Daniel Acuña Posted January 13, 2015 Share Posted January 13, 2015 The Director of Winter Sleep (Winner of the Palme d'Or in 2014) talks about his choice of using the Sony F65 : jcs 1 Quote Link to comment Share on other sites More sharing options...
jcs Posted January 13, 2015 Author Share Posted January 13, 2015 Hey Jax- understand your points re:TV vs. film and time+budget. Lucy and Oblivion have a look unlike the Alexa (currently best camera for skin tones and overall great images with low effort). After Earth (F65+C500) also looked pretty nice, color-wise. Alexa looks great most of the time. Red (Epic, Dragon) can be hit or miss. F55 so far has looked bland or just off WRT color (e.g. early Marco Polo). Perhaps that later DPs dialed in the F55 better (later episodes looked better). When color is challenging, one technique is to use lower saturation (IMO: bland, emotionless). When color is spot on, you can really push the saturation, and depending on the desired effect/emotion for the story, can be very cool. The use of color in The Matrix was spectacular: highly saturated (stylized/not real) with emotion/feeling matching the story. The old Technicolor process has a unique look that is very cool. The color in "Robinson Crusoe on Mars" was amazing. While I've noticed Red Dragon footage getting better and better, Gone Girl's color didn't do much for me (bland). When I see a movie that has amazing use of color, there's an emotional reaction that increases the excitement and entertainment level of the film.All the films I've seen shot on the F65 IMO have amazing color (Oblivion, Lucy, After Earth). What F65 films have you seen that didn't do it for you (color wise)? One of the reasons I gave the A7S another chance in figuring out its color (with many hours testing against 5D3 RAW) was due to seeing that the F65 can look great and seeing a tiny bit of that in the A7S. If Canon releases another crippled 5D the A7S is a decent alternative when color is done well. Quote Link to comment Share on other sites More sharing options...
jcs Posted January 13, 2015 Author Share Posted January 13, 2015 The Director of Winter Sleep (Winner of the Palme d'Or in 2014) talks about his choice of using the Sony F65 :Perhaps now that the price has dropped it's getting used more. On sticks it wouldn't seem like much more production work than shooting ARRIRAW. Looking forward to a shootout between the ARRI 65, Sony F65, and Red Dragon to see how their latest color science compares (current top of the line 'true 4K' cinema cameras (more than 4K Bayer is needed to accurately capture 4K RGB)). Quote Link to comment Share on other sites More sharing options...
Daniel Acuña Posted January 13, 2015 Share Posted January 13, 2015 Perhaps now that the price has dropped it's getting used more. On sticks it wouldn't seem like much more production work than shooting ARRIRAW. Looking forward to a shootout between the ARRI 65, Sony F65, and Red Dragon to see how their latest color science compares (current top of the line 'true 4K' cinema cameras (more than 4K Bayer is needed to accurately capture 4K RGB)).Yes that would be great! Is there any footage of the ALEXA 65 yet? I do agree with you, the F65 has amazing colors, Winter Sleep was such a blast visually! (The movie is great, but clearly not for everyone.) I would like to see it more often used on feature films. Quote Link to comment Share on other sites More sharing options...
jcs Posted January 13, 2015 Author Share Posted January 13, 2015 Found some 4K Open EXR 32-bit-per-channel F65 frames:http://media.xiph.org/mango/tearsofsteel-cleaned-exr/From: https://mango.blender.org/production/xiph-org-f65-raw-linear-exr-cleaned-and-finals/Random frame- original:Post ACR w/NR + high saturation:Over-saturated the skin tones still look pretty good (didn't go green or magenta). Quote Link to comment Share on other sites More sharing options...
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