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  1. @Wild Ranger looks awesome man, nice work! Gives me Robert Eggers vibes.
  2. The funny thing is, the bigger budget shoots I have been on, getting to use larger, nicer cinema cams, I usually also have a whole team of art design, beautiful set dec, gaffers and grip lighting everything so nicely, photogenic pro talent, hmu artists... By the time I get around to hitting the red button everything already looks incredible. Lighting is dialed, everything pre-planned, I don't really feel like I need the DR and flexibility of the high-end cine gear because it already looks incredible in-camera, and still would with much cheaper gear. Contrast that with lower budget, run-and-gun stuff, that's when I'm going to potentially miss white balance or not be lighting as well and having to push the camera harder. My point being, it's kind of ironic that on higher end work everything is so dialed in around the camera that raw, extreme DR, amazing color science, etc., is kind of a moot point, and it's on low budget work that I often really wish I could have that level of quality and flexibility to make up for other areas that are lacking.
  3. I'm as obsessed with the Alexa look as just about anyone. I had a major shoot on Friday, I was toying with renting the Amira, as it is very affordable in my area. I don't have a lot of experience actually using it though, so ultimately, despite having plenty of budget available to rent a big boy camera, I decided to just shoot it on my tried-and-true S1. I didn't even use pro res raw, just regular 5.9k internal hevc. I monitor using the GHAlex LUT on my ninja v, so I can nail the look "in-camera" before I grade. I think it's pretty dang close. This screengrab has zero adjustments or color alterations besides just dropping on the lut. If I can get 95% of the way there, and have higher resolution to boot, at the cost of maybe a stop or so of extreme highlight retention in certain situations, I think it really starts to be hard to justify, beyond just impressing clients and feeling super cool and hollywood.
  4. I shot on the NX1/NX500 as my primary cameras from 2014-2019, before I moved onto an S1/GH5 combo which I'm still happily using currently. I couldn't care less about autofocus (I primarily shoot vintage contax zeiss or anamorphic) so the S1 is an excellent successor to the NX1 for my needs, especially after it's semi-recent updates of 6k internal, pro res raw, output, etc. I still love the NX1 and I don't think I'll ever sell it, but while it still has an incredibly detailed image, as amazing as it was back in 2014, no 10-bit modes, no 4k60, no IBIS, no log profile, really strong rolling shutter in 4k, and low light falling off a cliff above 800 ISO all keep it on the shelf for me most of the time these days compared to the S1, which is exceedingly strong in all of those areas.
  5. Ehh, if you've got it in the image, it's pretty much there to stay. Here's an example I shot yesterday (pardon the dull framing and boring image, I had like 5 min to set this shot up and was running very close to a deadline) But this is a 6k image, downscaled to 4k, shot anamorphic, so already quite soft, plus additional filtration (hollywood blackmagic 1/4). But with all that, notice the speaker grill of the computer next to the talent. Moire City. It honestly doesn't bother me very much, i just wanted to point out that basically, if it shows up on camera, short of masking it out and fixing it it in photoshop, etc., it's probably still going to be in the final image. Edit: Looks like my framegrab is a bit darker than my in my edit software, it's much more noticeable there than shown here.
  6. It's certainly far noisier than the in-camera codecs, that's for sure. But most of the time I'm lowering the ISO in post quite a bit anyway, and I actually quite like the textured, much more organic feel, at least for certain projects. It feels like there's an added depth and thickness to the images that I'm a fan of.
  7. That's my go-to set-up for b-roll right now, I've been shooting everything ProRes Raw and then using the emotive color lut. It's actually super nice, because instead of using the exposure compensation tools from Sage like I used to do, I can just use the ISO controls instead and control the exposure that way. One thing you have to watch out for is that Final Cut automatically adds a LUT onto the pro Res raw footage right out of the gate, which you have to disable in that same settings menu, otherwise you'll be putting a LUT on top of a LUT and get hideous results. --- And for what it's worth, to everyone complaining about the monitors being too bulky, I hate shooting with cages, rails, and bulky rigs too, and for me the ninja v on the hot shoe is totally manageable as a fast, easy run and gun set-up, I don't mind it at all.
  8. That'd be an awesome update for the S1. I've been shooting lots of Pro Res Raw over the last couple weeks and have been really enjoying it, Braw would be the icing on the cake for resolve users. I bought the S1 right after it came out, and it has been so amazing to see the update support Panny has given it.
  9. Thanks! It really is worth buying, skin tones just seem to get such a nice, beautiful separation, color-wise, from the rest of the image, and I like the way saturation is handled throughout the exposure range. All of the shots I shared were shot on the S1, a mix of internal 10-bit VLOG 4k60, 24, open-gate 6k, and the shots of the dude are all ProRes raw from the ninja v.
  10. Thanks Sage! What I do to simplify the workflow in FCP is to add the full stack of pre and post LUTs that I need, make sure they're all in the proper order just once, and then I simply save the whole thing as a custom effects preset, so that I can just drop my single "S1 Alexa 24p" effect onto a clip and it's 95% of the way there. Definitely makes it much easier to use, and I've also been able to share this effects preset file with my assistant editors when they're handling my footage, so that I don't even have to try and explain the order or have to make them read your explainer pdf. As for the anamorphics, all of the shots I shared above were with the aivascope 1.5x (amber flare version) and contax zeiss taking lenses.
  11. @Sage I'm still absolutely loving this LUT, and it just keeps getting better and better! I use it for pretty much every single project I shoot, S1 for A-cam and GH5 for b-cam, but lately, combined with anamorphic and pro res raw, it has felt extra tasty. I just love what it does to greens, especially. These screenshots are some standouts from the past couple weeks. Thanks for all your hard work! I recommend your Alexa LUT to all my lumix-shooting friends 👌🏻
  12. @kyethanks for the feedback! I'm definitely not trying to aim any future content toward beginners, really. There's enough of it out there already. And thanks for the story-based idea, in a future episode I've planned to talk about how I approach an interview with the edit already in mind, what sorts of questions — in my experience — often elicit the best responses, and I would like to do an editing episode as well, as far as how I approach the whittling-down process and find a hopefully clear arc of beginning, middle, and end, I think a lot of that stuff can be a little mysterious for a lot of people. Also, I watched your little death star video, definitely made me chuckle.
  13. @UncleBobsPhotographyyeah I was going back and forth about whether or not I should use music, I'm so used to always adding it to client testimonials and marketing spots in my professional work but it feel a little unnecessary for YouTube. Thanks for the feedback!
  14. @Mark Romero 2 That's a great tip, thank you! Better than what I was trying, leaning an overstuffed pillow in my chair with a focus chart taped to it lol. But yes, you nailed the sound issues, and I agree, in hindsight the music is a little much, and my air conditioner was super loud and wouldn't turn off... but I knew if I didn't just sit down and record the thing, right then and there, while my inspiration and motivation were aligned, I probably wouldn't have done it at all. Thanks for the feedback, and for watching!
  15. @zerocool22 You should definitely share it when you get it going, I'd love to glean some of that wisdom (I mean, who wouldn't!) I've got 10 years to do it! 😬
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