thebrothersthre3

Hey Sage what do you do to achieve the highlight roll off seen in your lut? Say if I am using adobe premiere? Is it a curve adjustment? 

Its making me want to get a Pocket 4k really bad haha, or an URSA mini for that matter. 

Definitely noticeable with that crop. Though still an amazing option. I had the chance to use the Pocket 4k today, having a 12:1 option is amazing. 

4 hours ago, Emanuel said:

You should include CinemaDNG as well.

 

 

1 hour ago, graphicnatured said:

It's funny the same people who complain about detail loss say the 4k image is too sharp. I'm not one to pixel peep everything I shoot, but I'm not noticing a massive difference from DNG to BRAW on mine. If it's there it surely isn't enough to be of any concern. Not even with green screen, at least in my use.

I'd imagine 12 bit is going to be plenty for greenscreen regardless. 

I don't really get the complaints on sharpness. As long as its not in camera sharpening (aka GH5) which its not, how could it be a bad thing. The complaints I have heard were about noise reduction.

6 hours ago, jgharding said:

Yeah why not? The FS5 colour isn't up to much and I find the whole thing looks a bit sterile.

You can stick the pocket 4K in a bag and go shooting wherever.

Obviously that bag will also need forty-five batteries in it

Gotta get a good external battery rig going. 

51 minutes ago, kye said:

I think this conversation should be had when looking at the exported finished film. Depending on what the delivery mechanism is the differences between uncompressed raw and braw are likely to be completely obliterated unless there is a heavy grade or a very high quality master file.

Depends how picky one is as well. 

1 hour ago, stefanocps said:

buying bmpcc is nearly impossibile right now, so better go elsewhere

I am assuming he means the original camera which can be found used online for cheap.

So with Black Magic doing away with Cinema DNG on the Pocket 4k, the original Pocket camera is still the smallest camera to do lossless RAW recording. Interesting development. I've heard of detail loss with BM RAW, though with 3:1 compression I am not sure how much of a difference there is. The newer sensor and 4k abilities as well as high speed abilities still brush the OG pocket. Still tho 

thats not counting the Magic lantern stuff(which is still relevant of course).

That last shot?

6 hours ago, stefanocps said:

there is something i notice. In  many of the videomakers forums, fuji looks like being mostly ignored, i don t see iscussions, excitment, ecc about this fuji, and i wonder why. They keep talking panasonic, sony, new nikon ecc..but very little xt3

Panasonic has a long reputation now of being a camera for video, since the GH2 days. Fuji kind of just jumped into the game with the XT3. It just doesn't have the following Canon, Sony and Panasonic have yet.

You can't go wrong with either camera man. Pretty much the Panasonic will win in terms of having no record limit and IBIS. Fuji wins in terms of ISO performance, auto focus, color, resolution, and higher frame rates(better quality higher frame rates). It also comes down to if you have a preference towards M43 or APSC(maybe you have a lot of m43 lenses or simply like the versatility of them).

https://www.fujirumors.com/fujifilm-managers-qa-canon-is-wrong-full-frame-only-1-3-of-market-x-t3-sold-40-better-than-x-t2-fast-lenses-for-gfx-and-more/?fbclid=IwAR2M1OdZ_BLDxJ3FA9qNpA406_aOhj1pBMjundXezW56nxwc1Q6rJnn3vP8

 

I hope this means they will continue to focus on innovating their APSC cameras. Still very happy with my XT3 purchase from last fall.

I like how small my Nikon 1.8 is compared the samyang or rokininon 85mm.

I had a chance to use some Sigma cine lenses on a shoot today, 14mm 1.8, 24mm 1.4, 50mm 1.4, and 135mm 1.4. Really heavy but beautiful glass.

Looks nice. The 8k sensor should yield a very nice internal 4k image. Wonder what the low light capabilities are. 

How long do the grip batteries last?

also what happened?

Log tends to be nosier in general. If you are not feeling the need I don't see a reason to upgrade. You get a bit more dynamic range. Though HLG has the same amount of DR as Vlog. What issues do you have grading it?

I'd say the FS5 is definitely more convenient to shoot with being that it has internal ND's and low bitrate codec.  If you don't mind rigging though the Pocket 4k is pretty unbeatable. Higher frame rates in 4k, internal RAW and prores. ISO performance is probably on par or better than an FS5. File sizes will be a lot bigger in 4k.

11 minutes ago, kye said:

Open up each still in a browser window and swap back-and-forth and tell me what you see.  List as many differences as you can.  This is actually a great exercise in learning how to see

Yours looks a bit brighter and more saturation in blues.

