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andy lee

PANASONIC G7 ATOMOS NINJA ASSASSIN 4K

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Ginirigs.net has all their cool cages and stuff , the follow focus is great and the slider is superb too , I have tbe grab handle offset always as it gets in the way when I line up shots if its in the centre , plus it overhangs the lens if you want to get in there and focus by hand , its just there to lift the rig on and off the legs  , thats all it does so off set works for me

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs
On March 1, 2016 at 7:41 PM, AlexTrinder96 said:

Hi Andy, does the screen go blank while recording on the g7 or does it continue to display? Really would like this for uni (and can get a good deal on it). 

I second this question, any word??

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On 2/28/2016 at 7:07 PM, andy lee said:

it is alot cleaner in low light - the blacks are stunningly clean, cleaner than the Red Epic we tested it against, image looks very similar to the Arri Alexa we tested it against - there is hardly anything in it !! amazing camera from Panasonic   , the G7 camera lets you shoot in the shadows very cleanly in very low light. I am using 4 Panasonic G7 cameras for the new Pandora feature film I am DOP on , Panasonic have partnered up with us for this movie and we are working together to show how good the G7 is a film making tool. I am using Metabones XL Speedboosters on all the cameras, Brian Caldwell and Metabones have kindly supplied them for us to use in Nikon and EF mount . We are using these with Atomos Ninja Assassins and all the rigs for the movie are supplied by Gini Rigs , I will post some pics of these rigs soon.

Andy it's not fair that you're sitting on this huge pile of information, and not sharing it via Screenshots and Edit Examples.

I am sure you can convince the producers to share some nice videos and screenshots, especially where color correction and grading is concerned. 

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4 hours ago, Ricardo Constantino said:

I can't seem to find the answer to this. I have a GH3 and I just need this answered to buy a G7 like tomorrow. 

Regarding 1080p video, how does the G7 stacks against the GH3? (mainly for slow-motion shots everything else would be 4K recorded)

 

Slightly less rolling shutter, nicer colors, no more moire. Otherwise, pretty identical.

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14 hours ago, sanveer said:

Andy it's not fair that you're sitting on this huge pile of information, and not sharing it via Screenshots and Edit Examples.

I am sure you can convince the producers to share some nice videos and screenshots, especially where color correction and grading is concerned. 

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when .

So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool

 

 

Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

craig 1.jpg

jamie 2.jpg

rozalla-3.jpg

sean-1.jpg

tawney-1.jpg

tawney sophia-5.jpg

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1 minute ago, andy lee said:

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when .

So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool

 

 

Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

craig 1.jpg

jamie 2.jpg

rozalla-3.jpg

sean-1.jpg

tawney-1.jpg

tawney sophia-5.jpg

How much saturation do you have to boost in post with your flat settings? I have been testing flat lately, and I have found that once you bring the contrast back in, a lot of the color comes back as well. My most recent test, I was messing with the vector tool in Color Finale, so I ended up bring in too much blue in the sky, but for the most part contrast brings back most of the color. Have you found the same?

Btw, the screen grabs look great!!!

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Im shooting 16:9 and extracting 2.40 in post - framing for 2.40 in camera using the guide line and tape on the rear screen .

44 minutes ago, mercer said:

How much saturation do you have to boost in post with your flat settings? I have been testing flat lately, and I have found that once you bring the contrast back in, a lot of the color comes back as well. My most recent test, I was messing with the vector tool in Color Finale, so I ended up bring in too much blue in the sky, but for the most part contrast brings back most of the color. Have you found the same?

Btw, the screen grabs look great!!!

I always shoot natural profile saturation -5 , contrast -5

I put the colour back in with curves , no LUTS  no Cine d , no LOG profiles , keep it simple and it looks good . use your eye - its the only way for me

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4 minutes ago, andy lee said:

Im shooting 16:9 and extracting 2.40 in post - framing for 2.40 in camera using the guide line and tape on the rear screen .

I always shoot natural profile saturation -5 , contrast -5

I put the colour back in with curves , no LUTS  no Cine d , no LOG profiles , keep it simple and it looks good . use your eye - its the only way for me

So you don't use any waveforms as guidelines? Nice.  I should try that, God knows RGB Parade isn't helping me. Do you just use the master curve, or do you you tweak RGB curves individually as well? And yes that is what I have been using as well -5 contrast and -5 saturation and I have found a simple contrast curve brings back the most of the color without having to boost saturation in post. Although, I have been using CineLikeD and not Natural, but Natural seems pretty nice... I just haven't really messed with it yet. That will be my next round of tests, now that I've settled on my Minolta 28mm f2 lens. 

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1 hour ago, andy lee said:

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when .

So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool

 

 

Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

craig 1.jpg

jamie 2.jpg

rozalla-3.jpg

sean-1.jpg

tawney-1.jpg

tawney sophia-5.jpg

Andy, I vaguely remember you saying you expose by eye as well... Or do you use the histogram or zebras? Do you expose to the right or under expose?

