F3: Barbie

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morgan_moore

Major Contributor
48hour film fest at the weekend was one of my first crack with the F3 in anger. Cine1, 3200ISO nikkor 50 1.8 (£39) 10bit422prores to recorder.

I guess Ill post some more as the thing comes together.

lights: camping shop practicals, and my new dedo Dled4.0 through a 4*4(ft) scrim

Single pass in Resolve no secondaries.

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looks really nice! moody stuff. would love to see some clips, or at least comparison frame grabs of the same frame. can you post a still of the ungraded image as well?
 
Im cracking that, the dark image (above) not so much but him i was pleased with, im getting there with her now..

jpg ruins it!

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morgan_moore said:
Im cracking that, the dark image (above) not so much but him i was pleased with, im getting there with her now..
Click to expand...

For that dark image I might have brought down the intensity of that background light, it stands out a bit too much. But without it might not look great either.

You on resolve or grading with something else?
 
I took the light through the window as sodium vapour look. Now I feel like ass.

Resolve is great.
 
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Yep I gelled the window yellow to make if look like sodium - actually it was daylight - but I could not 'turn it down'

(well I could have cranked up the internal lights if I had more of them)

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I love those gels. Rosco makes a "Cinegel 3152 Urban Vapor Gel" which is suppose to be pretty good. But you can combine some gels to get near the same thing.

You hanging onto the F3 for a while or thinking of an affair?
 
Folks are being rather harsh on the new F's, I don't think we have seen yet what exactly they are capable. Studios spend millions on films from art direction, set design to professional color timing in post... we're suppose to just shoot a few scenes in our backyard, tweak some color wheels in post and end up with the same thing.
 
I dont know who is harsh.

Firstly 90% cannot untangle log and use it properly (me included) and 4k raw - well what more do you want?

Personally an F5 does not stack up as Id want global/4kcompressed for any spend over $10k

I think the 700/ody is amazing (but a PITA) and the F55 is really all anyone could ever want.

Yes sony have a load of bloopers IMO - ergonomics - but they are slowly working through some of them in FW.

At least I considered an f5, im harsh on the C300, $15g8bit? not even on the radar!

S
 
Have you tried slog2 IDT and ODT in Davinci? Even though it is for slog2 it shouldn't be too far off.

I have tried ACES workflow with slog2 IDT and ODT on my F55 footage but it gives me much more nodes and creates too much work to try and normalize the image.

Instead I work with around 12 nodes as my base setup which allows me to work out better looking images from the F55.
 
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IDT (input device transform) curve in Resolve reverses the curve of slog, this is suppose to be a beneficial way of working on the image from the sensor in resolve. I suspect this linearizes the image somewhat.

ODT (output device transform) curve then adjusts the output to match whatever you will be viewing it on. REC709, projector, P3 DCI, etc...

There is RRT as well, but I'm not there yet.. :)

Basically all these work together. I found this article: http://vfx-rants.blogspot.ca/2012/07/aces-workflow-and-resolve.html
 
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Yep a fully linear IDT is what is required.

But one that does not clip but leaves detail to be recovered in secondaries

S
 
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