Forrests of Montana - 12 bit with multiplexer to PIX 240 then filmconvert, s curve

eddavid

eddavid

Carbonite Member
Here's recording I did last year. Recording with AJA multiplexer out 12 bit dual goes to 3g HD SDI into the pix 240 as 12 bit. Using ultra prime lenses

Super super sharp looking stuff -took into filmconvert and did the kodak thing. Tons and tons of chroma information and sharp as a tack and no noise. Very clean stuff.

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Now here's the 1080p video:
https://vimeo.com/96099341
 
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Would love to see a montage of shots as well. Really stunning compositions here Ed, throw in robert redford and you've got Jeremiah Johnson. Was this 12-bit pro res or dnxhd? The only one I'm not crazy about is number 11 down, the rocks all seem to clip but I also know that's how it can actually look in the sunlight.
 
yachacha said:
Would love to see a montage of shots as well. Really stunning compositions here Ed, throw in robert redford and you've got Jeremiah Johnson. Was this 12-bit pro res or dnxhd? The only one I'm not crazy about is number 11 down, the rocks all seem to clip but I also know that's how it can actually look in the sunlight.
Click to expand...

that's my grade I think - they don't clip. recorded 12 bit pro res - I think it makes it so it clips above 100 IRE

skin tones were shot - I'm going to prepare a DP cut of this asap.
 
I don't know if it's just my screen, but I'm seeing quite a lot of excess magenta throughout the images. Is that from the grade?
 
I also see a lot of magenta in the image too (I have calibrated Apple Cinema 27" LED display) which is fine for stylistic choice, but I might recommend or suggest trying to at least get the brighter tones and/or highlights to appear slightly more white, or colorless.

One good trick in Resolve for doing that is using luminance based saturation to actually desaturate those tones. Otherwise you can use the scopes and appropriate dials to balance out only the tips of what you see on your RGB parade.
 
I think that's actually the 12 bit going thru the multiplexer does that - I was noticying it while I boost the saturation super high - thanks for noticying that though - and that's a great trick to try to tone it down.
Ed
 
Hi Ed - inspiring shots, to say the least. Could you host untouched 12-bit stills for us to play with? I would love to see the original for that first shot.
If you have the time . . . ;)
 
Ed,
What multiplexer are you using? Do you believe if you used a different brand that might solve that problem. I am once again about to buy a pix 240 but the fear of the system not working is holding me off.
 
i'm using a blackmagic multiplexer and haven't had any issues to the pix 240. the aja one looks like it's better quality though... and it's smaller. sucks if it's having issues though...
 
Hi Eddavid,
Did you try to feed the F35 (in the genlock input) with the timecode generated by the Pix240?
Could be useful if the F35 can "read" it because then you can see in your viewfinder the timecode running and you are sure your shot is properly recorded.
 
periferic said:
Hi Eddavid,
Did you try to feed the F35 (in the genlock input) with the timecode generated by the Pix240?
Could be useful if the F35 can "read" it because then you can see in your viewfinder the timecode running and you are sure your shot is properly recorded.
Click to expand...

I don't expect that would work. My understanding is the genlock port is only going to read blackburst... it's not meant to read LTC...
 
Very nice but the int. interview shot looked very bizarre. Too little of a light (and thus, too close) to match your background? Why didn't you place her in a way that used the window light?
 
You are right - actually the grade I did was too agressive - i switched out the version with a more subtle grade on the interview shot.

but in stead of using the window light - i wanted to see out the window - see nature there - vs just looking into a wall with a painting. Also it reminded me of a Western - deep focus. and a nice older style more-powerful light. we also shot it at t8 to make it feel like one of those older films.

but yes I should have had at least an m18 and more diffusion and or bounce.

but what can you do on a low budget doc?
 
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Ed, you mention that there's no noise--there are afew outdoor night shots at sunset in the video that you posted where there's definitely noise/grain. I'm wondering: what camera settings did you have going there, if you can remember? I've just really begun digging into the menu options on this camera and I'd love to compare notes with other shooters.

For example: was noise suppression off/low/mid/high/max? Were you shooting Normal/Extended range? Which gain setting?

Hope that's not getting too personal!

I love the interview shot against the window, by the way. It's the last shot of The Searchers, with more dynamic range ;)
 
I understand and I've been doing this exact kind of thing for seemingly endless weeks on a feature doc. (slog F3) Im always looking for ways to use windows as big soft sources. If that won't work I use their practicals (lamps) in some way. Last resort is putting up an LED panel but artificial lighting techniques really stand out to me now, in a bad way, and dont work on this shoot. The 1.8 sigma 18-35 is making this work easier. The F35 is surely on another level but this doc is way too insane for that camera, unfortunately. In the end it will be a mix of F3, GH3 and Gh4 with some AF100 sprinkled in. Oh well.
 
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