Michael Thames
Carbonite Member
Yea, that was for Mitch sorry I should have quoted him.
C200: The new Canon C200 with 4K
- Thread starter Michael Thames
- Start date
Michael Thames
Carbonite Member
Here are some ungraded frame grabs from a short film I DPed last week with a non-Sony camera. Brought the footage into Premiere, it automatically applied a LUT (so no color work from me), and voila.
Images were sharper before compressing photos and uploading. Need to figure out a better method.
Full-size: http://i.imgur.com/Twh3tLZ.jpg
Canon 35 T/1.5 CN-E
Full-size: http://i.imgur.com/yes8vpo.jpg
Canon 18-80 T/4.4 CN-E
Full-size: http://i.imgur.com/MCk8NR8.jpg
Canon 15.5-47 T/2.8 CN-E
Ha ha! Is this a trick?
chappelldigital
Well-known member
That is straight out of camera, no post at all. I contract shoot a lot of events - wedding same day edits, sports live broadcast, etc - zero time for any post colour unfortunately, so I have to give them something nice to look at straight out of camera. That shot is FS7 in Custom mode.
Mitch Gross
Veteran
Your earlier post indicated that the differences between types of signals, color space and bit depth was only noticeable to a select few, and therefore didn't really matter all that much. I was attempting to draw a parallel to the guitar world, with which you are more familiar than I. I'm quite sure that you can well appreciate the qualitative difference in a higher end guitar compared to a more basic inexpensive model. While both serve a purpose they do not particularly compare, and I'm sure you could educate me on the differences quickly and I would be able to appreciate many of them once identified. My point is that it is the same with the video formats.
Eric Coughlin
Veteran
Trick? No. Oh, I forgot to mention about Premiere automatically applying a LUT to this camera's footage; the LUT didn't need to be rendered either. I've always needed to render LUTs in the past, but not in this case. Super simple. Footage with the automatically applied LUT plays nice and smooth on my laptop in Premiere.
Last edited:
Michael Thames
Carbonite Member
Damn, I could have spared you the long boring guitar explanation. Sorry about that.
So far we have been talking about the C-series and the FS7. I do think most people can't see a difference be40tween these cameras for the most part, and I'm not alone in saying that. But you are comparing a cheap Chinese guitar to a Taylor guitar at both ends of the spectrum, I don't think that's what we are talking about here. What we are doing is discussing say the difference between a Martin and a Taylor, and at that point it comes down to personal preferences. Woods humidity construction methods all contribute to some pretty unpredictable results, where as a C300 has very reliable design and consistency and nothing is left to chance. In other words it's intirely possible the Chinese guitar could sound better than a Taylor, where as a 5D3 will never look as good after post grading as a C300mkii.
Michael Thames
Carbonite Member
But, you haven't identified the "non-Sony camera"is there a reason you don't tells us what the camera is? ha ha! I think your gonna say it's an HV40 or something.
Doug_EX
Well-known member
Probably a C300 mkII
This is the Cinema EOS section so I probably shouldn't mention this here, but I'll disagree about the A7 series. I spent at least two days going through all the options to generate my own custom profile- non LOG of course. Then tweaked it as I gained more experience. Thought it was very pleasing unless there was a green spike in the ambient lighting. a number of producers wanted to know what camera I was using when they saw the footage- combination of A7S- full frame, custom profile, on a tripod, 350watt LEd fresnel based booklight, etc. Older Tokina ATX Pro zooms or old, pre-AI cinevized Nikkors. Not the latest and greatest and sharpest glass. Personally never liked the Slog out of A7S. Everyone who told me how bad that camera was, outside of low light- I'd tell them to stop shooting slog and do their own custom profile. With inexpensive gear I want the fastest workflow possible.
I'm not there with the C300 Mk2 yet- probably because almost everyone wants CLog, so I haven't tweaked the color profile enough for straight out of the camera delivery. I will say I"m not using any presets when not shooting LOG- didn't really like anything direct from Canon.
Eric Coughlin
Veteran
It's an Arri Amira. I might be in love.
I didn't know it would do that, so when I first brought them in, I was like, "I'm 99% sure we were recording in Log-C and not recording a Rec 709 image." I checked VLC player again and it did show the original Log-C files. Then I pulled up effects in Premiere, and saw that Luminetri had an Amira LUT already enabled.
For me aside from the smaller time saver of not needing to apply the LUT, the bigger advantage is not needing to render it, and already having the LUT applied, which means you can easily edit with the LUT footage, as opposed to my usual workflow with the C300 Mark II of editing with Log footage, and then grading afterwards. So, it's nice to be able to edit the LUT footage without it slowing down the post workflow.
I'm not sure if there is a way to do that with the C300 Mark II or FS7.
I should note I did just upgrade to a new laptop and haven't tried editing C300 Mark II footage on it yet. 3.2k ProRes from the Amira edits smoothly so far. Haven't gotten into grading it yet aside from the LUT.
