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Kurtisso

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  1. Like
    Kurtisso got a reaction from Rudolf in Actually you can make the GH5 look very cinematic!   
    I think you achieved that look, some very beautiful stuff!
    Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!!
    On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!
  2. Like
    Kurtisso got a reaction from EthanAlexander in Metabones Speedbooster Ultra or XL on GH5?   
    How about a medium format to m4/3 0.4x? 
    Seriously though, the GH5 has so many options depending on which glass you mainly own. If you mainly rent, just rent the different adapters along with.
    If you have FF glass, get the 0.64x XL. I did that and it works great. You can punch in to 1.4x TC mode too  
    If you have Aps-c glass, get the 0.71x ultra. If you have PL s35 glass and you are going from PL-EF-m4/3, make sure the lens actually fits with the metabones optics, or smashy smashy.
    If you have s16/16mm glass, get the c-mount/PL/arri to m4/3 you need and punch in with that TC (either 1.4x or 2x, depending on the image circle of your particular lens). 
     
  3. Like
    Kurtisso got a reaction from Cas1 in Actually you can make the GH5 look very cinematic!   
    I think you achieved that look, some very beautiful stuff!
    Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!!
    On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!
  4. Like
    Kurtisso reacted to Zak Forsman in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    believe me i know. I've been doing exactly that for years. i understand the advantages and disadvantages. full frame is fun and I enjoy shooting in it, but in this case, I *want* a super35 (1.5x) sensor digital cinema camera to shoot films with. I want that because that's the standard I'm used to for motion pictures. besides, I don't like using a focal reducer with my vintage lenses because they exacerbate blooming, CA, and soft corners for apertures wider than f/2.8, which negates the advantage of the metabones' extra stop, or more. fortunately, I won't need that extra stop with a native 2500 ISO (providing it's just as clean as 800 which we have yet to see from the EVA1). and last, I have the 5D3/MLRAW option for when I want the full frame look (which I'm also a fan of for the right project).
    side note: I used to own a good bit of MFT lenses when I was an AF100 and then GH4 owner. always found them a little too small to operate with my big bear paws.  the contax zeiss I'm using now look f***ing amazing and suit me better.
    I appreciate what your saying. just offering a different pov. 
    yes, two actually. and the latest is finally getting a release date for late this year or early next. in talks now with the distributor.

  5. Like
    Kurtisso reacted to Zak Forsman in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    Yeah, no problem! This is a 30 second teaser. We're saving the actual trailer for much closer to the release date. This film was shot on a GH4, by the way.
     
  6. Like
    Kurtisso got a reaction from TheRenaissanceMan in Actually you can make the GH5 look very cinematic!   
    Hahaha oh my... I don't think deezid's choice on shadow levels is equivalent to "misspelled words and poor grammar". That's a bit much.
  7. Like
    Kurtisso got a reaction from iamoui in Actually you can make the GH5 look very cinematic!   
    Hahaha oh my... I don't think deezid's choice on shadow levels is equivalent to "misspelled words and poor grammar". That's a bit much.
  8. Like
    Kurtisso got a reaction from kidzrevil in Actually you can make the GH5 look very cinematic!   
    Hahaha oh my... I don't think deezid's choice on shadow levels is equivalent to "misspelled words and poor grammar". That's a bit much.
  9. Like
    Kurtisso got a reaction from Bizz in Actually you can make the GH5 look very cinematic!   
    Hahaha oh my... I don't think deezid's choice on shadow levels is equivalent to "misspelled words and poor grammar". That's a bit much.
  10. Like
    Kurtisso reacted to Bizz in Actually you can make the GH5 look very cinematic!   
    Great video deezid! This video is so good in so many ways that is surprising that the first thing that cross the mind of some ppl is that "the blacks are crushed". If thats the first thing that someone wants to say about this video its says more about "you" than the maker (or the piece). Even if i think that the blacks should be "less crushed" (wich i also do, but thats not the point) thats the last thing i think after i saw i video like this. But hey....thats me.
  11. Like
    Kurtisso got a reaction from kidzrevil in Actually you can make the GH5 look very cinematic!   
    I think you achieved that look, some very beautiful stuff!
    Aside from stylistically not having a problem with the alleged "crushed" shadows, I didn't see any problems compositionally/graphically with that either. Bear in mind that I only watched the concept trailer once, but I didn't come across a moment where I felt like I needed more information in the shadows to tell me more. We decide what we want to show, and what we want to conceal. To all the people that think you needed to show more "information in the shadows", would it be preferred to shoot the entire film with a fisheye to give the most information that way too? Maybe just do it in VR? Do a grid system to show multiple takes at the same time? Then we can have all the information !!!
    On a serious note though, hope the concept trailer gets you and your team the feature, it looks promising!
  12. Like
    Kurtisso reacted to deezid in Actually you can make the GH5 look very cinematic!   
    The choice of "crushed" shadows (not really crushed, check waveform, but strong compression and pulled down to 0-3 IRE range) was an artistic one to achieve a very vibrant, dark and colorful look.
    I honestly would love to work with a Varicam LT instead, or a GH5 with the Varicam sensor and processing, lol...
    A bigger camera would limit me in many situations, but would be a great option for a way bigger budget (with assistance, another operator etc...).

