FS7: Question to RED, or higher end camera owners on their FS7 interest.

I guess maybe I mean 'mid school' - the 'video era' ? (2000?) - when I was shooting a crappy narrow DR digi stills cam and you were on some SD horror - both of those cams basically had to be completely nailed in camera did they not? and often needed a pretty chunky lights package to work at all ? (my early stills digicam ws 25ISO!)

S
 
Basically I think the split is the same as it always was since the dawn of motion pictures.

Commercial, Portrait, Narrative Film/Stills - Always produced with the darkroom/lightroom/colour suite in mind

News/ENG/Reportage - A lot more 'content trumps all and/or time sensitive' so less likely to be colour-edited past cropping etc.
 
morgan_moore said:
I guess maybe I mean 'mid school' - the 'video era' ? (2000?) - when I was shooting a crappy narrow DR digi stills cam and you were on some SD horror - both of those cams basically had to be completely nailed in camera did they not? and often needed a pretty chunky lights package to work at all ? (my early stills digicam ws 25ISO!)

S
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Around that time I was doing post at LWT/London Studios and making my own first waves in production. We'd be doing a lot of grading stuff in Avid Symphony suites - mostly trying to match PD150s and VX1000s to Digibeta cameras!
 
Ben Scott said:
Basically I think the split is the same as it always was since the dawn of motion pictures
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Indeed but that choice is now basically just that a choice.

A decade ago shooting on 35mm was not available to all. FS7 basically is almost available to all, Davinci is available to all, NLEs are available to all.

S
 
I think the modern cameras are good enough that more people get away with having a no lighting/grip budget mentality. But high dynamic range cameras or not, high budget or low budget, images pretty much can always look better when time (and budget ) is afforded to best control relative exposures in the frame. ND gel isn't that expensive plenty of low and mid budget productions use it all the time, train car or not. If outside access is an issue, there's ways of installing it on the inside, or hanging blinds, etc. But a lot of this goes out the window when people shoot guerilla and don't even have permits or the location locked for just them. Mind you, I'm speaking in generalities here - not specific to the shoot previously mentioned.
 
Yep, well... Sort of. This forum is jam-packed full of people saying for all sorts of fun and whacky reasons, that they can't shoot in an environment where their footage will be graded down the line


Also, and this is just a personal bugbear - although you can give everyone a copy of MS Word and it doesn't mean they'll all suddenly become Harold Pinter. Hence me getting upset when I see someone add a Magic Bullet look to a clip and call themselves a colourist.
 
Viddovation said:
I think the modern cameras are good enough that more people get away with having a no lighting/grip budget mentality. But high dynamic range cameras or not, high budget or low budget, images pretty much can always look better when time (and budget ) is afforded to best control relative exposures in the frame. ND gel isn't that expensive plenty of low and mid budget productions use it all the time, train car or not. If outside access is an issue, there's ways of installing it on the inside, or hanging blinds, etc. But a lot of this goes out the window when people shoot guerilla and don't even have permits or the location locked for just them. Mind you, I'm speaking in generalities here - not specific to the shoot previously mentioned.
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I agree completely with this. I make a point of never agreeing to work on a shoot where the camera is the most expensive thing on the budget, because it means you don't have anywhere near enough lighting/grip to do your film justice, unless it is all set outside.
 
starcentral said:
Quiz:

Shot on the F55, can anyone tell if this is Custom mode or CineEI?

16378061948_094eaf47d1_b.jpg
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chappelldigital said:
Definitely Custom
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Correct. And I absolutely hate the way this looks, can't stand it.

So to all the "custom mode" shooters making pretty non-Sony looking images, tell me what I did wrong? Please.
 
Mertzwiller said:
Dennis, what is it about this picture that you hate?
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I was wondering that too. It's a perfectly serviceable image which you could take a lot of ways.For example I might remove some yellow from the white of the shirt and push the skintones a bit but that's just one option.
 
You dont mention how it was created - was it graded?

Hypergammas are really meant to be graded are they not? - just unlike Slog there is no 'route' to getting to the right place - the route with log is to use an official LUT - the route with HG is to float around aimlessly.

To me his face looks like he is ill. But I think the DP was in error! You did the right thing to protect the highlights (otherwise they could have gone mental) but then did not use enough fill light?

If I were shooting baked I would be having a good look at 'standard' and working within the DR contstraints.

What does standard look like? Something tells me that it does not look as good as a 5d2 or NikonD90 - hence the initial excitement over those cameras!

S
 
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