Messages

Andy, I would really appreciate it if you could do a tutorial on your site about using Cinelog-converted footage with FilmConvert (maybe also Koji, Osiris and others as well). I've experimented a lot, but I still don't think that I am tapping the full potential of this combination.

Any updates?

You can get a KomputerBay 1066x 256Gb card for $300 on Amazon. I took a chance and bought one. It has served me well for around six months now.

It depends on the type of movement that you want. Shoulder rig footage looks very different from steadicam/glidecam/gimbal footage. How do you want the viewer to feel?

There's a learning curve for the Glidecam. Don't expect to buy one and get great results the next day.

If you are just trying to add some movement to you shots and don't have several days of practice time built in, see if you can rent a Movi M5 or similar gimbal stabilizer. Even with one of those, give yourself at least a day to experiment and fine-tune the device.

For a cheap but surprisingly decent shoulder rig, buy a Gorillapod focus. I've used all kinds of shoulder rigs, and in my opinion the highly-configurable Gorillapod is as good as any of them and better than most.

For grabbing a quick exposure, I like using the ETTR hint in conjunction with the raw histogram.

Where did go to get that last shot?

I really liked the sequence at the beginning showing the 'unloved' gifts, and those kids look really excited to be getting those presents. What a great idea.

Wonderful choice of a VO artist too.

Looks great!

From Sekonic profiles made with my L-478 for my 5D3:

The purple line is BMDFilm4K; the pink line is Cinelog, and the yellow line is H264.

Here's CineLog by itself:



Compared to: BMDFilm (4K)



And H264:

Now that I have the Exposure Target II, I can make my own. Unfortunately there doesn't seem to be any way to transfer these from meter to meter. But here's what the dynamic range looks like when mapped out:

The purple line is BMDFilm4K, the purple line is Cinelog, and the yellow line is plain old H264.

I'm exposing according to the default profile on my Sekonic L-478. I haven't figured out how to program an offset yet.

As an experiment, I shot a Sekonic Exposure Profile Target II which gave me a wide range of exposure values in the frame. Following the ETTR hint on the raw histogram put the spot meter box (hovering over the middle gray chip) at -3.7EV. Looks good in post so far, so I'm going to go with it.

Clever and funny!

@russellsnr

I don't know if any profiles exist. I figured that if anyone had cooked one up, this would be a good place to look.

Sekonic meters are able to "map" the dynamic range of your camera. In the case of my L-478D, I will literally have a color-coded range highlighted on the bottom of the display, along with markings of readings that I have taken in a given scene.

I saw those but they are for H264 video, so they won't accurately represent the dynamic range of a raw camera.

@audionut So, if I'm understanding what you are saying, striving for in-camera consistency will take a toll on dynamic range in post, because raw footage needs to be exposed to the right for best results.

I hadn't thought of it that way.

Does anyone have any profiles to share?

Specifically, I am looking for the percentage (trying to calibrate a light meter with my 5D3).

Does this number change when using BMDFilm color space in Resolve as a starting point for a grade and if so, to what percentage?

Thanks.

EDIT: Audionut's response here: http://www.magiclantern.fm/forum/index.php?topic=11331.msg110307#msg110307 answers the first part of my question, but I'm still trying to figure out whether I can calibrate my light meter according to BMDFilm.

Any updates, Andy?

I'm actually having completely different thoughts on the A7s vs 5d RAW. 5d RAW as an image is way better.

It's not the popular consensus right now, but I wholeheartedly agree.

A question for those of you who use light meters to shoot ML raw:

If I am calibrating a light meter with an 18% gray card and putting the line on the waveform at about 45%, how would this translate to situations in which I am shooting raw and then later applying BMDFilm colorspace (or one of the LOG 3D LUTs)? Do I still want to set up my meter so that my footage registers at 45% on the waveform AFTER I've applied BMDFilm/LOG?

I'd really appreciate any advice.

...maybe some fat from my fingers had stuck to the camera...

You wouldn't happen to be this guy, would you?

Andy,

I will continue to check this thread regularly as I eagerly await the release of the guide.

In the meantime, is there anything wholly wrong with doing this?

BMDFilm 4K Color Space (Project Settings) + CineLog-C (Project Settings) > Color Balance + Exposure Tweaks (Serial Node) > FilmConvert (Serial Node; Camera set to Arri Alexa Log) > Export

Also, I'm steering clear of using the X-Rite Color Checker tool like you said earlier. Dave Dugdale's questioning the validity of Resolve's color match tool as well: http://www.learningdslrvideo.com/dsc-labs-vs-xrite/

I get "Page not found" when I click on it.

Really nice work. I recognized Baltimore right away!

Nice pictures. I'd love to see a trailer if you have one.

There have been several feature films that have used ML raw. Here's one of them: http://www.magiclantern.fm/forum/index.php?topic=12896