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    My feature documentary "In Between The Pictures" now free to watch on vimeo
    Hi all,

    a while ago I directed and shot my first feature documentary "In Between The Pictures" about a group of teenagers making comics.
    It premiered at the Munich international documentary festival DOK.fest, one of the biggest documentary festivals in Europe.
    And now it is free to watch for everyone

    Trailer, with english subtitles:

    Here is the full version with english subtitles:


    Vinnie just finished school. Having to enter the world of grown-ups gets to him. About himself he says, that he likes to be put under a little pressure because it is hard for him to concentrate on one thing for a longer period and also finish a project instead of just starting something. He began drawing when he was little kid, characters and short stories. That is why the “Comic Camp”, a series of workshops instructed by the professional comics artists Barbara Yelin and Aike Arndt happens right in the nick of time for him to fill out the gap between school and university. Together with Cedric, the science fiction fan, Eva, who is an apprentice furniture conservator, Omar, who had to flee from Syria and a couple of others, he begins working on his comic on the topic of “Living together in Munich”. The finished stories shall be presented to the public in an exhibition in just three months. But the task of coming up with a finished story and putting it down on paper, turns out to be a huge challenge for Vinnie and the other participants.

    It was shot on the FS7 with Angenieux Optimo DPs, edit and postproduction in FCP X, Davinci Resolve and Pro Tools.


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    Senior Member puredrifting's Avatar
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    Nov 2004
    Los Angeles, Ca.
    Interesting story concept and subject.
    Your skin tones, coming from the FS7, look good. Did you shoot S-Log 3 Cine Gamut? LUTs used? CC in Resolve, did it need a lot of work to get those skin tones?
    I HATE the Sony skin tones straight out of the camera, theyre horrible, but with some skill, you can make them look good in post as you have. Every shoot I rent the
    FS7, I always hope the clients have a colorist and will let us shoot Log. The straight to web stuff always makes me cringe.
    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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    Senior Member
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    Mar 2015
    Midwest, USA
    Quote Originally Posted by puredrifting View Post
    Your skin tones, coming from the FS7, look good.
    Wow. That's an odd, back-handed compliment. (And I don't want to start an argument about color science, cameras, et al - especially in a thread about someone's interesting doc - I just get tired of seeing this repeated from mostly non-Sony users.)

    Nice work Martin - thanks for sharing.

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    Haha, thanks to both of you for your comments and for having a look at my work, I really appreciate it!
    And although I love docs and I love a good story and I love something which actually has a meaning, I also do love cameras and the craftsmanship behind filmmaking is equally important to me as the art.
    So, to answer puredrifting's questions:
    It was all shot in Cine EI mode, so Slog3 with S.Gamut Cine. I had my FS7 since it came out and never shot in any other mode and would not even think about messing with those settings in custom mode or let alone the paint menu. I had to smile when you said you like the skin tones, as I am not happy with them at all (especially today after some two years passed since I did the grade) and I also hate the FS7's colors, they are so hard to work with and it takes me forever to get a pleasing result in resolve, which then still is sort of a compromise. And I have been working in Resolve since version 8... Basically I hate the FS7 altogether, but it is what I have but now I am actually thinking about getting rid of it for a C200, after I played with some raw files, what a joy compared to Slog3. I really liked the magic lantern raw I got out of my 5dIII back in the days before the FS7, and C200 raw is kind of similiar, I guess it's just those mystical Canon colors ;) And of course, the grass is always greener!

    I did use a LUT on this film, I guess it was the Kodak 50D one from the Impulz Luts collection, but maybe only at around 50%, but I am not quite sure right now. And some secondaries of course. It was a proper color session, still took me some days after I settled on a look (but I am not a fulltime pro colorist).

    So thanks again for your interest, every question is welcome!

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