GH2 Cinema Anamoprphic footage and More | Evolving

mpgxsvcd said:
Kholi, are those stills taken from the video or actual stills taken with the GH2? If those are stills from video then you are definitely doing something right. Those look fantastic! Great job. Also just curious why you were shooting 720p @ 60 for this type of scene. Does the 1080p HBR mode do any better?
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Stills taken from the video, and color adjusted. My issue is all the aliasing in the hair. I've never seen it before, but I think it's because of the Ultra Primes: those things are too sharp even for Epic apparently. I need to get my hands on some Cooke's to try out with this, but so far seems like the best S35 Combo are Zeiss Standard Speeds.

I did 720/60 for the second shot because we were shooting side-by-side with Epic @ 120fps and I wanted to see if the 720/60 would cut okay with Epic @ 1080. Haven't tried yet, I think the 1080/24 would, but not so sure about the 720 (at least not without some tweaking).

720/60 is still slow enough for a lot of work, though.

Thanks Guysssss.
 
Will try to cut at least 30 seconds of some of this stuff and throw it up on vimeo.

More stills for now.


Zeiss Ultra Prime 24 @ 4 | ISO 160? (I think, it might've been 200 | ND .9 | Soft FX 1 (full) | Standard -2 -2 -2 -2 | 1080/24







Same as above.

Pretty sold on Standard with cinema runner up. Tried Dynamic randomly today, too much sharpening in the curve.

Soft FX 1 does help a lot with the aliasing, and GH2 still rocks it on resolution.
 
I FREAKING love it Kholi. My ONLY nit-pick...is DR. We've already talked about it, so I'm not complaining, I'm just saying that those are some AMAZING screen caps....I'd love an extra 2 stops of DR on this bad boy.

Very NIce, Super Crisp. Your either a stud for all these models, a smooth talker or both.
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+1 on that! What's next....Japanese Twins? lol! You da man, Kholi. hahaha
 
JoeJITSU said:
Very NIce, Super Crisp. Your either a stud for all these models, a smooth talker or both.
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Haha, they're paid; of course. xD

dcloud said:
so whats your workflow now kholi? by that i mean settings in camera and post process conversion
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Same, actually. Only thing I changed was Film Modes/Profiles to Standard. Still go through 5DtoRGB for everything, etc. As far as white balance goes, stick to either balancing to a card or the presets. To me, and haven't done enough testing on this just yet, it seems like trying to adjust the color grid on the presets just makes matters worse. You can pull the green tint out in post, but futzing with that complicates noise etc more than I prefer.

So, I balance to a card or just use the presets depending.

jhero said:
Looks like you're using the Soft FX 1 as you're using the Zeiss?

Looking great Kholi!
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Yeah the 1. 1/2 wasn't strong enough, 2 was way too strong. Ultra Primes and SFX1 = good combo.

HHL said:
I FREAKING love it Kholi. My ONLY nit-pick...is DR. We've already talked about it, so I'm not complaining, I'm just saying that those are some AMAZING screen caps....I'd love an extra 2 stops of DR on this bad boy.


+1 on that! What's next....Japanese Twins? lol! You da man, Kholi. hahaha
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Hmmm, I'll post non adjust pictures. One thing to remember is that you can't really judge DR on post adjusted images. But, I think any camera out there could use another two stops, so not disagreeing.
 



So this is what I mean by being careful of what you're judging. For this material, I'm always going to go for an aggressive, happy, warm curve. Not so much about protecting blow outs in OOF areas, but all about highlighting what's important: beauty. The sky poking through the trees, blue in this image. The trees themselves? Nowhere near as hot, so on and so forth.

It's a great base to work from, especially with a serious grading workflow. But, that does not take away from the fact that I too would love more DR, less aliasing, so on and so forth.
 
Kholi said:



So this is what I mean by being careful of what you're judging. For this material, I'm always going to go for an aggressive, happy, warm curve. Not so much about protecting blow outs in OOF areas, but all about highlighting what's important: beauty. The sky poking through the trees, blue in this image. The trees themselves? Nowhere near as hot, so on and so forth.

It's a great base to work from, especially with a serious grading workflow. But, that does not take away from the fact that I too would love more DR, less aliasing, so on and so forth.
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VERY VERY helpful to see the pre cc version. Thank you VERY much! Blown highlights were....uh....not blown until after the cc. (Dead center of the pic...I see that was an artistic choice, not a cam/sensor limitation.) Thanks much. Nice to see.

But, I think any camera out there could use another two stops, so not disagreeing.
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Truth.
 