Files were recorded with Log-C with a 709 LUT applied to the viewfinder and SDI out (not to the recorded image, though). Once I brought the ProRes files into Premiere, it automatically applied a LUT in Luminetri, as I said, with no need to render the LUT, so the files play smoothly with the LUT applied.
I didn't know it would do that, so when I first brought them in, I was like, "I'm 99% sure we were recording in Log-C and not recording a Rec 709 image." I checked VLC player again and it did show the original Log-C files. Then I pulled up effects in Premiere, and saw that Luminetri had an Amira LUT already enabled.
For me aside from the smaller time saver of not needing to apply the LUT, the bigger advantage is not needing to render it, and already having the LUT applied, which means you can easily edit with the LUT footage, as opposed to my usual workflow with the C300 Mark II of editing with Log footage, and then grading afterwards. So, it's nice to be able to edit the LUT footage without it slowing down the post workflow.
I'm not sure if there is a way to do that with the C300 Mark II or FS7.
I should note I did just upgrade to a new laptop and haven't tried editing C300 Mark II footage on it yet. 3.2k ProRes from the Amira edits smoothly so far. Haven't gotten into grading it yet aside from the LUT.
JPNola
Veteran
You were in love and your shoulder was likely in pain!
Congrats on getting to shoot on the Amira. I love the camera, but I make certain to demand a Camera Grip when using it! That thing is a tank.
In find that a shoulder pad that velcro adheres onto the camera works better than the strap-on-body type you were using. The strap-pad thing always seems to have slipped around and is never where you want it to be.
Attachments
puredrifting
Major Contributor
I shot an entire day in Santa Monica last year with the Amira. I had a 1st and a PA to carry batteries for me. It does get heavy but it's a wonderful camera to shoot with.
Eric Coughlin
Veteran
Yeah, it takes a toll on the shoulder and back. I agree that strap-on pad doesn't like to be where you want it, so I'd regularly have whoever was next to me readjust it which is a pain. I'll have to consider that Letus pad you mentioned. I gather you buy some separate Velcro strips and stick them on the bottom of the camera so it can meld with the Velcro on the Letus pad. I feel like I'd be a bit concerned about the Velcro sticky part tearing the Amira's shoulder pad if you stuck it there, but maybe the Amira's pad would hold up fine.
The shoulder pad that the Amira comes with is not that good. Not nearly cushioned enough for the weight of the camera. I guess it does keep the setup smallish.
I considered setting up the Zacuto VCT Pro I recently got with the Amira which has more comfortable padding, only to discover there are no 1/4" or 3/8" screws on the bottom of the Amira, so that scratched that plan as mounting it would not have been ergonomic. I see Cam-Jam has a device for giving the Amira 1/4" or 3/8" screws holes on the bottom; good for Steadicam and other applications.
My first AC on that shoot had had a shoulder injury not too long ago, so while he did a good job of pulling focus, whenever I handed him the camera he simply put it on the ground somewhere (which I could have done myself pretty easily) which then made it not all ready to go for the next take. I wanted an Easy Rig on the shoot which would have made my life easier and not required putting the camera down between takes, but the only Easy Rig we had access to in time was a Chinese knockoff which the co-director I was doing the shoot with who had rented the Amira didn't want to risk the camera on a knockoff rig.
The Amira we rented just came with one lame camera handle which didn't have any extension, so I used the Canon 18-80 grip attached to the Shape arm extension I'd just gotten for the 18-80, and then the Zacuto relocator setup with a C300 grip for the left side. Some dangling cables that weren't being used, but it worked pretty well given that I don't own just regular handles (which actually aren't cheap; probably another $800 or so just to get a good handle setup for the Amira if I stay with Shape).I like the Canon handgrip
Also got the Amira working with my Steadicam rig.
Last edited:
puredrifting
Major Contributor
Would like to see your footage when the finished product hits Eric. Unfortunately the shoot I did with the Amira, we had a DIT and I never got any of the footage, still waiting to see the edited piece.
Karl, if you go through DVXUser A7S/II threads, you can find more info on LUT's, looks and profiles. Way back when, someone was selling an "ARRI" LUT for like $15. Then EOSHD created another LUT (also $15, IIRC.). Those are a matter of taste, obviously, but they looked pretty good to me.
Bern Caughey
Veteran
Eric,
Spidergrips are probably the most popular handgrips for ARRIs, at least in LA, & NYC.
http://www.cameraaccessorysolutions.com/products.html
https://www.abelcine.com/store/CAS-Spidergrips-Complete-Set/
Spidergrips are probably the most popular handgrips for ARRIs, at least in LA, & NYC.
http://www.cameraaccessorysolutions.com/products.html
https://www.abelcine.com/store/CAS-Spidergrips-Complete-Set/
puredrifting
Major Contributor
Karl, if you can, please post a few screen caps from your A7 profile that you liked, particularly face shots that show a lot of skin, nicely lit with your book light. I have not seen too much out of the camera that looks great to me but you know what you are doing and perhaps you found a look that many of us would like? The A7 ticks a lot of boxes, but I have never been able to get past skin tones on it. But perhaps I was just seeing S-Log badly graded or footage from people who didn't knwo the camera well?