Matias Nicolas

3 hours ago, Tyler Purcell said:

The industry really only uses the four main Kodak Vision stocks. There are no other commercial stocks available for color negative today. 

What stock you use, is really based on the sensitivity range and grain structure. It's pretty self explanatory which stocks would have more sensitivity and less grain. There are only four to chose from ranging from 50D to 500T. It's not like the past where you had choices. 

 

ok, so 500T is ok .. if shhoting daylight just an 85 filter on camera

5 hours ago, Joerg Polzfusz said:

B&W? Color? Reversal? Negative?

Color..

Hi! Im shooting  documentary in digital, and some scenes in 35mm. For this case, we are buying new stock, and also the producer has 15  cans of 35 mm 122 mts virgin material in his fridge. He has this material in the fridge for 15 years ago. I should make a sensitometric test to each can no? 

Hi! Which is the best film stock in 35mm to shoot today? what do you recommend ..  Cause I got a shooting in 35mm.. 

8 hours ago, Tyler Purcell said:

What computer are you using. 

Well, I leraned today that I must change mi operation sys .. 

I have my Davinci Ressolve Studio bought last year. Everything works perfectly, but these days I tried to work with RAW footage from Blackmagic camera, and it doesn´t work. I
The thing is that with other files, mov, etc, ..  works perfectly, but when i try tu see these RAW files, nothing happens. And I checked all the preferences.. 

Thanks!

Hi, do you know were I can download blacMagic Raw shots or rushes or material for free, to do some DAvinci color tests?

Weel finally we set the shutter at 50hz.. and everything worked.. Thanks for your support!

Hi! If Im shooting 23,976 frames in camera. And I`m shooting lcd video walls that can be set at 50Hz or 60Hz. Which should be mi shutter angle to match those posible frequences and avoid posible fliker in the image?

mmmm I don´t know really. Y will check it 

Im shooting a tv live streaming with 7 cameras sony FX9. We are using 4 Fujinon 12 120 zoom lenses and 3 optimo wide angle zoom lenses. I think they won´t match in colour and contrast. and althought is a transmission in R709, we are algo recording in slog3. So, If cameras don´t match in live, which are the ways that I have? I thought first a WB is the best option, bou do I have another way?  Thanks!

Love it! fresh footage! Cool to see something different

I shot this take in Africa in a documentary, and with REC709 when ponting to the sun, it went solarize... Do you  know why? This is a footage from 3 years ago... We shot it with slog2, and in slog without the the lut we saw this problem. If I sotpped the image darker, obvoiusly dissapeared... 

Now im going again, but with Slog3.. jeje... Did you have this issue with the sun in slog2? or with f55? or what are your thoughts??

Just now, Matias Nicolas said:

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

ok thanks!!

On 4/23/2019 at 7:49 AM, Robin R Probyn said:

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really..

F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus  very well as its lacking in contrast..the Slog image was never meant to seen at all 

Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4..   internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed..

There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. 

Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it..

You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go  is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

On 4/23/2019 at 7:49 AM, Robin R Probyn said:

Personally I would use SDI.. which of course the f55 has.. 20 days shoot /doc/ handheld ..HDMI is a notoriously weak connection.. not pro level really..

F5/55 Slog on a doc I do this.. hundreds of times and never been a problem.. set your viewfinder and monitor out to Rec709 800 LUT.. then set your exposure as you would shooting Rec 709.. I do it by eye .. but you can use zebra etc.. but basically if it looks OK in 709 your underlying Slog will be totally fine.. I would never shoot with Slog in the EVF.. receipt for disaster,very hard to tell exposure/ lighting as its so dark and you won't be able to see focus  very well as its lacking in contrast..the Slog image was never meant to seen at all 

Big gottcha on the f55.. maker sure you dont set the monitor LUT to Internal /SDI 3 and 4..   internal will mean you will record the LUT !!! once done its good night Vienna .. correctly set SDI 1 and 2 will give you a Luted minter feed 3 and 4 will be Slog feed..

There is a little known trick.. in there assign menu there is a High/Low. option.. set it to one of the assign buttons ..press once it will show what your high lights are doing.. press again it will show you your shadow levels..press third time for off.. in the under lying Slog.. you can just also toggle off the LUT.. but High/Low is a very good quick check.. 

Why Slog 2.. I would advise Slog3.cine.. much easier tho work with in post .. Slog 2 is a bit weird .. its not even in the Venice camera.. dont think anyone's using it much anymore .. very least I would make sure you colorist has previous experience with it..

