By Dave Maze
Music video I directed just went live! Shot on Arri Alexa Mini with Cooke S4/i glass and it was a pleasure to use! I'm always taken by the Alexa image every time I work with it. Wish I could afford to use one every time I shoot!
directed by Dave Altizer
produced by Jarad Clement
director of photography Chris Adams
edited and color graded by Jarad Clement
here are some BTS shots
By Naive Studio
Latest work shot on the Sony A7SII in PP5 due to indoor light restrictions. Time-lapse work via the A7II, all with Zeiss E-Mount lenses.
Loxia 50mm and 35mm, final time-lapse with the Zeiss Touit 12mm in aps-c crop. Cut and graded in FCPX. Love to know what people think?
THFKDLF headed out to Bright Tradeshow, Berlin to showcase their upcoming collections and produce a capsule over the 3 day show. Here is what happened.
Bright is an original platform which conveys a snapshot of modern lifestyle within an atmosphere relevant to its target group. Since culture is in constant motion, and the influences of its trends are always evolving, the element of its perception fluctuates between art, sport and music. Above all, authenticity is the leading component.
thfkdlf.com / brighttradeshow.com / ae-sewingmachines.co.uk
Filmed on the Sony A7SII
Rig: Movcam A7SII cage
Timelapse: Sony A7II
Lenses: Zeiss Loxia 35mm f2 / 50mm f2
4K / 1920 x 1080 HD / 16:9 / 24fps
Music: Ember Island - Can't feel my face
Album - 3 Roses x Ember Island Cover
Canon cameras sell very well because they make people look great by creating very pleasing skintones. Apparently for technical reasons (silicon sensors, etc.), Canon makes skintones look great at the expense of color accuracy. ARRI is the undisputed* King of Color Science and reading about how to make a C300 somewhat match an Alexa may be helpful in setting up new cameras such as the GH4 and A7S to produce more pleasing skintones (at the expense of color accuracy): http://provideocoalition.com/aadams/story/color-matching-a-canon-c300-to-an-arri-alexa
Art noted that digital cameras do the best in daylight (~5500K) due to sensor response to blue. While I too have noticed that Sony, for example, does much better in sunlight, I've found that cameras also do well in Tungsten (~3200K). While Tungsten doesn't have much blue, it is a continuous spectrum light, and that I believe is the most important issue.
Cameras have the most trouble in mixed light (fluorescent + incandescent + LED, etc.) or light sources with large gaps in the spectrum (some fluorescent and many LED lights). I had no idea what kind of light this was, however AWB with the A7S wasn't too far off (minor WB adjust in post: still a bit magenta but that's the look I wanted):
In the Art Adams article above, he had to make custom profiles (mostly the special Color Matrix) for each desired color temperature (two provided). This makes it clear that getting pleasing (and/or accurate) color for a wide variety of color temperatures and light sources is a very challenging technical problem. Face/skintone detection is one way manufacturers try to deal with the problem (regardless of race, all skintones have similar color properties (along the 'skintone' line on the vectorscope: ).
It's not likely there's anything we can do to picture profiles on cameras to improve color performance vs. factory settings for general use. If we tweak colors for a particular WB and light source, it won't be correct for another light source with different spectral properties. Thus, if someone posts a tweaked color profile that changes WB colors or general color matrices, keep in mind those tweaks might not work correctly for your particular situation.
* this is the internet, so the likelihood of disputing is much greater than zero. The Sony F35 and F65 can produce great color, and the new RED Dragon and associated color science is looking very good. The camera system most people prefer in terms of color is the ARRI Alexa (now +Amira).