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I stopped using a meter when I stopped shooting film ten years ago  , I didn't use zebras or histograms , I just expose by eye , I like to play in the shadows so I'm up to 3 stops under at times to get a moody look, the g7 is so forgiving you can under expose and not worry about noise in the blacks , I don't like to over light subjects on sets , if I'm outside I'm stacking NDs to keep a f2 stop , focus pulling has to be spot on at f2 so I'm now using the gini rigs follow focus which is big and very smooth and you can reverse it which cancels out the Nikon Bourne lenses focusing the wrong way , this is an amazing thing I've discovered about the gini rigs follow focus that I can't do on any other make of follow focus . will post some pics soon of this nice trick

I also shoot my day interiors at 4000k not 3200k this looks alot better on the pannys and I find the skin tones nicer - warmer, I shoot day exteriors at 6500 k and night exteriors at 2500k , , 

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31 minutes ago, andy lee said:

I stopped using a meter when I stopped shooting film ten years ago  , I didn't use zebras or histograms , I just expose by eye , I like to play in the shadows so I'm up to 3 stops under at times to get a moody look, the g7 is so forgiving you can under expose and not worry about noise in the blacks , I don't like to over light subjects on sets , if I'm outside I'm stacking NDs to keep a f2 stop , focus pulling has to be spot on at f2 so I'm now using the gini rigs follow focus which is big and very smooth and you can reverse it which cancels out the Nikon Bourne lenses focusing the wrong way , this is an amazing thing I've discovered about the gini rigs follow focus that I can't do on any other make of follow focus . will post some pics soon of this nice trick

I also shoot my day interiors at 4000k not 3200k this looks alot better on the pannys and I find the skin tones nicer - warmer, I shoot day exteriors at 6500 k and night exteriors at 2500k , , 

Great info thanks!!! When you're done with your shoot, you should write a guide. 

I have been using auto wb with the G7 because I've never shot with kelvin before. With the canons and even the nx500, I could use presets,  but with G7, the presets look a little off. 

I'll definitely be testing those kelvin numbers. 

Thanks again!!!

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One more question and then I'll leave you be... I know you're using the atmos now, but before you started using it, am I right in assuming you were converting to prores? And if so, am I also right in assuming you were editing and delivering in 4K?

Thanks again!!!

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6 hours ago, mercer said:

One more question and then I'll leave you be... I know you're using the atmos now, but before you started using it, am I right in assuming you were converting to prores? And if so, am I also right in assuming you were editing and delivering in 4k

 

you dont want to be ever using auto white balance either , that is handing over one of the most powerful creative descissions to the camera's internal processor - not a good idea - always set your Kelvin manually - this is the great thing about the Panny cameras they have total control of the colour temperature you are shooting it , you can do this also on the RED and the Alexa .its an essential film making function.

I dont use the presets isos and I dont EVER use auto WB, dial it in manually to fit your scene you are filming , this has a massive impact on the colour of the image and its a creative tool so use your eye and set it so it looks good , all the Panny cameras work better this way ,I found out 5 years ago that they look better when slightly warmer in Kelvin than you would normally shoot.

EG shoot 4000k when you use 3200K Tungstan lights - you get nicer skin tones

outside I always shoot 6500k , if its sunny rainy overcast clouds  ...it looks so much better than 5600k which is your standard go to film in sunlight Kelvin setting .

Be creative and push the camera into good looking colours using the variable Kelvin of the Panny.

 

 

Distrubutors still want 2k masters so I edit 2k Proxy files and conform the 4k files for the master , grade in 4k the output 2K ProRes deliverables

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10 hours ago, andy lee said:

when you are working on a Movie you sign a contract and NDA ! and that contrat says there is an embargo on anything going out without premission from the film company - they own everything they paid for it including all my tests - now we live in a world of Facebook and twitter film companies dont want any leaks beore their marketing department decides what people can see and when .

So yes I can tell you the results of all my tests right now - just take my word the G7 kicks ass , with a Metabones XL - Nikon Glass and Atomos Ninja Assassin all rigged up on my Gini Rigs cages it s a serious film making tool

 

 

Now Colour grading is all in my eye - I shoot flat and add the colour in post - alot of my colour is on set I light always with coloured gels and get the look I want in camera - just on a flat profile so I get cleaner blacks with more detail - not crushed out

craig 1.jpg

jamie 2.jpg

rozalla-3.jpg

sean-1.jpg

tawney-1.jpg

tawney sophia-5.jpg

 

Thanks for the reply And. Much appreciated. 

Nice. So you recorded this into the Atomos? The image seems to have withstood some heavy grading. Also, have u added grain too? Image seems quite promising. 

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20 minutes ago, Cinegain said:

Ah yeas. A real magician never reveals his tricks. :grin:

just added that reply have a look now

13 minutes ago, sanveer said:

 

Thanks for the reply And. Much appreciated. 

Nice. So you recorded this into the Atomos? The image seems to have withstood some heavy grading. Also, have u added grain too? Image seems quite promising. 

those are lo res saved for web viewing files via photoshop so dont go pixel peeking as they are compressed .....as they are just to show the colours we have been talking about , yes they have had a heavy grade added to them to get the look ,

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