F3: The Jealous Sound "A Gentle Reminder"

Nate Weaver

Nate Weaver

Veteran
There's a lot of color and grain added to this one, and also a minuscule amount of perforation jumping and gate weave, all of which is not really web video friendly, as it bungles the encoding.

 
Douglas Villalba said:
Very nicely done.

EDIT: What kind of lighting were you using?
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I have two 800 HMI pars that I used for all of the outdoor performance. They were undiffused, as I was not only working as a one-man-band, but it would have cut too much output for a lot of the shots. If I would have had soemthing to soften them up, I could have used on a couple shots but not many. 800 HMIs don't go far for daylight exteriors...I was amazed they did as much as they did.

The first shots laying down in the grass, I have a Zylight IS3 with medium/small Chimera on it about 4 inches out of frame over top, doing a soft toplight.
 
damn that looks awesome!
why did I just get a Sony F35!
screw me!
need to learn how to shoot better with what I already own.

What lenses did you use?
 
Heh! Thanks Ed.

Red short zooms, the only lenses I have. 18-50 and 50-150.

It's all in the de-log-ification. My opinion is that you have to de-log it correctly as a sold start, and then adding more contrast in the mid tones with a s-curve (just a dab will do ya) gets you pretty far to erasing the "Sony look".

There's a lot going on in colorist circles these days about using print LUTs to add contrast in the right places, and overlaying telecined grain to give some life back. I did both in this one.
 
Nate Weaver said:
Heh! Thanks Ed.

Red short zooms, the only lenses I have. 18-50 and 50-150.

It's all in the de-log-ification. My opinion is that you have to de-log it correctly as a sold start, and then adding more contrast in the mid tones with a s-curve (just a dab will do ya) gets you pretty far to erasing the "Sony look".

There's a lot going on in colorist circles these days about using print LUTs to add contrast in the right places, and overlaying telecined grain to give some life back. I did both in this one.
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Do tell.

quotes-werewaiting.jpg
 
Lovely images Nate. Have you tried pushing SLOGged F3 material through the ACES workflow yet?
 
Oh :-). Sorry. :-)

Let me see what I can find...

http://www.reduser.net/forum/showthread.php?93384-Kodak-2393-Emulation-LUT-Test

http://juanmelara.com.au/print-film-emulation-luts-for-download/

http://forums.creativecow.net/thread/277/22802

https://vimeo.com/49029693

https://twitter.com/Davehussey/status/269559970989735936

Colorists, the GOOD ones, tend not to talk about their tricks for obvious reasons. There's a precious few out there that will share the really important stuff. For instance, it took me years to figure out on my own about what contrast can do with skintone secondaries. You can add or remove years just with contrast alone. My point is that I suspect a lot more high-end colorists are doing these things with little on-line discussion.

Anyway, if you go digging, you can find multiple discussions about adding grain back. Go look at Cinegrain's website, and their prices, to get a handle on who's using this stuff. There are cheaper alternatives out there, but Cinegrain seems to be the name heard repeatedly in Los Angeles.

I sense in the next couple years, as the cameras get cleaner and cleaner, the idea of going backwards with contrast and grain will become very popular, and the inexpensive tools available will start to offer this. There's already one plugin out there called FilmConvert that has telecined grain clips in it along with film print emulation. I think their plugin effect by default is too strong, but my guess is these basic ideas will gain traction in the future. Kind of a mediated, gentler version of the Hipstamatic/Instagram trend.
 
Hi Nate, nice clip.

Nate Weaver said:
There's a lot of color and grain added to this one, and also a minuscule amount of perforation jumping and gate weave,
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Nate I watched full screen and those jumps popped out to me as looking like an error in smoothing the shot out or similar (something you might see on dslr) as opposed to your intent of perf jump.
 
Nate Weaver said:
Oh :-). Sorry. :-)

Let me see what I can find...

http://www.reduser.net/forum/showthread.php?93384-Kodak-2393-Emulation-LUT-Test

http://juanmelara.com.au/print-film-emulation-luts-for-download/

http://forums.creativecow.net/thread/277/22802

https://vimeo.com/49029693

https://twitter.com/Davehussey/status/269559970989735936

Colorists, the GOOD ones, tend not to talk about their tricks for obvious reasons. There's a precious few out there that will share the really important stuff. For instance, it took me years to figure out on my own about what contrast can do with skintone secondaries. You can add or remove years just with contrast alone. My point is that I suspect a lot more high-end colorists are doing these things with little on-line discussion.
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Thanks Nate.
 
Noel Evans said:
those jumps popped out to me as looking like an error in smoothing the shot out or similar (something you might see on dslr) as opposed to your intent of perf jump.
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Too late now :-)

I somewhat agree, but if you see it in ProRes, with all the grain, the brightness variations in the grain (there's some exposure variation), and the jumps, it's pretty authentic. I used a fine variation of Gorilla Grain (100ASA-ish, 35mm), it's pretty good stuff. You'd think 100ASA 35mm would be "grainless". Not by a long shot!

Half or more of it gets removed in the encoding. I'm always doing dumb stuff for web video but looks fantastic on proper monitoring.
 
Nate Weaver said:
For instance, it took me years to figure out on my own about what contrast can do with skintone secondaries. You can add or remove years just with contrast alone.
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Could you elaborate a bit on this? Sounds interesting.


P.S.watched the video now. Looks great! Very filmic! Who needs a F55? :)
 
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Adamsenoj said:
Could you elaborate a bit on this? Sounds interesting.
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In short, adding contrast to skintones only accentuates the wrinkles and makes somebody look older. If you want to go farther with it, add sharpness and play with the radius of the sharpening. You can make a beautiful, young person look like a meth addict in no time.

If you need to do beauty work, reducing the contrast by applying a reverse s-curve to luminance deaccentuates wrinkles and lines, and makes people look younger. Usually going to be used with blur or diffusion too.


Adamsenoj said:
P.S.watched the video now. Looks great! Very filmic! Who needs a F55? :)
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Nobody NEEDS one, but I'm sure tired of the frankenrig. I won't miss that part. I'll feel like a professional human being having a proper EVF again too.
 
Noel Evans said:
Hi Nate, nice clip.



Nate I watched full screen and those jumps popped out to me as looking like an error in smoothing the shot out or similar (something you might see on dslr) as opposed to your intent of perf jump.
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I thought the same thing, I first noticed in the shot of the drummer in front of the trees, it appears to be a slight push towards the drummer, there's a few little shakes in which I initially thought it was a bump in the slider track, but then I was like "oh yeah, he added that". For what it's worth, I think people that don't know it's an added effect will think it's a flaw. Being digital why would they think otherwise?

The only shot I really didn't care for was when the singer was lying on the ground, you only see half of his head. I would have like to see that shot off a jib with a slow lift revealing his entire head, then cut back to the shot where he gets up. Other than that little subjective critique, I thought it was a great video and song. very nice work overall!!
 
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