F55: F5/F55 - where is the "filmic" footage?

starcentral

starcentral

Veteran
Anyone willing to share some snips or sources to some footage shot on the F5/F55 in either SR, XAVC or RAW that looks "filmic"?

ACES workflow along with some newer LUTs were a big help in helping remove some of that "sony look" but I'm curious to see other samples which could possibly be used to share with producers, clients, etc.. specifically as it relates to narrative / feature film work.

All around it'd just be great to see what people have been up to since it's been around a year now with these little beasts.

Cheers,
 
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Dennis please PM me with your email so I can send you a filmic looking file for appraisal. I cannot post it as it is still in production.

Jack F5
Sydney
 
starcentral said:
Please read the first post.
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I read it. You ask for people to post filmic footage to be used to share with producers, clients, etc. Why not make your own and share your own footage with producers? Or at least start thread by posting your own filmic footage if you have camera?


P.S. and I see you edited your first post after you read my post?
 
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Very legitimate request. A lone DP can't just go out and generate good feature footage alone, with maybe a few odd exceptions. He is likely looking for something that has some production design, maybe some lighting with bigger source than your average Arri 650, or complex set ups, good make-up, good hair and some appropriate costume work or nice camera moves. Someone can take their wife out and have her walk around at dusk on the beach but that's pretty cliche now. I'd like to see some of the same since Sony is a hard sell in this irrational market, as I recently posted about as well.
 
MWTDITW is so frustrating. Half of it looks awful and very digital, the other half looks stunningly beautiful and gorgeous.

It's almost as if they didn't know what to do with LOG and LUTs because some of the highlights burn out very quickly and nastily, then there's the completely inexplicable shots outdoors, in the frickin' desert, in the day, with an open shutter.
 
VinceinLA said:
Very legitimate request. A lone DP can't just go out and generate good feature footage alone, with maybe a few odd exceptions. He is likely looking for something that has some production design, maybe some lighting with bigger source than your average Arri 650, or complex set ups, good make-up, good hair and some appropriate costume work or nice camera moves. Someone can take their wife out and have her walk around at dusk on the beach but that's pretty cliche now. I'd like to see some of the same since Sony is a hard sell in this irrational market, as I recently posted about as well.
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Then use other people work to get your jobs? Don't understand. Is this saying look this guy did something great with my camera. Is same camera so I can do too. Hire me. No sense.

And why not start thread with your own filmic footages? If you have the camera and camera can make filmic footage then make it.
 
its two parter question, one I think many here are still curious after a year to see what has been done that actually can and does look filmic from the F55.. with RED it's been 7 years and most know what it can do already and its become a "trusted" name.

The second part was more to help sell the camera if needed, not the DP. The F55 camera itself is catching on but it won't be long before more people ask what I'm asking. "Where is the filmic footage?" It also doesn't help that due to such a diverse range of markets the F55 are used in, that many are shooting in standard gamma mode and posting its footage.

I do agree with Vince. Really great narrative examples will go beyond the camera itself and not everyone here is shooting big budgets on a daily basis where details are elaborate and expensive. i.e. art direction, makeup, costumes, etc.. So shooting a flower bed or backyard garden really isn't going to cut it.

Another big part of achieving any type of "filmic" or non-Sony look is going to come from post. Again, not everyone or every budget has a professional top colorist working on it so its one thing to "capture" great footage but there's still the post side.

As it is the case with Sony, these cameras seem to need a lot in post to make it look good which is unfortunate considering I already have some RED footage I've shot and/or graded which was far easier to make look "filmic".

Hence, I'm curious to see what others are managing to achieve. Jack has sent me some stuff that I have to say is maybe the best footage example I've seen to date. I hope he can share it eventually, but it was enlightening to see.
 
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I'm a big fan of the F55. I think the color representation is the best out there - accurate and rich. There's a great video out by Tiffen that shows an F55 with filters. I'm sure you've seen it https://vimeo.com/96143464. I also attended a seminar at AbelCine with Ira Tiffen now with Schneider. They're coming out with a video soon too. Film guys use filters all the time. I haven't shot with one yet but when I do I would test with Satin or Pearlescent or Glimmer Glass. I recently shot a short on a RED and, while not necessarily soft, the edge detail blended and it looks beautiful. That detail seems to be the glaring difference.

