Shot this promo back in August on a 5D3.
Using a Tamron 24-70 f/2.8 and a Canon 70-200 f/2.8
It was professionally graded in Baselight Studio, the colorist was very surprised when he found out what it was shot on.
Let me know what you think or shoot a question!
Here is a short film I shot and directed called "It's My Party" (if you couldn't tell from the big pink letters). I just posted it online Monday and I'm looking for feedback. After my last film which was 20 minutes long and about 10 different locations, I wanted to get back to something more simple that focused on character rather than plot. Anyway, if you have a few minutes check it out and let me know what you think. I hope you enjoy it!
I am new to this forum (first post) and beginner filmaker and I will need advice ...
Last June I started shooting for my documentary project on the local natural heritage, for now with my own money, so my gear is rather light...
I'm shooting with a Canon Eos 70D DSLR, outdoor, and i'm shooting the natural spaces of a valley (along a river).
At the start I wanted to film in RAW with Magic Lantern, but with my 70D i'm stuck in 720p (for a continuous recording), so finally i've shot in a compressed way, Mpeg-4 All-I 8bit 4:2:0 @1080p 29.97fps with a picture style (EOSHD C-LOG (0,-4,-4,2)) + Vari ND Filter, hoping to get myself out of it even in post-prod ...
But here the quality of the images, in a context of shooting outdoors in shaded places very contrasted (...), do not satisfy me !
So I would like to have advice to achieve a higher quality outdoor shots (natural light)?
To illustrate my purpose you can see these few shots that I graded in Resolve + corrections in After Effects: https://vimeo.com/alexandrewebercom/riviereardeche
The third shot is particularly ugly ...
- Have I "pushed" the mpeg-4 too far by color grading it or is it simply the limitations of this compression?
- How do I do with hyper contrast scenes (it was about 14h when shooting)?
- Am I condemned to film in RAW whatever the chosen camera (to be able to uncork the blacks or to recover in the whites in post-prod)?
- Is it better that I under-expose or over-expose this type of scene?
- Can you suggest gear/ configuration more suitable for my use: Camera, Raw / Prores, Log, external recording ... ?
Thanks a lot !
By Elliot M
Hoping someone can help with this edit workflow question:
I currently shoot video on Canon DSLRs (in H264 MOV format), and edit on a late 2009 iMac (2.8ghz i7 processor, 16gb memory).
The films I make are mainly for web rather than TV broadcast, and beyond basic colour grade / tidying up, have minimal effects added (no CGI).
Until recently, I used Final Cut Pro 7, using FCP's Log & Transfer function to import and edit footage in Pro Res 422 format.
Having just moved to Premiere Pro CC 2017, I'm trying to figure out the most efficient workflow with the best resulting image.
Should I import and edit in native H264 MOV? Or ingest and edit as either Pro Res or DNxHD?
If Pro Res or DNxHD, what's the best way to ingest (or import / transcode)?
I've been reading mixed things via Google; mainly Adobe-related articles explaining a native workflow, vs various articles sponsored by transcoding software companies, saying that transcoding will have a better result.
Any thoughts would be much appreciated.
Hey guys, just finished this one we shot in 2014 (yeah, that's a long way back). This was my second time using 5dmarkIII and RAW except this time we shot way more material. It's not very good but we got it finished so I guess that counts for something ay? Sorry about the accents, we are from Finland so our english ain't the most natural. Learned a shit ton while doing this.
If you have any questions about 5dmarkIII raw, just shoot away. Everything is upscaled to 4k here.