Most inspiring FS100 footage?

EDV

EDV

Well-known member
Hey people,

I've been looking for some FS100 footage that can wow me enough to maybe purchase this amazing little camera. Unfortunately none of the FS100 YouTube music videos or demos have impressed me enough, in fact, have disappointed me with the lack of vibrant colors and yellowish / greenish tint present in all of these videos. It sort of reminds me of the old Z1 look, not what I was expecting. Could this be because the FS100's Picture Profile settings are really complicated to master and most camera operators just won't take the time to explore this in depth?
Ironically, the first video I saw on the FS100 was the one that got me interested in buying it, and so far the nicest FS100 footage I've seen:

https://www.youtube.com/watch?v=yBdqeYYO_Ic

not sure what settings Philip Bloom was using but he claims this is "ungraded, straight out of the camera"

thanks in advance
 
Those are some great looking videos. Just wondering, with "Happy Never After", why are the blacks not 100% black? They seem dark opaque, but not completely black. This is something I've also seen in other FS100 videos, wondering if it's a popular effect or does it have to do with the limitations of the camera?
 
HNA was not graded by me and was shot using a 'flat' profile not chosen by me. Flat profiles often raise the blacks - its easy to put them back to black in the grade.

The cam is nice if you get it for the right price, personally today Id go for a C100 or FS700, but for cheap you cant go wrong :)

S
 
C100 would be nice but it's over my budget, and I like the 1080p slow motion in the FS100. Maybe when it comes down to the $1500 price range on ebay... :grin:
The FS100 kind of reminds me of the Steadicam Merlin in that some talented users get brilliant results with it, while many others get awful footage out of it. I guess it comes down to how well you learn to tweak your Picture Profile settings. These guys seem to have nailed it beautifully:


if anyone knows what type of picture profile could deliver these colors ( particularly the well lit scenes ) let me know.
 
Some great clips there Frank! Very filmic, and to my eyes, a bit reminiscent of the EX3 films I've seen, with a slight greenish bias but with richer tones.
 
I am seeing these "greenish / yellowish bias" in a lot of the FS100 films. I think it works sometimes ( as in the "Stunde Null 1945" example posted earlier ) but not all the time. I don't think it worked for me in the Boxer film as that looks very artificial and graded... I mean... greenish skin tones? c'mon...
 
It's not the camera per se - it's a creative decision.

If you use my Ultimate PP, there is no bias, it's pretty neutral and usable out of the box.

ULTIMATE-PP:

GAMMA: Cinematone2
BLACK GAMMA: High/+7
KNEE: Manual/80%/+1
COLORMODE: Cinematone2/+8
COLOR LEVEL -2
COLOR PHASE -7
COLOR DEPTH: R -3/G +2/B +5/C 0/M 0/Y 0
WB SHIFT: all zero
DETAIL: Level -3/BW Balance Type3/Limit7 everything elese at zero
ZEBRA: set your zebras to 100 and make sure they never show up (unless in lights, chrome or other super bright and shiny things)
BLACK LEVEL: variable – as in G-Log, set your black levels a hair above zero IRE (or until the histogram touches the left side)

DON’T GET CONFUSED WHAT YOU SEE ON THE CAMERA SCREEN, HAVE FAITH, EVERYTHING WILL FALL IN PLACE.
 
Postmaster said:
DON’T GET CONFUSED WHAT YOU SEE ON THE CAMERA SCREEN, HAVE FAITH, EVERYTHING WILL FALL IN PLACE.
Click to expand...

I read this in one of your other FS100 threads. Is the viewfinder really that bad? I already got me a HDMI Panasonic Field Monitor to use with the FS100, so I'm not too worried, it's a fairly accurate display. Only downer is the cost of the batteries, it uses Anton Bauer and the whole battery set up including dual charger is nearly $800 ! Oh well, thanks for sharing the Ultimate PP.
 
frank-

with the "Ultimate PP" how much grading is anticipated?

thanks in advance.

be well.

rob
smalltalk productions/nyc


Postmaster said:
It's not the camera per se - it's a creative decision.

If you use my Ultimate PP, there is no bias, it's pretty neutral and usable out of the box.

ULTIMATE-PP:

GAMMA: Cinematone2
BLACK GAMMA: High/+7
KNEE: Manual/80%/+1
COLORMODE: Cinematone2/+8
COLOR LEVEL -2
COLOR PHASE -7
COLOR DEPTH: R -3/G +2/B +5/C 0/M 0/Y 0
WB SHIFT: all zero
DETAIL: Level -3/BW Balance Type3/Limit7 everything elese at zero
ZEBRA: set your zebras to 100 and make sure they never show up (unless in lights, chrome or other super bright and shiny things)
BLACK LEVEL: variable – as in G-Log, set your black levels a hair above zero IRE (or until the histogram touches the left side)

DON’T GET CONFUSED WHAT YOU SEE ON THE CAMERA SCREEN, HAVE FAITH, EVERYTHING WILL FALL IN PLACE.
Click to expand...
 
I'll nominate my own work too ;-)

http://www.shorelineentertainment.com/movies/DrakulaXO.html

A feature shot entirely on FS100's with Angenieux / Zeiss / Rokinon glass

Cut in Avid MC, finished on Avid|DS, graded in Nucoda FilmMaster

PP's were based on 709, full range, highlights exposed to 109, blacks at -15 no faux log anywhere

Distb loves the look of the film

Since then my FS100's have been used as second unit on a few MoW's cutting int main unit shot on Epic's, again no faux log, exposed for full range, and they do cut well enough to work seamlessly

Wil be selling the FS's soon tho, they do not get much use theses days… great little camera's esp in low light, and even more so when using Nucoda's pretty amazing DVO Clairty

d
 
Also how about an Oscar winner..

Citizenfour (2014), which received the Academy Award for best documentary last week at the 2015 Oscars. According to IMDb it's currently grossed $2.6 million at theatres. Shot 100% on the FS100
 
RedBlack999 said:
Also how about an Oscar winner..

Citizenfour (2014), which received the Academy Award for best documentary last week at the 2015 Oscars. According to IMDb it's currently grossed $2.6 million at theatres. Shot 100% on the FS100
Click to expand...

It's definitely worth seeing. Everyone should see it really.

The image does look like the FS100, but do you have a source for that information? I saw it posted on newsshooter.com but Matthew Allard there doesn't cite any source either.

Edit: the source is this German interview with filmmaker Laura Poitras
http://www.kameramann.de/allgemein/...enfour-dokudreh-mit-thriller-elementen-142794

She seems to say she had "one" FS100, but clearly they had more than one camera.
 
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Thanks, RedBlack999. That's my film, Death To Prom. Yes, 100% shot on FS100 with Zeiss ZF.2 primes (a few shots with some other lenses, ugh) and the AbelCine AB_Range profile. Shot to card in-camera. Edited in FCP 7 at the time and graded in Davinci Resolve. There wasn't a ton of wiggle room with the 8-bit 4:2:0 footage, but you'd be surprised just how far it can go. I still use that camera on a lot of gigs for clients, it's a work horse and predictable and flows like butter in FCPX.
 
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