Could it be that crackling detail? Has anyone tried any of the newer filters to mitigate that overly aggressive edge detail?
 
Yes I hope others don't get me wrong. I too am also a very huge fan of the F55 (huge fan) but like many just looking at ways to get the most out of it. For me that means "film look" not "REC709 look". Considering the F55 is amongst the few cameras in the world to exceed film color gamut and meeting ACES specification in all reality it should be possible to have it look like "any" camera or have "any" look but it means actually knowing how.

Regarding filters for the purpose of removing detail for me personally I don't feel that is the issue in getting an overall filmic look. But I do appreciate the look of halation on light sources in a frame that you get with certain filters like glimmer glass, fog, etc.. I am not too much a fan of diffusion filters which alter scene contrast before getting captured to the camera, but not to say they don't have their uses or a nice effect.

It's just been quite bothersome for me to think that removing the Sony look and unravelling the color science is so complex to do manually that one has to resort to using Impulz LUTs or Film Convert plugins. I've done my own tests using some of these 3rd party tools and seen some work from others using them and the results are actually impressive.

Perhaps I need to embrace this as the only way to get the best "look" out of this camera.

:bath:
 
Wish I could share something, I've shot half a dozen projects (and lit a couple for others) with my F5 in these first few months that I've had it, and I've been pretty delighted with the results.

Everything's still tied up in post though.
 
Mark you doing the grading or someone else, and if you're doing it are you doing it by hand or using ACES with IDT and ODT?

I really like the controls in Resolve once using ACES but then throwing any LUTS on top make for funny results.

Cheers mate.
 
Daryn Okada recently shared some footage at Cinegear shot on the F55. The footage came from "Let's Be Cops", and "Dolphin Tale 2".
Two completely different looks, and both stunning. Really showed off the range of the camera.
 
starcentral said:
Mark you doing the grading or someone else, and if you're doing it are you doing it by hand or using ACES with IDT and ODT?

I really like the controls in Resolve once using ACES but then throwing any LUTS on top make for funny results.

Cheers mate.
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I'm grading most of them, a couple of the music videos have been sent off to post-houses in India, so waiting to see what they come up with.

I've experimented a bit with ACES, I find the best results I get from it come from just using the IDT and eschewing the ODT, and tweaking by hand. That seems to get very natural results.

The Rec709a LUT similarly gets natural looking results, but I've never actually used either for a finished product.

I stick with the Film-look LUTs and Filmconvert for my initial colour transform from SLOG2, and then tweak contrast and colour by hand.

It's fast, easy, and the results I've been getting from those two approaches have been great.
 
Take a look at www.digiteyes.com.au/gallery.html and click on CIRCUS DAY.
Shot LC709A look with no grading except for a little black level tweak.
Incredible range of exposure with no pain in post.

MERCEDES FASHION WEEK AND TVCs shot modified HG7.

All other SLOG2 and graded.

Jack F5 Sydney
 
Grug said:
I'm grading most of them, a couple of the music videos have been sent off to post-houses in India, so waiting to see what they come up with.

I've experimented a bit with ACES, I find the best results I get from it come from just using the IDT and eschewing the ODT, and tweaking by hand. That seems to get very natural results.

The Rec709a LUT similarly gets natural looking results, but I've never actually used either for a finished product.

I stick with the Film-look LUTs and Filmconvert for my initial colour transform from SLOG2, and then tweak contrast and colour by hand.

It's fast, easy, and the results I've been getting from those two approaches have been great.
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With ACES color space enabled, is it me or is there no slog3 IDT available yet in Resolve v10? Does it exist in v11?

Looks like we must stick to 3rd party tools for now then and stay clear away from "by hand" grading. But saying that would upset any professional colorist. For "filmic look" on some tests I've done, the Cine+709 LUT is also a pretty decent starting point as well. Gets you 95% there without damaging or crunching any tonal value elements.
 
Lots of really nice treatments and good pacing txdp! Question about your approach to what I'll call frame skipping that you see at 2:01. Did you get that effect with shutter angle, frame ommission, something else?
 
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