funkyou86

Had some footage left in a mag from another project, so I walked down to the river behind my house and used it up:
 

This is great!

Hey, so I had the Lumix S1 and the P4K for a while and this project was great to test it. I love the image coming out from the S1 (shot everything to V-Log, 10bit), but the BMDraw held up so much better in the grading process. I believe we shot everything to 8:1 RAW, 60fps than conformed it to 24.
All the band performances and non-slowmo stuff was shot with the S1 + Samyang VDSLR lenses, mostly 50mm, wide open at T1.5. All speedramped stuff was shot with the P4K.
The ligting setup was fairly simple:
Band performance: 2x Photo-R COB lights with softboxes + backlight
Jury: Aputuer 300D + Lightdome + backlights
Stage performances: 300D + fresnel (which I regret now a bit, maybe a softer light would be much better) + 2800K rimlights.
We also used prisms to add some sweetness and surreal feel to the image. 
The whole video was shot in one place, in maybe 14 hours with a crew of 4 people (dir, dp, 1st ac, grip).
I edited everything in Premiere Pro than spent weeks and months to grade it with lumetri. By the time I got familiar with resolve, so I exported everything to Resolve and graded it in maybe 2 days. Still not perfect, but still better than what I've got from premiere. 
Anyways, let me know what you think  Don't get confused with the multilingual intro, turn on the subtitles please (we did everything to do a proper translation 😄 ). Cheers!
 

Oh! What a great idea! Thank you  TBH, i was so focused on shotmatching, i did not realised these mistakes. 
We shot everything on the native ISOs, yet still a huge amount of noise were present which was very noticeable after the heavy grading, so I had to denoise it, than the image become mushy and very soft. I added some 35mm filmgrain to highlights and midtones but maybe I should add even more. The s1 footage really hates the denoiser and sharpening, the p4k was kind of okay with it. 
Thanks for y'all comments  I'm grateful for your feedback. 

nailed it!  congrats

Congrats!
This is a solid piece.
I really liked the tune and I think the visuals matched it very well.
Kudos for being able to uphold it for over 5 minutes without making it repetitive and boring. Cross-cutting definitely helped.
Regarding lighting: in my opinion it's on point, wouldn't change anything myself.
Stage lighting might be quite harsh, but this makes it believable and solid.
Grading looks awesome. Beautifully enhances your set production.
Though I noticed some small issues with clipped colors, like those blue blobs and pink highlights:

You mentioned using Resolve, so I can wholeheartedly recommend adding a node at the end with 'Gamut Limiter' Effect (it's a built-in effect). It should fix it.
Another thing that didn't quite match my taste was overall sharpness.
The footage looks like you added a tiny bit too much digital sharpening to it. It's especially visible during the opening shot in the plastic wrap you used to secure the mic boom.
IMHO, a soft look would nicely complement the tone you set.
 
Once again: great work and thanks for sharing!

Hey, so I had the Lumix S1 and the P4K for a while and this project was great to test it. I love the image coming out from the S1 (shot everything to V-Log, 10bit), but the BMDraw held up so much better in the grading process. I believe we shot everything to 8:1 RAW, 60fps than conformed it to 24.
All the band performances and non-slowmo stuff was shot with the S1 + Samyang VDSLR lenses, mostly 50mm, wide open at T1.5. All speedramped stuff was shot with the P4K.
The ligting setup was fairly simple:
Band performance: 2x Photo-R COB lights with softboxes + backlight
Jury: Aputuer 300D + Lightdome + backlights
Stage performances: 300D + fresnel (which I regret now a bit, maybe a softer light would be much better) + 2800K rimlights.
We also used prisms to add some sweetness and surreal feel to the image. 
The whole video was shot in one place, in maybe 14 hours with a crew of 4 people (dir, dp, 1st ac, grip).
I edited everything in Premiere Pro than spent weeks and months to grade it with lumetri. By the time I got familiar with resolve, so I exported everything to Resolve and graded it in maybe 2 days. Still not perfect, but still better than what I've got from premiere. 
Anyways, let me know what you think  Don't get confused with the multilingual intro, turn on the subtitles please (we did everything to do a proper translation 😄 ). Cheers!
 

Because sensorship is in place
Any negative post will be deemed unprofessional and will be removed, only the glorious post remain.
 

Terrible promos. Who asks for this?