7 hours ago, Towd said:

I once worked with a really good compositor at a large VFX house who admitted to me once that he was totally colorblind.  His trick was that he just matched everything by reading the code values from his color picker tool and matching the parts of his composite purely from the values he sampled.

I've always remembered that when I feel I can't trust my eyes, or something is not working for me.  You can color grade just by making sure everything is neutral and balanced.  Later, as you become more comfortable with the process and gain more experience you can start creating looks or an affected grade.

Generally to start you want to get your white balance correct.  Find something in your shot that you know should be neutral or white.  A wall, a t-shirt, a piece of paper, or anything else that should be white or gray.  After that, check your blacks and make sure they are neutral, then double check your whites.  Finally, check your skin tones and make sure they are correct.  You can do this by using the vectorscope and just getting them on the skin tone line.  Somewhere in this process you'll want to set your exposure.  I generally just make a rough exposure adjustment at the beginning so I can see everything, then dial it in once my balance is set.

One thing I do a lot when studying how a film I like is graded is to take screen captures from a Netflix stream or other source and pull them into a project to compare the color values on it.  Then you'll have a roadmap for for what you are trying to match.  

Good technical advice, certainly encouraging. I do usually use a vectorscope when I think the skin may be off. Though when I want to go creative I feel completely lost.

 

34 minutes ago, kye said:

In addition to @Towd's good advice, I'd suggest bookmarking the demo videos from the big cameras as colour reference standards.  eg, the video from ARRI for the LF, the Canon C300, some of the Sony ones, Panasonic EVO, etc.

Seems like a good idea. 

Kye, tried to match to your shot. Let me know how bad I did haha

5 hours ago, kye said:

A trick in grading you can do to 'see better' is to add a contrast/saturation effect at the very end to both shots.  

I'd suggest:

• Start with normal settings and get the right colour space transformation
• Sat=0 and just match the overall contrast and gamma curve
• Sat=0 with added contrast to fine-tune the gamma adjustments
• Sat=150-200% with normal contrast to exaggerate the colours and match the WB, saturation of various hues, and any tints to shadows / highlights
• back to normal sat and contrast and play the "what looks different' game

In a sense, a lot of grading to match things is just looking for what looks wrong and then fixing it and keeping on doing it until it's good enough.  The other part of grading is looking for what might make the image better (whatever that means for the project) and just trying things and when you find something that improves it then just dial in the strength of it and then look for the next thing.

Sounds like a good workflow. My bigger issue is just not really knowing what proper color looks like to judge skintone or really anything in the shot. 

1 hour ago, kye said:

If you want to learn a thing or two, take the original images and then match everyones grades as close as you possibly can.  If you can't work out what someone did, ask them and then try that.  You will learn a bunch about what the knobs all do, but you'll also learn more about what you like and what 'works' according to your eye and preferences.

Yeah I'll try that, a lot of colors look grey to my poorly calibrated eyes.

I'd be tempted if they did a MK2 with a GH5S type sensor. Especially if its got 4k 120p 10 bit like the E2. Something in that form factor with built in ND's would be a killer. Plus their color science seems pretty pleasing. 

Kye I like that B&W look. 



Here is my take. Wanted to bloom the highlights, make it warm looking, added some film grain in too. No idea what I am doing really ?

I'd not get a A6400 only A6500. The only reason to get one is for auto focus as the A6400 auto focus is amazing.

The choice between X-T3 and GH5 is tough there. I'd say the biggest deciding factor is AF. Do you need or or not. If you do its the X-T3. IBIS on the GH5 is great and for certain applications super useful. 

XT-3 has the best IQ, high speed options, great color, great high iso performance(for APSC). Auto focus isn't far behind Sony, but the A6400 is ahead. I sold my GH5 for the XT3 and do not regret it. I miss IBIS a little, but rarely. If I was more into run and gun work the GH5 IBIS might be more unreplaceable. Being able to just bring the camera and get stable shots enables really quick shooting with no setup process. Although lenses with IS kind of do the same thing. I love using vintage lenses so IBIS is great for that. 

The Fuji XT3 plus 18-55m is a great combo. 

I've used the A7III, its not a bad choice. Throw some vintage lenses on there and its not an expensive setup. Sony zoom lenses are on the heavy bulky side. The IQ out of the Sony is not great, lots of NR artifacts at high ISO's. Though if you aren't a pixel peeper its a really versatile camera. I've heard people getting good results with HLG(less banding) as well as Sony Venice luts.