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    Quote Originally Posted by NorBro View Post
    So which camera would you personally choose to match the color of the other three? The Canon?

    You have 4 color sciences in there, haha.

    Z6/Z7 should have a spot.
    Yeah the Nikon's are looking pretty good too lately (only listed brands I've personally used). I need to test the X-T3 for stills quality to choose which color science to use as the reference (vs. Canon (Nikon has always been great for stills too- kind of the budget Canon)). Canon / Nikon / Fuji could all be a reasonable choice for color reference (raw stills). Canon's default color for video (DSLRs and the Cx00 cameras) can all be significantly improved with custom picture styles. Still waiting for the A7S III spec announcements- Sony could really rock the market if they give the A7S III VENICE (or better) color and 10-bit to match the little Fuji.

    Even without a 'top camera' color reference, all of these cameras can produce acceptable color now, when using the right settings and with good light (e.g. high CRI/TLCI lights) and light set up.

    Mixed lighting will still be challenging, where ARRI-like cameras do better, with good content/story no one will ever notice (except perhaps the kind of people reading this thread ;) ).
    Last edited by jcs; Yesterday at 10:40 PM.


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    You once said you don't like RED colors but the 8K Helium is looking beautiful.

    NOT SAFE FOR WORK:

    https://www.youtube.com/watch?v=gl1aHhXnN1k


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    Quote Originally Posted by NorBro View Post
    You once said you don't like RED colors but the 8K Helium is looking beautiful.

    NOT SAFE FOR WORK:

    https://www.youtube.com/watch?v=gl1aHhXnN1k
    Yeah, still something a bit off there, similar to Panasonic- kindof orange-y skin, plus in that video they did some kind of NR/smoothing on the skin, looks very android-ish (kinda sparking Uncanny Valley).

    I used to think this was pretty excellent for skin tones:


    Sure it's better than Red. Watching the Alexa video again now generates a "kinda desaturated" response.

    This still holds up pushing the limits of usable saturation and maximum possible 4K detail:


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    ARRI can look very orange. The teal and orange look was perfected on their cameras!

    The studio skin tone test is just neutral as it should be (it's very nice).

    As far as the Sony...beyond boring. Looks like it could have been shot with an a7III. Probably one of the worst examples of an expensive camera I've ever seen. The X-T3 videos in this thread look better!

    (P.S. AG's video was shot in 8K in anamorphic with '74 Hawks. Quite the recipe that probably contributed to the "skin smoothing".)


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    Quote Originally Posted by NorBro View Post
    ARRI can look very orange. The teal and orange look was perfected on their cameras!

    The studio skin tone test is just neutral as it should be (it's very nice).

    As far as the Sony...beyond boring. Looks like it could have been shot with an a7III. Probably one of the worst examples of an expensive camera I've ever seen. The X-T3 videos in this thread look better!

    (P.S. AG's video was shot in 8K in anamorphic with '74 Hawks. Quite the recipe that probably contributed to the "skin smoothing".)
    Lol the Sony video was noted for saturation and detail (without aliasing!); music and (lack of) story are a separate topic.

    Here's a better example for skin tones / color and perhaps more entertaining:



    Red is fine for what it is; I'd pick an ARRI or VENICE at that price point.


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    Quote Originally Posted by jcs View Post
    Lol the Sony video was noted for saturation and detail (without aliasing!); music and (lack of) story are a separate topic.

    Here's a better example for skin tones / color and perhaps more entertaining:



    Red is fine for what it is; I'd pick an ARRI or VENICE at that price point.
    For client work as a DP, I'd pick whatever suits the production style, the director's vision and whatever I knew I could make sing, working with a great colorist. I'd also be heavily influenced by input from my 1st and 2nd AC, which camera in which configuration would streamline their jobs to help me make beautiful images. I agree with what was said earlier about working with a camera like the Amira. There are a lot of users who don't have much experience in medium to high end production where crews don't want to be on the bleeding edge all of the time, they want to use tools that let them get the work done with a minimum of compromises. While I know the XT-3 is capable as a high end cinema camera, like in the rig that Grug showed off, I also know that the camera op and ACs would gnash their teeth having to work with the compromises to workflow of a mirrorless prosumer camera. I'm not the biggest fan of RED cameras, I think they are very capable, can definitely make beautiful images. But they are kind of quirky, finicky and make you jump through a lot of hoops to get them to do things that are commonplace in normal TV and feature production at times. For traditional higher end production, Arri and perhaps lately, the Venice, seem like pretty desirable choices.

    OTOH, making a documentary, I would be a camera slut if the manufacturer gave us the camera to own or loaned it to us for the duration of shooting. Documentaries are too hard to finance, having camera bodies and lenses provided means I can actually pay crew, shoot more, have a sound mixer or a gaffer on crew, perhaps a few PAs to help, always a nice bonus on a lot of documentaries ;-) Cameras now are good enough where I could make excellent looking images with almost anything out there. On DVX User, there is often too much technical nit picking sometimes about hairs on the flea, dancing on the head of pin. Stuff gets obsessed about here that really nobody will ever notice or be capable of seeing. I will probably be finishing the last two thirds of our distilled spirits documentary on the XT-3, it's so good for the money and size and the images look great and we will be traveling on planes quite a bit where not hauling a C200 or Amira is a huge asset. Sure it may exhibit some Magenta fringing under certain circumstances, but that doesn't stop it from looking amazing on the 99.8% of shots we need to capture.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    Dan kinda hit it on the head there. Pretty much all cameras are capable of good images today, whether in-camera or post. It’s just the journey with it. Or how comfortable is the journey with it to get there.


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