GH2 Cinema Anamoprphic footage and More | Evolving
- Thread starter Kholi
- Start date
I bought a dumb one and I'm using a Kipon adapter with its own iris. I imagine that there are more than a dew thugs bad about the Kipon behind the rear element iris method, like vignette certain lenses and perhaps strange bokeh distortion but honestly I like it. It's interesting that the bokeh is best perfectly circle shaped as you stop down, which looks quite "pretty", especially for interviews.
However, I'm also going to go to a pawn or thrift shop to buy an old EF/eos mount Body for like 30.00 or whatever. That way I can just open or close the iris on the camera body then. Strap it onto the dumb mount. It's janky, but I like the EF primes enough to try it.
I'm using the ultrasonic 28/1.8, 50/1.4, and 85/1.8. Like them all wide open for video.
However, I'm also going to go to a pawn or thrift shop to buy an old EF/eos mount Body for like 30.00 or whatever. That way I can just open or close the iris on the camera body then. Strap it onto the dumb mount. It's janky, but I like the EF primes enough to try it.
I'm using the ultrasonic 28/1.8, 50/1.4, and 85/1.8. Like them all wide open for video.
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Oops. My bad. I flip-flopped Sharpness and Contrast. That stuff happens when you hit your forties.
To recover, if I have anything useful to add, I've noticed that my old Canon FDs and Nikons are less contrasty than my Lumix lenses. To get them to match, I always set my Lumix lenses to -2 Contrast and the old manual lenses to maybe 0 Contrast. On a waveform monitor, that really helps get the blacks down to a lower level.
That's actually what spurned me to try +2 contrast. Seems like with Nikon or flatter glass (newer EFs have just enough contrast) you want to avoid going too flat or too desaturated, looks like it makes the compression struggle a bit more. Banding. Noise. And using 5DtoRGB to adjust the gamma it in the conversion from YCbCr to RGB will get it back to what you what for a grade without it being too drastic.
Which is what I tested here, although I did go super flat by using the full range setting. Experimenting.
Which is what I tested here, although I did go super flat by using the full range setting. Experimenting.
Just to be clear, those are the raw image, 5DtoRGB transcoded broadcast range with gamma 1.8 and 5DtoRGB transcoded full range with gamma 1.8 ???For safe measure, I went back to the FulL Range and dipped the color contrast a bit more so it wasn't as milky.
And here are the "raw" looks:
Broadcast Range + 1.8 Gamma
Full Range + 1.8 Gamma
There you go.
Cheers,
Pete
Sorry, the image at the top of those three is the graded image from the 5DtoRGB > 1.8 > Full Range.
Here's the 1.8 > Broadcast version with the exact same curve/1 Light.
I will throw up a still, just batching the entire job right now. Huge files to convert! One was almost 25GB.
I used the non Batch version to get that since the shaders weren't operating properly but don't worry, Thomas is fixing it as I type this, for certain. The next update will have the Gamma Correction option and you'll be able to set it to default, 1.8, and I think 2.20 as well. It'll still have the Luminance range and some other solid tweaks.
Oh, and by the way, BETTER FINDER RENAMER also became a part of the workflow: I'm not certain how it's going to affect the metadata or what I'm losing, but I've decided that renaming all of the files before transcoding to any format was going to be the best way to go for large projects. I'm still working on the naming convention, seems like it's going to be:
Project Initials_CameraReel_OriginalFilename.mts
Ex: KP_A001_00000.MTS
Better Finder Renamer is free and will do 10 at a time, or the paid version will do as many as you want. Again, I don't know what I'm losing with the metadata, and after you rename you won't be able to Log and Transfer unless you change the names back so keep that in mind.
J Davis
Veteran
they are the only lenses that I shoot on the gh2
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The renaming function Panasonic uses for their camcorders is pretty slick. It simply puts the exact date and timecode of the first frame as the filename. While that software (HDwriter) is a giant pain in the rear, that naming convention is bullet proof. If you drag and drop directly from the card they are 00001.mts etc... If you use the software they would be something like 20120113_195105.m2ts This always gives you the ability to search for your clips based on day and time. Simple notes from a shoot will concure which clips are which.
If 5DtoRGB could use the time code from the exif data for the file name it would be incredibly useful to me.
Cheers,
Pete
If 5DtoRGB could use the time code from the exif data for the file name it would be incredibly useful to me.
Cheers,
Pete
Same here. Not the same on a film camera body maybe?
J Davis
Veteran
When you remove an eos EF or EF-s lens the aperture reverts to wide open, nikon is the opposite, it reverts to closed.
This is how the lenses protect the iris when they are being stored or being transported.
I think its because you're in LIVE mode or movie mode that its having the same effect as using the DOF preview.
(just checked, yes thats the reason). I'm also a still photographer so more often than not my Canons are in M, Av or Tv and when you remove a lens it stays open.
It might be an idea for you guys to be aware of where your iris is at when you are not using the camera, especially if you have switched thru a few expensive L lenses on a video shoot. Some of the might still be stopped down. They are designed to revert to their off state to help stop the blades moving.
This is how the lenses protect the iris when they are being stored or being transported.
I think its because you're in LIVE mode or movie mode that its having the same effect as using the DOF preview.
(just checked, yes thats the reason). I'm also a still photographer so more often than not my Canons are in M, Av or Tv and when you remove a lens it stays open.
It might be an idea for you guys to be aware of where your iris is at when you are not using the camera, especially if you have switched thru a few expensive L lenses on a video shoot. Some of the might still be stopped down. They are designed to revert to their off state to help stop the blades moving.
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