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Ehetyz last won the day on December 30 2018

Ehetyz had the most liked content!

About Ehetyz

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    Ursa Mini 4,6K, BMCC 2.5K, Canon 5D2, Sony RX10 MK2

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  1. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    Yeah I'm gonna chalk this up as some serious rose-tinted glasses towards those old BMD:s. I'm not saying they're bad but I know I won't touch one with a ten foot pole today - and I used a BMCC almost exclusively for two years. Anything BMCC did the new BMD:s can do - and a lot more. In fact the original color science on the BMCC was kind of a pain in the ass in hindsight. Also consider the fact that you're comparing a camera that's been out for what, five years, with thousands of hours of footage available online, to a brand-new one people are slowly adopting and coming to terms with. Anyways, I'm having fun with my P4K and have already used it on ten or so commercial shoots. On gimbal, as a B-cam for stealing quick shots, and even as a broadcast cam on a christmas cooking show live stream - was able to match it perfectly to the URSA with my own custom LUT and it ran flawlessly through the show.
  2. Not sure about the RAW controls on the Lite version, I've been using the paid/Studio version since 2014 or so. This one was made back when I used premade LUT:s pretty heavily, I think in this one I used a Visioncolor Osiris LUT, either KDX or Vision 4. In addition to the LUT I added a manual soft clip on overexposures and separated the skintones and gave them a warmer look than the rest of the image. I think there was a denoise on the first node as well, at a strength of 2.0. That's my go-to denoise level, on 4K/4.6K RAW footage it removes distracting noise but retains the detail. Aforementioned method provided a hard-edge, modern look to the footage, but currently I gravitate (in narratives) more towards the early to mid 90's filmlike look with softer details and tones, smooth rolloff, less contrast and more pronounced grain... And lots of haze. Probably because it reminds me of the movies I grew up with - and now it's actually attainable with low budget.
  3. Thank you! Everything was shot in 800ISO, RAW 3:1. As far as exposure goes, the darker exterior scenes were underexposed, while using the flare pushed the whole dynamic range to use. The interiors were exposed "correctly" (I've later picked up a habit of exposing one stop to the right on the UM4.6K). I pulled down the shadows a bit in post. Funny thing about matching BMD cameras, the newest Resolve has an option to conform them into BM Color science 4, which has huge benefits. Not only does it make matching them a breeze (I've been grading a feature we shot with two cameras rolling throughout, URSA and BMCC2.5K), but it also alleviates some problems the previous color sciences have (Poor color distribution on BMCC, magenta tint on skintones on URSA). Saved me countless hours on mixing and matching the two cameras.
  4. Thanks! I'm lucky to work with some very talented individuals. It wouldn't be what it is without the great FX/wardrobe/prop people.They bring my crazy ideas to life.
  5. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    4.6K has worse low light (usable range maxes out at 800ISO) and is heavier (translates to requiring heavier rigs and tripods) but OTOH it also has hugely better ergonomics (you can actually shoot handheld/shouldered like an ENG camera), better sensor in many ways (bigger, higher res for oversampling, more DR, better color) more codec choices, better connections for broadcast shooting etc. You can actually use the onboard sound recording as well - if you have quality mics. Been working with one for two years now and while I love the Pocket 4K, Ursa is still the big brother, and Pocket the B-cam.
  6. So I finally put my first Ursa Mini short film up on Youtube. It's a horror short called "Last Line of Defense" and was shot in spring 2017 to serve as a stress-test for the then-new Ursa Mini 4,6K. It's not a test video though, it's a full - if short- short horror film with serious effort put in the filmmaking essentials - from wardrobe to the effects. The main mission here was to put the UM into as extreme lighting situations as possible, so I drew up a story about a border station in some unknown future, where a group of men guard the station against an unknown threat, in the darkness, with only emergency flares to serve as lights. So we were able to experiment extreme contrast scenarios and low light. We shot the short film over a weekend, spending one night in the "border" set in the woods, and another one in the "bunker" set we built in the basement of our studio. The biggest cost in the whole short film were the emergency flares, of which I bought 10, mainly to get enough coverage for the finale - one flare gave us less than a minute of shooting time. This was my first touch with the Ursa Mini, and it's what sold me on the camera. The grade is quite simple by my current standards, but the images we were able to capture in those quite extreme lighting conditions turned out shockingly well. Most of shooting was done handheld with unstabilized lenses (Sigma 18-35 1.8, Samyang 24 1.4 and Pentax Super-Takumar 50 1.4) The forest set was lit with a set of Aputure Amaran led panels and a 4000K 1600 lumen light bulb that were all cast through a large diffuser, and the interior set used mostly a mix of small tungsten practicals and available sunlight. Once again, the worst bottleneck for the image quality ends up being the Youtube compression. Hope you enjoy the short, and feedback is very much appreciated
  7. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    I've considered that but haven't bought them yet. I should probably give it a try.
  8. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    There's a couple of projects I've done with that lens and P4K/Ursa but they're not available online yet. Here's one where I used almost exclusively lenses with distinctive bokeh, however it was shot on the BMCC2.5K and 5DMK2 (ML RAW). In this one I used the aforementioned lens, Super-Takumar 50/1.4 and a Petzval 85/2.3 to max out the old film noir kind of feel.
  9. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    I picked up the one that was most readily available from local dealers, which was the Zhongyi lens turbo 2. It's an EF speedbooster and I just have simple M42-EF adapters on my M42 lenses (those adapters cost like 5-10 euros a piece). I think the lens turbo does a boost of 0,74x or something like that, essentially turning it into a Super35 crop. I found it to be optically good enough to mount a Samyang 24/1.4 or a Sigma 18-35 1.8 without noticable aberrations or degradation. I haven't seen any need for an IR filter at least so far - though so far I haven't used it in really extreme circumstances (ND+heavy sunlight) - it's the period of polar night after all. In any case, I think these new blackmagics are way better about IR pollution than the 2,5K. I use a Zhiyun Crane 2 currently. It's... okay. The first setup was a doozy, but it carries the P4K well. Requires a baseplate though due to how wide the camera is. It's the first gimbal I've owned and takes some getting used to. Definitely different beast than an oldschool steadicam, but way more pleasant to use than a full-size Ronin. Not 100% happy with my gimbal skills yet but I'll get there eventually.
  10. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    Pairing the Pocket 4K with some good vintage glass is pretty blissful. There's been a lot of talk about how it looks more digital and modern than the previous BMD cameras - and yeah sure, I guess it's not as organic and grainy as the 2,5K. But throw on some c-mount glass or a speedbooster and old Pentax stuff and the camera sings. Haven't used it with this kind of setup on a production yet, (it's playing second fiddle to the Ursa Mini and been on a gimbal on about half a dozen shoots now) but I'm just having a lot of fun taking it on a walk and just taking some throwaway nature shots. It's something I used to do back when I used the 5DMK2 regularly, and I'm happy it has revitalized that habit again. This was taken with the speedbooster and a Pentax 35/2.3 M42 lens on a cool winter afternoon. One of my favourites due to the very distinctive, oil painting-kinda way it renders out of focus areas and the transition between them and in-focus areas.
  11. Thank you for the kind words! I think the Ursa Mini is the first camera I've had in a long time that I genuinely like and respect without a huge string of caveats. It's a great workhorse. I'm trying my hardest not to sound like a shill but it's such a breath of fresh air to have a camera that's not gimped in one way or another.
  12. Ehetyz

