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    No worries. I was just giving the footy some defence. I noticed that they were not horrible. Not a major analysis. (and they would be yellow late in the evening)


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    Taking a second, more critical look, the highlights are not blown except for a few of the automotive headlamps which nevertheless are handled well, the Bugatti in particular. SLog3 has no inherent highlight rolloff, this shot was in Cinetone anyway, good highlight extension is evident here and in the shots of the boats on the water. For the waterfowl shots, you want the natural color of the light revealed; the human eye perceives CWF differently than warm sunset. White balancing that neuters the perception such that tungsten, daylight and CWF all look the same is not desirable. The detail in white feathers is unremarkable. This could owe to the observation of blown highlights. In any case I don't agree with it. The detail in any of the scenes is unremarkable for that matter, not seeing a notable benefit in 6k to 4k downsampling, nor is one necessary, footage is organic as is. Noise at 4000 ISO is evident, not excessive nor crushed. I find nothing to quibble with in any of this footage. It demonstrates good exposure and straight from the camera, ungraded, 709-lutted SLog3 or Cinetone stylized Custom mode.


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    Not to start a war here but....Alistar's footage looks fine. It looks like a Sony video camera, nothing more nothing less. Nicer than an FS7 but not a ton. However the noise levels are much lower at 4000 than what you'd get with the FS7.

    Let's not forget this is footage from a $10k camera with a $400 lens, not a $60k Alexa with a $20k Cooke zoom and Company 3 doing the grade. You are not going to win the Oscar for Cinematography on the FX9. This should not be a surprise to anyone.

    Sunlight in the evenings makes white objects look golden. Swans included.

    Saying you'd lose a client over this sample footage is a little much.
    Last edited by dipstik; Today at 10:03 AM.


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    Price has nothing to do with it.

    The $1295 Pocket 4K can look like a $60K camera.

    https://www.youtube.com/watch?v=G0Md5PqFXpM&t=47s


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    Senior Member JPNola's Avatar
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    Quote Originally Posted by stewhem View Post
    No wish to argue Sam because I have a lot of respect for what you say and how you say it, plus the work you do, but I really have to disagree about Alistair's footage. Especially the swans. They're yellow! Where I come from they're white.

    Yes, the swans where you live are white. But do those white swans where you live appear white when silhouetted? Do they always appear as pure white regardless of the situation / color temp of the light the white swans are in?

    Sorry, but I'm annoyed by this idea that each thing has a color and it should always appear that exact color no matter what. And any photographic rendering where the thing is not presented in the one exact color that "belongs" to it is wrong and a bad rendering. I often see this done in regard to human skin tone. Or read where an image criticized as bad because it is magenta, as if any image that is magenta is bad by definition. White swans in golden, late afternoon light should appear just as white as at high noon? And if they do not appear in an image as white as they do at high noon that image is a "bad" image and a "wrongly" executed image?

    One of the most important things I learned early in my career from a DP who mentored me was a saying he had in regard to cinematography of:

    "There is no right or wrong."

    Another version of that which he'd tell me is: "There is no such thing as bad lighting. Only inappropriate lighting."

    I've never worked with a Colorist. But I am pretty sure I would not want to work with a Colorist who had it in his mind that any given image has a "correct" or "right" color to it and anything other than that is "wrong". And his job is only to bring every image to its singular "correct" look.


    Interesting to learn that there are no black swans in the UK and only white swans, btw.
    Big sources matter.


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