You know really I would go wireless .. especially as your 80 % hand held.. its so much easier.. than a dir running around behind you trying to see the monitor .. that just doesn't work.. re nits.. the higher you go  is brighter .but there is a limit where the difference becomes very slight..as the numbers go up.. its a not a straight line.. I have 800 and its ok.. but yes 1000 should be fine.. but if your wireless the dir can have a shade or be in the shade.. they will usually do just that.. with a drink ..!

Ok, so I ll go SDI. Why do you find best to go SLogcine3? only beacaue of the roll of on the highlights? or what more you find its better?

And, another doubt I have, wich hand held grip would you recommend?  Like sth very lighweight: left hand in the focus, and rigth hand in the grip ..

42 minutes ago, Robin R Probyn said:

Small HD Focus LCD is under $1000.. there is an SDI model and HDMI.. 800 nits.. pump up the brightness is pretty much bright day light viewable .. there is a shade you can get for it.. depends what you shooting but I find a 7inch monitor is a bit big as on camera if your moving around a lot .. really for docs wireless is the way to go I think.. teradek Bolt 500.. wooden camera directors cage.. 5/7 inch monitor .. easy and simple.. rental houses will have wireless set ups..

mmmm I Im shooting with Sony F55 ... better SDI no? or HDMI? What are yo thoughts? And, a doubt: If I use the waveform,  from the small hd to monitor the image coming from the F55, in this case Slog 2 - .709 . Its accurate? or better use the Zebra of the camera? 

3 hours ago, Alex Leung said:

What output does the camera use? HD-SDI or HDMI? I assume your main concern is 7" size and brightness?

It'll be hard to get a monitor from a reputable company that can give you 7" in size, high brightness, and good quality under $1000 USD. 

Are there any rental houses that might carry the 702 Bright? Might be cheaper to rent.

Possible options if you want to buy:

SmallHD 7" Focus - 1000 nits

Atomos Shinobi 5" - 1000 nits

Lilliput A7S 7" - 500 nits

FeelWorld 7" - 2200 nits

 

 

 

Im not sure if its HDMI or SDI. I will be nadheld aprox 80% of the shotting, and I love the Small Hd, cause its small. And the bright spec for exteriors. Now that you are asking me about the nits, really I don't now how many nits I really need for exteriors. I think the more nits, the best. I cheeked B&Hphoto for that info and didn't find it. And as we are shooting for 20 days the prod is going to buy 2 monitors. I see that you post 1000 nits, so I think we are ok with 1000 nits... I will check prices and tech specs of the other ones! Thanks !!

Hi, Im gonna shoot a documentary. I need to buy these SmallHD 702 Bright on camera-camera monitor 7' . the thing is our producer, is asking me for cheaper options. Can you help me? 

I also found this.. 

https://store.steampowered.com/app/904960/Cine_Tracer/

On 4/7/2019 at 1:29 PM, Dylan Sunshine Saliba said:

I use "Shot Designer" for overheads and "Shot Lister" for the shot list.  "Sun Surveyor" to double check where the sun will be through out the day.  "Cine Designer" is a neat tool but I have yet to be able to incorporate it into my usual workflow.  If I'm fortunate enough to have floor plans or some other architecture plans given to me in advance I use them as the base layer in "Shot Designer".

ok! Im cheking it right now.. thanks!

Hi! I wanna know which digital tool, do you use or you know dp's use in big budget feature films or big comercials to design the lighting of a studio or big set. For ej:  (you can correct me!!) in the AC mag sometimes you see that in some movies the have a loke an architecture plan in some type of scale, with all the ligths, and measures of the set,   for big planning studios shots. I been watching also a plug in called the "cine designer" which is a plug in for cinema 4D from Cinematograhpy Database, where you can also plan your shot in 3D. Which I was amazed. Please, let me know every thing you know! thanks..

You don't really need to do anything for dark areas, unless there is important detail that you need to see. A modern cinema camera in LOG mode is probably capturing around 14 stops of information, but most displays can only handle around 7 stops, so you are losing about 50% of your information. That's why the color-timing process is so important, because it allows you to manipulate the existing data so that you can shape the picture the way you want it. With an HDR display, much more of the data is visible without manipulation.

Well! Finally I shot the project.. Im starting tomorrow some color Correction for sdr and hdr, and Its like you said. Thanks!

Does someone know, were I can I get more info about HDR or Dolby Vision. not referred to still photograhpy, but yes to tv series...