    any gimbalists out there?

    I might be missing something here but you can adjust the settings of Crane 2 on the PC application. It gives you control over movement speed, deadzone, smoothness etc.
  13. Ehetyz

    Blackmagic Pocket Cinema Camera 4K

    I just picked one of these up to serve as a b-cam/gimbal cam alongside my Ursa Mini and ran the first tests with it. First impressions; it's a beast. The ergonomics are spot on and as a former 5D2 user I feel right at home with it. The UI is essentially the same as in the Ursa Mini which is nice. And coming from the Ursa, and BMCC2,5K before that, the low light capabilities... they're just like, damn. I just want to go all run 'n gun and shoot my next short with all natural light. I ran a test on how far I could push it while still getting a clean image - ended up fitting it with a speedbooster and a Pentax SMC 50/1.2. I was able to ETTR at 50fps in city areas, and shoot comfortably in even extremely dim locations. In fact, I had to stop down/up the shutter speed on several occasions. The image wasn't 100% clean though - I'm assuming it's like in the previous BMD products, in that noise reduction is only applied in prores. I shot RAW so I had to do some cleaning up in Resolve (a process I've accustomed to with previous BMD products mind you - but in ISO 800 in their case), but the image did clean up very nicely and retained all the detail. It's probably the first time I'm seeing an actual cinema grade camera do low light this well. I felt that I could use a reflector to bounce the available light and the camera would actually pick it up. Attached two snaps from my short walk with the camera. Not very cinematic - but rather tests on how much data I could get from available nightime light. Quite a bit, even in indirect light, as evidenced by the second picture.
  14. Thanks! I actually haven't tried working with H.265 at all, I'll give that a go.
  15. Here's a new music video I directed, shot, graded and edited recently, for the Finnish punk/thrash metal band RiESA (Loosely translates to Burden). It's in Finnish, but I find it quite interesting even if you're not well versed in Finno-ugric languages. Their new album is a concept album, depicting a protectivist, totalitarian state controlled by a single dictator, and led by fear and propaganda. This gave us a nice opportunity to play with some 1984-like imagery and I'm quite happy with the end result. We did the video in essentially two days, with one day spent building the sets (the whole thing was shot in a basement of a local office) and one day of shoot. The interrogation room was mostly lit with practicals, with fluorescent tubes on the background and some IKEA spotlights lighting the posters. Only cinema lights used were two Aputure LED panels with diffusers used as fill lights. The jail cell was lit with one overhead 300W Fresnel and a 650W fresnel right outside the door to give us some heavy volumetric light. The propaganda scene was done simply with a home theatre video projector playing a video loop I prepared beforehand. I shot the whole video using modern EF lenses but with a Cokin P Pastel filter. It's one of my favourite diffusion filters as it gives a gorgeous bloom effect on light sources without eating too much into microcontrast or fine detail. You can see this if you watch the video in 4K, some of the skin detail is pretty astounding imho. And, not to sound like a Blackmagic fanboy, but I have to say the Ursa Mini delivered in spades, again. It's a fine workhorse. Visually the biggest downside is the youtube compression, which introduces banding, even here where the original image has some added film grain. Any feedback would be greatly appreciated, and if you guys have any questions about the production I'm happy to elaborate