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Ian Edward Weir

GH5 - Yellowstone with Baby Hypergonar + Bolex 16/32 and 8/19

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1 hour ago, TurboRat said:

Amazing shots and love the grading! Just a question, what adapter did you use for the Pentax to GH5?

Thanks! It’s funny, I ordered both the Fotdiox and the K&F, which has a better build but the Fotdiox has a nice and streamline apature ring that you do not hit or gets in the way. 

88C1F361-6E89-4603-A933-04B6F4ADE452.jpeg

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1 hour ago, Ian Edward Weir said:

Thanks! It’s funny, I ordered both the Fotdiox and the K&F, which has a better build but the Fotdiox has a nice and streamline apature ring that you do not hit or gets in the way. 

88C1F361-6E89-4603-A933-04B6F4ADE452.jpeg

Thanks been looking for a good pentax to m43 adapter. Gonna look at the Fotodiox then :)

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47 minutes ago, Tito Ferradans said:

Hey Ian! That's awesome, man! (no surprise, I must say hahahaha)

Could you estimate how much raw footage (in terms of time) you have, for cutting these 17 minutes? :)

Hey Tito! Thanks :) This project was the most challenging and a tuff one to estimate. 2 factors that causes it to take so long was for the first time ever I had an SD card fail. I lost my entire first day of footage. I spent the next three months having data recovery attempt to get it back with no luck. The other factor was most of my long shots had dust and specs because it was super run and gun and I was car camping. I looked like Rambo. Soooo I had to buy and learn Mocha Pro to remove spots from footage. Another month gone. My workflow is bananas also. I keep each shot in its native resolution. This is a mix of 8k, 6k and 5k because I was switching between 1.5x and 1.75x 4:3 and 16:9. I finished on a 5k timeline but I can always go back to each clip which is 30 secs or lonnger. There is around 180 shots in this and another 175 shots I did not use or process. Some are reframed and some are completely different shots that I did not use. I learned many valuable lessons on this shot. Make sure you always have a back lens cap on and use an air bower would have saved me over a month of my time :)

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Hey Ian, 

I think you have inspired me for my next documentary. I will try to recreate paintings of places in real life using anamorphic. What I am especially interested in is the grading.

I can imagine there are some important workflow steps for you, if you graded in davinci resolve. I really love the look and some tips to get to this "painting like" look would be greatly appreciated. This will also be my first project in Davinci, so I think I will try to get everything as good as I can in camera, exposure and white balance, so that I can edit without any grading in adobe and then grade the finally used, picture locked clips. I will try to use the Color management tools and tutorials in davinci as well. I also will try to use HLG combined with Cinelike D. And am going to use kowa for b&h with minolta lenses. 28mm, 50mm, 135mm, 70-210 mm. I am looking forward to hearing from you. Great movies. 

The same thing with the spots actually happened to me in india. Luckily I was doing hyperlapses so I could easily correct the spots in lightroom. Lesson learned, I always have the blower and a cloth with me now.

Cheers, 
Julius

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On 3/2/2019 at 8:13 AM, canonlyme said:

 

Thanks Julius, that sounds cool about documentary. I'm addicted to finding and creating the moving paintings in nature with anamorphic lens. I'm very old school with my approach to color. I like to get things as close as possible to what I'm seeing. It's really the anamorphic lens, taking lens and filters that are giving me my look. I color with Film Convert to give me the greens, blues and yellows I like. Even then I dial the preset way down. I then use Lumetri to tweak contrast and highlights. With Davinci you have more tools and flexibility but for nature work, I feel the glass takes care of 90% of the final image. for my workflow, it's kinda tedious and not for everyone. I de- stretch each shot in it's native resolution. Some shot's are 8k and some 5k. I then do a first pass color treatment and then export out a Pro Res HQ 8k or 5k .mov file with max bit depth and render. Each clip I export is 20-30 sec's even know I end up using 6-8 secs. I then reimport and edit on a 5k timeline and do additional tweaks if needed. I'm sure working in Davinci with proxies might make more scents but I'm building a library of nature footage and want to go back to clips. 

 The B&H and Minolta glass will create a very nice color pallet. 

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22 hours ago, Ian Edward Weir said:

for my workflow, it's kinda tedious and not for everyone.

Thanks for your response. That is such a good insight!


When you are an artist, as a filmmaker, you find your own way of doing it and if it works and you have the time for it, I see no problem in this at all. In contrary, I think it is really nice if someone takes such passion and time for something, unless you would find out a much quicker way to do the same.

Yes, I chose minoltas not for their price, but I looked at comparisons of images and their special way to treat colors just pleased me the best. Now I am happy I could afford the whole lens set without spending too much. Something that vintage lenses do is they give a special treatment to colors, where if I would take the same effort in post to try to create something special and tweak around a lot, it would probably turn out garbage until I become much better at grading. 

Did you encounter any problems with bringing the clips from HLG to rec709/premiere color space? Because the way that HLG is filmed it introduces a greenish color tint from what I have learned. 
 

 

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29 minutes ago, canonlyme said:

 

Thanks for your response. That is such a good insight!


When you are an artist, as a filmmaker, you find your own way of doing it and if it works and you have the time for it, I see no problem in this at all. In contrary, I think it is really nice if someone takes such passion and time for something, unless you would find out a much quicker way to do the same.

Yes, I chose minoltas not for their price, but I looked at comparisons of images and their special way to treat colors just pleased me the best. Now I am happy I could afford the whole lens set without spending too much. Something that vintage lenses do is they give a special treatment to colors, where if I would take the same effort in post to try to create something special and tweak around a lot, it would probably turn out garbage until I become much better at grading. 

Did you encounter any problems with bringing the clips from HLG to rec709/premiere color space? Because the way that HLG is filmed it introduces a greenish color tint from what I have learned. 
 

 

I used Leeming Lut Pro and did not have any issues at all. It covers Cine D and HLG :) All my childhood photos are on Minolta glass. https://www.leeminglutpro.com/

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