Looking at recent posts objectively, it is always the same users who end a perfectly good discussion on this forum with toxic bullshit.
I am coming after you.
It is a cull.
It isn't about politics.
It's about values!
To protect a community I love... I have no choice.
To be clear, it is none of my business which way you vote. What matters is behaviour, character, values.
If you've been a good contributor here and kind to people you get to stay.
If not, then you are going to be asked to leave and I will pursue people who return under a different name.
This is purely because there are now far too many posts being trashed and too much arguing driven by people with the wrong values which I despise.
I am going to use this week to draw up a list of people who strongly align themselves with Trump's politics of America First.
And I will be getting rid of the lot of you.
Yes you can say it's a political purge but I prefer to think of it as purely about values and about protecting users who DO contribute positively to the forum.
If these idiots are allowed to get away with bringing Trump idolising bullshit into this community then all our work will be for nothing and Russia with their fake-user farms will have won too, because I am 99% sure at least a few of the idiots are completely made-up shill users whose role is to divide us politically and weaken our online communities.
At a time when we must pull together as a camera-community, as filmmaking industry, even as a country, indeed as a world - to get through tough economic times ahead - dumb arguments which ignore factual data are a waste of time.
What has happened to the world in recent weeks is stressful enough and I personally do not need to hear from certain people in every thread. I will not be providing a platform for Red cap wearing idiots who haven't contributed a single shot or image to this forum.
I get that EOSHD has a big US readership, in fact the US contribution to my site is the largest in the world and I want to keep as many of you as possible and not lose any friends who just happen to disagree with me on politics.
But if you are going to be a shill for Trump's politics or somebody who is a complete shit-stirrer and troll, then I will no longer be turning a blind eye to it and the cull starts now...
Have fun on your way out.

@Andrew Reid Instead of creating a list and banning people who don't have the same behavior, characters, and values as you.....how about you have a blanket ban against all political discussion?

Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
The PowerGrade
At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
The LUTs
Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
Comparisons
Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.

This happens because of different file systems, if you format your sd cards in the camera it won't happen. At least I'm good since last june.
Anyways, I'm getting a fuji as a company for my S1 & BMPCC  

Here's my take  

Yup S1H is the worst when it comes to autofocus i wished Panasonic did something about it since on GH5s it was flawless single point autofocus was dream come true but not so much on S1H😪
Now am learning to shoot manual 

I've said it time and time again. Lens and lighting make shit look Hollywood, camera choice is basically just the film stock. 

Seems people like pairing their S1H with Leica-R lenses... and I'm one of them! I'm shooting a short doc on my brother about his comic book, "I Am Not Okay With This", as it's currently being adapted into a series for Netflix. This will be the second time he's had a comic book adapted into a series. The first was "The End of the F*cking World" which did well, however, he told me that people would see him signing copies of the original comic at cons, and accuse him of "ripping off the show". So this time, i wanted to help raise his profile a bit when "I Am Not Okay With This" is released, and it gives me something to flex my creative muscles on. Anyway, some sample stills... Panasonic S1H, Leica Summicron-R 35mm, 50mm, & 90mm. Not a final grade -- just wanted to get some images out.

V-log is great. I shot around 30 greenscreen videos with my GH5, here are some. Just make sure that the chroma is evenly lit.

Sure, Resolve CST is a whitepaper transform, according to the manufacturer spec for the formats. EC is a measured LogC under sunlight and halogen. EC has a unique 709 display component that maintains full gamut (exceeding Arri 709).
P4K CST LogC+Arri 709:

P4K EC 709:

Hey Sage, might be a stupid question but how is your lut different from resolves color space transform plugin? I can see that you put enormous work and resource to this project and I pretty much love it, i'd just like to know if the final results are different or not  Thanks a lot, cheers! 

Download the v-log footage from my blog and try it out for yourself: https://blog.presstige.sk/post/187207698230/bmpcc-4k-raw-vs-panasonic-s1-v-log-i-just-did-a
(it was shot with the old FW)

Here's a little video that I put together for those green chair shots.
 

See for yourself, download the samples from my blog: https://blog.presstige.sk/post/187207698230/bmpcc-4k-raw-vs-panasonic-s1-v-log-i-just-did-a
After three months of shooting with the BMPCC and the S1 I would pick the S1 over the pocket any day. I'm not saying that the pocket is a worse camera, but the S1 really got the edge with the slightly better dynamic range and usability. I don't own an S1H but I suppose it's almost the same when it comes to 4K 10bit. Bottom line: no bashing here, i love both cameras

This whole discussion is absurd. Why do we need Netflix to determine the value of a camera based on some unknown and abstruse criteria. The whole thing is speculation. Make up your OWN MIND by looking and testing the images. 10 bit is still 10 bit though.  The traditional Japanese companies won't give you internal raw, and that's why most people will pick the blackmagic at half the price. If you pick a camera based on what Netflix says, you are in a dream land, and to suggest it is some arbiter of quality is even more fanciful - cause no one here can say what the criteria is. Not to mention that some of the best cameras ever made aren't on the list. 

Damn, that SDI almost doubles it's price. I've got mine (HDMI only) for 220euros from Aliexpress. I also shot with the SDI version and it's pretty solid. The image is bright even in sunlight, you can load luts and the IQ is very nice. But do not buy the claymore wireless, for 600 euros it's a bummer. Works very badly and you have to walk next to the camera to get the image from the transmitter.