    3 times better wouldn't be the case, some images would profit (way better color science, better DR, better lowlight, no noisereduction nor sharpening etc...) others would be worse (this camera is just big and heavy and would therefore limit my work I guess).
    I didn't have any worries about doing extreme colorgrading on the internal 10 bit GH5 footage, grades like butter without introducing any artifacts. The codec is just great and miles better than my GH4/V-Log experience tbh.
  13. Like
    Kurtisso reacted to deezid in Actually you can make the GH5 look very cinematic!   
    Shot on the GH5 in 3 days. A concept trailer done having a zero budget for our upcoming first feature film.
    I really like what I can squeeze out of the internal 10 bit V-Log footage. DR, lowlight and colors are really good.
    Everything was shot with sharpening and nr set to -5 and a Tiffen Black Pro Mist filter applied in front of the lens (12-35mm 2.8 V1, 20mm 1.7, 42.5mm 1.7) to make it smoother. Colorgrading done in Davinci Resolve. Drone shots by the DJI Mavic (the internal sharpening is hideous tbh...).
     
  14. Like
    Kurtisso reacted to Ed_David in Two Things I've Learned - Shooting 16mm Glass on the Blackmagic MIcro   
    Shot with the Blackmagic MIcro Cinema Camera with the Angeniuex 12-120mm 16mm lens, a cameflex mount modified to micro 4/3rds.  For color, I brought into Da Vinci resolve and used Filmconvert with a Fuji Eterna film stock and softened it even more to Super16mm softness.  Added a tiny bit of grain and that gave me a great starting point to harken back to a more organic look.
     
    I zoomed in digitally mostly around 20% - and it still was too sharp of an image.
    Why not shoot it anamorphic instead?   Well, I am in love with documentaries of the 60s and 70s like Grey Gardens, etc. And they used this lens I think, and it has a certain feel to it that’s pretty beautiful. 
    Let me know what you guys think of this.
     
  15. Like
    Kurtisso reacted to Ed Andrews in Two Things I've Learned - Shooting 16mm Glass on the Blackmagic MIcro   
    This looks amazing. Really gets that super16 feel.
    I've been shooting a series of docs with bmmcc and zeiss 12-120. Here's one. It comes out a bit sharper than the Angeniuex but still love the whole combo with old s16 glass
     
