the real color on the shoot in these 3 parts separately. Normally in premiere, I will open the waveform first to adjust the exposure. Then change it to RGB parade. Then you need to look at the area where they should be white in this scene and adjust the hightlight. Then do the same to the shadows. Then open the vector scope. The mids affects mostly the skin tone.

    Some times it can be tricky to do the right adjustment in premiere, but in davinci it's much easier since you can use primary and log adjustments, and keyers, power windows. Whatever tool you use, it's always the same thoughts, hightlight, mids and shadows. After some practice, it should be very fast to finish the color balance, and then you can go to the grading.

    I only started to teach myself color correction/grading 3 months ago and have used in a few projects at work. So maybe it's not the best method but you can take it as a reference. 

  15. Vectorscopes can help, but I think this is something you really have to eyeball yourself.. lucky we can check other peoples work with skintone we love as a reference! If it looks right to you, it probably is.. !


    ​Agree. First make the image neutral, and then grade it with your understanding of the scene and which kind of atmosphere you want to create.

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