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Some great colors


Cary Knoop
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1 hour ago, kaylee said:

how many people here immediately knew this was shot on film as soon as they started watching it?

and what digital camera gets you closest to this? in terms of color whats better than 5d3 raw?

i love film

 

Me :grimace:

Sony F65 or Alexa are IMO the best you can get colour-wise on a digital camera.

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2 hours ago, kaylee said:

... what digital camera gets you closest to this? in terms of color whats better than 5d3 raw?

Part of this is grading with a lot of well saturated colors (Speed Racer, the terrible but beautifully graded Burlesque) and imo has little to with the camera or codec used. In terms of color differentiation I guess you could shoot ProRes log with a BM camera and achieve this.

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2 hours ago, jax_rox said:

Sony F65 or Alexa are IMO the best you can get colour-wise on a digital camera

 

56 minutes ago, Axel said:

I guess you could shoot ProRes log with a BM camera and achieve this

i hear you, but if thats the case why arent people saying 

4 hours ago, TheRenaissanceMan said:

PUT IT IN MY VEINS

about those cameras in the same way?

know what i mean?

even better: @TheRenaissanceMan, have you ever screamed PUT IT IN MY VENIS over alexa footage? you can tell us we're all friends here

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That film looks great. Stone, Gosling and director of Whiplash shot on film... yes please.

I think there have been Alexa moments that I've wanted to scream PUT IT IN MY VEINS. Most recently in Sicario, and memorably in Drive and Only God Forgives too. I didn't enjoy the latter very much, but there are some scenes in there where the cinematography is just gorgeous.

But film sure is special. Here's a short from Sundance 2013 I fell in love with. It wasn't until this year when watching it again I realised it was shot on film:

 

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3 hours ago, kaylee said:

PUT IT IN MY VENIS

Lol, any more of a typo, and we would have had a problem..

I looooved Whiplash. I had doubts when i heard about La La Land, but this could be crazy good

Something about that first scene especially, immediately told me it was film. Vibrant but "ungraded", with true blacks, that you'd at least struggle to get with the DR powerhouses of today

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10 hours ago, kaylee said:

how many people here immediately knew this was shot on film as soon as they started watching it?

and what digital camera gets you closest to this? in terms of color whats better than 5d3 raw?

i love film

better to smoke it buddy

I have owned a butt load of cameras over the past year and a half and IMO, for a small budget narrative, nothing beats the BMPCC. With the right lens and prores, I think you can get a really filmic image.

I think the next step up is the 5d Mk iii... so you should be good.

The next step up after that would be the Digital Bolex.

Otherwise, buy a Krasnogorsk or old Bolex and shoot S16mm film.

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4 hours ago, mercer said:

I have owned a butt load of cameras over the past year and a half and IMO, for a small budget narrative, nothing beats the BMPCC. With the right lens and prores, I think you can get a really filmic image.

I think the next step up is the 5d Mk iii... so you should be good.

The next step up after that would be the Digital Bolex.

Otherwise, buy a Krasnogorsk or old Bolex and shoot S16mm film.

I've shot with the pocket a lot. It is true, very filmic image, but if you mess up it can easily look really bad. Any moire or IR pollution and the image is instantly ruined. The F3 reminds me a lot of the pocket, but the larger sensor gives you less noise. I've never shot with the digital bolex but it really has that caked on color look that film gives you. So much richness in the saturation. 

12 hours ago, Axel said:

Part of this is grading with a lot of well saturated colors (Speed Racer, the terrible but beautifully graded Burlesque) and imo has little to with the camera or codec used. In terms of color differentiation I guess you could shoot ProRes log with a BM camera and achieve this.

Pocket would have trouble getting a look like this. I've seen good pocket footage, but nothing quite this good.

The frame shutter is huge, so motion is much different. Depends on what you're shooting, but that alone makes a huge difference. 

 

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1 hour ago, BenEricson said:

I've shot with the pocket a lot. It is true, very filmic image, but if you mess up it can easily look really bad. Any moire or IR pollution and the image is instantly ruined. The F3 reminds me a lot of the pocket, but the larger sensor gives you less noise. I've never shot with the digital bolex but it really has that caked on color look that film gives you. So much richness in the saturation. 

Pocket would have trouble getting a look like this. I've seen good pocket footage, but nothing quite this good.

The frame shutter is huge, so motion is much different. Depends on what you're shooting, but that alone makes a huge difference. 

 

You're definitely right about the pocket but with zebras at 90 or 95% you usually can get pretty good prores, if you watch your shadows. I started off with the micro, but hated the form factor, sold it, then eventually bought the pocket with the 12-35mm f2.8. I had a bad copy that overheated, so I just returned it. This past week, I was cleaning out my hard drive and finally had a good look at the test footage and it was undeniably the nicest footage I ever shot. There's just a nice weight to the image and the files grade easily as long as you balance them properly... as I'm sure you know... but if I had the money, time, skills and talent I would rather shoot S16 or even some of the newer negative stock S8 with a Pro8mm  conversion. Of course, I would love to go back in time 15, 20 years and shoot Kodachrome 40.

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3 hours ago, BenEricson said:

I've shot with the pocket a lot. It is true, very filmic image, but if you mess up it can easily look really bad. Any moire or IR pollution and the image is instantly ruined. The F3 reminds me a lot of the pocket, but the larger sensor gives you less noise. I've never shot with the digital bolex but it really has that caked on color look that film gives you. So much richness in the saturation. 

Pocket would have trouble getting a look like this. I've seen good pocket footage, but nothing quite this good.

The frame shutter is huge, so motion is much different. Depends on what you're shooting, but that alone makes a huge difference. 

 

To add... why does it seem that the IR pollution is almost random? With the Micro, you needed an IR filter with nearly every shot because the pollution was so prevalent, but with the pocket and 12-35mm I didn't use an IR filter and I had no issues with it.

Also, did you hear that the new generation of the BMPCC Mosaic filter also adds IR filtration. I think it will be released any day now, so I am excited to see the results.

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