  16. Like
    Kurtisso got a reaction from saed104 in FS: Century Optics Anamorphic Adapters (1609 and WS13)   
    DS-1609 is sold now too.
  17. Like
    Kurtisso got a reaction from IronFilm in (FT3) Possible Panasonic GH5 firmware update for 20 frames/s in RAW ?   
    Since the full sensor is much bigger than say 4K... Couldn't they crop the sensor to get those last few FPS? Not saying they would be interested in that. Probably would need an ML type hack.
  18. Like
    Kurtisso reacted to saed104 in FS: Century Optics Anamorphic Adapters (1609 and WS13)   
    I'm interested! Reply me via PM please.
  19. Like
    Kurtisso got a reaction from Justin Bacle in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    A couple related things. I'm looking to go back to school next year without getting crushed by student loans. I don't get to use this magnificent camera for my work that often, so it's more of a luxury that I'm sure someone else could make much better use of. I've never seen better colours come out of a camera, and guys like Olan Collardy are really putting it to work.
    So yeah, if I had the extra money lying around to keep it I would too!
  20. Like
    Kurtisso got a reaction from PannySVHS in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    A couple related things. I'm looking to go back to school next year without getting crushed by student loans. I don't get to use this magnificent camera for my work that often, so it's more of a luxury that I'm sure someone else could make much better use of. I've never seen better colours come out of a camera, and guys like Olan Collardy are really putting it to work.
    So yeah, if I had the extra money lying around to keep it I would too!
  21. Like
    Kurtisso reacted to Justin Bacle in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    This is just a dream s16 kit ! Way out of my budget but nice to see this available to someone
  22. Like
    Kurtisso reacted to PannySVHS in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    Hey, I don´t want to bother, since I cannot afford this set, but why do you want to sell this beautiful camera? If I had the money I´d buy it
  23. Like
    Kurtisso got a reaction from Justin Bacle in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    Hi all, I am selling my lovely Digital Bolex kit. It took me awhile to put it together and get it ready for the big show, so I would like to send it to a good home. Optimally, I would be able to send both the camera kit and the lens kit together, but I am willing to separate the 2. The Cooke zoom can be separated from the Super Speed prime set, but that prime set cannot be broken apart.
    *Camera Kit*
    Digital Bolex D16 2TB
    Native C-Mount
    Native m4/3 mount
    PL to M4/3 Adapter
    Zeiss CP.2 shims to shim the PL adapter for accurate focus
    Customized Rubber Skin
    Assorted Side Panels (Different Colours)
    Shark Hood Monitor Mirror
    Pistol Grip With Record Trigger
    USB Cord
    XLR - D-tap coiled power cord
    XLR - AC power cord
    Trigger Cover
    *Lens Kit*
    3 Arri B - PL adapters
    Cooke Varokinetal 9-50mm T2.5 Cine Zoom (Covers 16mm sized sensor but can be adapted to s16 size image circle with Abakus adapter --not included but I can point you in the direction to acquire)
    Zeiss S16 Super Speed T1.3 Prime Kit (0.6x Aspheron, 9.5mm, low contrast 12mm with rear optic coating removed to fix excessive cleaning marks, 16mm, 25mm) with vintage metal case.
    If you are in Canada, I might be able to send you 2x 130wh Gold Mount broadcast batteries via ground shipping too. They make that 2TB Bolex an all-day monster.
    Feel free to PM me for any inquiries such as price and condition of items etc...


  24. Like
    Kurtisso got a reaction from cpc in FS: Digital Bolex D16 / Cooke Varokinetal 9-50mm / Zeiss S16 Superspeed kit with Aspheron   
    Hi all, I am selling my lovely Digital Bolex kit. It took me awhile to put it together and get it ready for the big show, so I would like to send it to a good home. Optimally, I would be able to send both the camera kit and the lens kit together, but I am willing to separate the 2. The Cooke zoom can be separated from the Super Speed prime set, but that prime set cannot be broken apart.
    *Camera Kit*
    Digital Bolex D16 2TB
    Native C-Mount
    Native m4/3 mount
    PL to M4/3 Adapter
    Zeiss CP.2 shims to shim the PL adapter for accurate focus
    Customized Rubber Skin
    Assorted Side Panels (Different Colours)
    Shark Hood Monitor Mirror
    Pistol Grip With Record Trigger
    USB Cord
    XLR - D-tap coiled power cord
    XLR - AC power cord
    Trigger Cover
    *Lens Kit*
    3 Arri B - PL adapters
    Cooke Varokinetal 9-50mm T2.5 Cine Zoom (Covers 16mm sized sensor but can be adapted to s16 size image circle with Abakus adapter --not included but I can point you in the direction to acquire)
    Zeiss S16 Super Speed T1.3 Prime Kit (0.6x Aspheron, 9.5mm, low contrast 12mm with rear optic coating removed to fix excessive cleaning marks, 16mm, 25mm) with vintage metal case.
    If you are in Canada, I might be able to send you 2x 130wh Gold Mount broadcast batteries via ground shipping too. They make that 2TB Bolex an all-day monster.
    Feel free to PM me for any inquiries such as price and condition of items etc...


  25. Like
    Kurtisso got a reaction from Ed_David in RAW vs Log - Blackmagic, Sony, Canon   
    This exactly. Shooting RAW actually makes sense for doc approach. Throw in 3:1 compressed raw (for BM or later with slimraw) and you can manage your data pretty easily too. I've been having a bit of fun shooting a few BTS EPK projects lately and it's quite freeing not having to worry about white balance as I'm going from crazy warm lighting in the scene to the director brooding in a dim spot beside a window. I'd rather have those few crucial seconds to concentrate on getting the moment right and figuring out a way to prompt some words or action.
    Hitting that highlight recovery in resolve is instant magic to start. I also think how you are monitoring while you shoot and what mode you are exposing for affects the outcome a lot too. I wouldn't protect the highlights enough if I were to monitor and expose in log. After, when I want to grade in log for the bolex I just run the corresponding input LUT (rec709 to bolex log from Eddie Barton) in Resolve and voila.
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