spinkscapes

Really enjoying some Contax Zeiss on my two NX's.

Particularly the CZ 100mm f/2.0 gives a punchy, lovely image.

If you are using an anamorphic on this camera are you able to use the Atomos Ninja Inferno to output 10-bit 6K (4:3) or do you have to use another recorder.

So relevant to a cinematography forum.

On 1/31/2017 at 4:10 AM, ricardo_sousa11 said:

Heres my latest entries :
 

 

This last one is still private, its only due next week, but since this is a specialty forum, there should be no harm. Everything shot on the NX1+16-50s 2.8, and graded with my own Vellichor luts, available for purchase here if any of you wants to have a look - https://sellfy.com/p/HNAk/

Hope you guys enjoy :D

Actually used your Lisbon LUT for my wedding video.

4 hours ago, Kisaha said:

@MonGe El GenioMusical there is a huge continuity mistake around 3:50, she takes off her bra, but then in the next shot inside the cabin the bra is still on.  

You'd be good at Cinema Sins.

I really like the look of the old Hawk V-Lite Vintage '74 anamorphics on The Hundred-Foot Journey.

In my opinion this is Linus Sandgren's best work as a cinematographer.

Couple of BM Micro shots in there, but mostly NX1:

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Doubt it. A gimbal will still be essential for sweeping and moderate moving shots.

The combo of gimbal and a powerful IBIS will be excellent.

So what do you suggest? Do I need to learn Davinci Resolve?

18 minutes ago, kaylee said:

if you dont mind me asking, how so?

Best auto-focus I've used and it makes a difference when shooting with my 85mm f/1.2L II.

The 5D mkIV is hands down the best stills camera I've used. And I've previously worked with the Pentax 645Z.
On that basis alone I can't vote for it.

I shoot with a formatt hitech 1.2 on the Contax Zeiss 35-70mm f/3.4.

Generally for most wide aperture lenses on a camera that I can shoot at ISO 100 I find that 0.9 - 1.2 is the sweet spot (for instance I use a formatt hitech 1.2 with my Samsung NX1 + Samyang 85mm f/1.4 if I want to shoot with it wide open outside). Even then it can be slightly too hot depending on the strength of the light.

I found that there was often a disconnect between the singing/dance scenes and the real life issues that the characters were facing n La La Land.
I understand that this was intentional, however,I found the surrealism jarring, at times.

I guess I couldn't help but compare it to Sing Street as they are both loosely in the "musical" genre.
And in the end I thought Sing Street executed its transition to musical numbers better and the themes of the characters were more insistent and poignant.
But each to their own and I'm sure that there will be those who disagree with my assessment.

The conclusion of La La Land was perfect though.

Saw La La Land. Good, not great.

The stand out movie for me this year was Sing Street.

Doubt it will receive the praise it deserves though.

Yep, a simple brightness and contract adjustment in Premiere Pro renders the videos very usable again. Thanks for the tips guys.

Krysty Reading 3.mp4

Hi guys,

I've attached one frame for you to play with.
Let me know what you suggest.

CAM1_2016-11-22_0458_C0111_000144.dng

I'm after a solution for a problem I had at a wedding on Saturday.

I shot with the Micro (my third wedding with this camera, no issues in the first two) and used the Small HD 501 to monitor (my first wedding with that).
The Micro was set to uncompressed RAW, film and ISO 800 all day.

During the day the image on the monitor was excellent and gloriously flat.
However, when I import the DNG's into Premiere Pro the footage is over-exposed and definitely not flat.

Please see the comparison below. The first is the image directly out of Premiere Pro CC 2015.4. The second is off the Small HD when I inserted the SD card back into it to check my image. No Look was applied on the Small HD but just to be sure I connected up the Zacuto Gratical HD and got the same flat image.

I would love some help with this aberration as much of the footage in it's un-RAW, over-exposed state is unusable.