Played better, to my eyes and testing, with 5DtoRGB. Also less noise and less sharpening. Everything that smooth does I can replicate with a few small tweaks in post.
 

http://vimeo.com/42018395


Even though I said I wouldn't hacks0rs anymore, I went ahead and installed Canis Majoris night. IMO, I can't see any difference worth commenting on, not even during night footage but left it on the camera just in case.

More importantly, I think I found a new set of lenses that I'm most happy with. Before I reveal which ones, I'm going to do a mini 24~28mm "comparison" of each that I own, which I think's about four from popular brands. Anyway, the clip up there, everything's untouched out of camera (no gamma correction etc) aside from the four clips at the end. Trying a "biolume" test and that's the first stage of it, thought it was interesting to pull different looks.

Going to expose what the glass is and why I'm using them instead of going PL or Full-Blown anamorphic on the $10K Feature next month.
 
This will be epic. I'm very, very, very interested in the 24mm - 28mm range (also for a $10K feature). Although I've come to the conclusion, that if you are doing low light interiors, whatever minor distortion exists below 20mm is totally worth it. Kholi, I can't wait for your writeup!
 
Kholi, why not more hax0r? Are we now at diminishing returns w/ no noticeable differences anymore? Thanks for posting the experiments
 
OldCorpse said:
This will be epic. I'm very, very, very interested in the 24mm - 28mm range (also for a $10K feature). Although I've come to the conclusion, that if you are doing low light interiors, whatever minor distortion exists below 20mm is totally worth it. Kholi, I can't wait for your writeup!
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Might be a few more days. Gotta shoot something this week, but will get to it. Also trying to do outside and indoors/lit with a human, but really low amount of wattage.

Lammy said:
Will a Vivitar, a Nikkor, and a Leica be in that lens comparison... ?
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Nikon, canon EF, Contax Zeiss, vivitar, Voigt, Zeiss PL Standard (as the control, I'm thinking).

Then possibly a cooke panchro and baby cooke S16 of the same equivalent focal length (ETC mode).

mentatDUKE said:
Kholi, why not more hax0r? Are we now at diminishing returns w/ no noticeable differences anymore? Thanks for posting the experiments
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I think so, man. Personally, I could not see a difference between this one and V9b, but people are saying it's there. It all looks good at this point, but none of it changes the DR and other kinks so, for me (FOR ME), it's gone as far as it needs to.

Unless some incredible breakthrough happens, anyway.
 
Okay, so here's the list of 24 to 28mm lenses:

Nikon 24/2 (Old One)
Bauer 24/1.4
Canon EF 24/1.4
Voigtlander 25/0.95
Canon EF 28/1.8
Contax Zeiss 28/2.8
Vivitar 28/2.5

I'm also going to add these Zooms to the list at comparable focal lengths

Vivitar 24-48/3.8 Series 1
Vivitar 28-70/3.8~4.5

I don't think it would be of much benefit to many here, but I also may try to add:

Baby Cooke S16 at Equivalent Focal Length
Cooke Panchro at Equivalent Focal length

This really won't be a shootout or anything like that, just a personal comparison.

Likelyhood of what'll be shot:

1. Exterior Wide at infinity with a lot of detail. Apertures 2.8, 4, 5.6
2. Exterior Medium (hopefully on a Human). Apertures 2.8, 4, 5.6
3. Interior Wide (as widest as it'll go). Apertures 2.8, 4, 5.6
4. Interior Medium (hopefully on a human). Apertures 2.8, 4, 5.6

Then, widest apertures of the same things on each lens.

Nothing will be doctored, colored, etc. I'll post a very well compressed vimeo that everyone can download from there, and Tiffs from each lens at each aperture to mess with.

Let me know if there's anything anyone would like to see specifically, trying to keep it as easy as possible though since I'm short on time these days.
 
Nice. I always use a Vivitar series 1 28mm f/1.9
it's my favourite secret lens.

I'd also suggest you get your hands on the Samsung Galaxy S III as it's view looks roughly 28mm ish for a laugh ;) You may be surprised...
 
Lammy said:
Nice. I always use a Vivitar series 1 28mm f/1.9
it's my favourite secret lens.

I'd also suggest you get your hands on the Samsung Galaxy S III as it's view looks roughly 28mm ish for a laugh ;) You may be surprised...
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I've also heard some wonderful things about the optics Samsung is sourcing, and their previous Galaxy S devices had some pretty respectable 1080p recording. But, I don't think that fits into this comparison unless Kholi intends to also throw in an iPhone 4.
 
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