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clyde villegas

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  1. In both, I'm referring to filming with a Panasonic GH5 on V-Log L 1. Why do we need correct exposure for a particular log? Do colors shift when using wrong IRE? Or is it more for retaining details, not colors? 2. I've seen someone on Youtube (can't remember exactly who) saying that to get proper exposure on V-logL, your subject should be at 42 IRE. Using an 18% gray card, he adjusted the exposure until it's roughly 42 IRE. So i thought to myself that I can adjust exposure even when the subject/actor hasn't arrived on the set yet. I'll hold an 18% gray card on where his face would be and put it at 42 IRE on my waveform (or false color monitor). However, I've read somewhere that IRE is different for different skin tones, like 55 for caucasians. So, should I just expose my grey card to 42 IRE of just wait for the actor to arrive and expose for his skin tone? Which one is correct? Thanks advance! God bless.
  2. Thanks David! I understand. I should do some isolated color grading instead of grading the entire frame by slapping on a LUT. I've seen people using the Leeming LUT or the GHAlex LUT. The creator of the GHAlex LUT promises to make GH5 V-Log L shots to look like Alexa shots. So my plan was to buy the GHAlex LUT, slap it on my V-Log footages as a starting point, and then grade them. However, looking at some samples, I don't like what the GHAlex LUT does with the highlights: they appear to glow and remove some of the details. Can I use this LUT, and then adjust the highlights to bring back the details (after the LUT destroys them)? Is this a good workflow?
  3. Thanks David! Also, when I "normalize" the shot in post either by applying rec 709 LUT or by bringing back the contrast (or saturation?), it looks like it's shot with a normal profile. No more wide dynamic range (I'm not a professional colorist so I may be wrong). So is it safe to say that log provides wide dynamic range for the colorist to play with, not to the final image the audience is going to watch?
  4. I hope this is the correct forum for my question. I'm using a Panasonic GH5 with V-log L. I'm a bit confused on using V-log L. I was told that the reason for using log in general is to save the highlights (especially the sky in outdoor shoots). But in most forums, they are advising to over expose the shot to get rid of the noise in the shadows. But doing this blows out the skies. Therefore, I think there is no sense in shooting with log. Just shoot with a standard profile and light the scene correctly as v-log can't save both highlights and and shadows at the same time. The problem is, it's not easy to do this when shooting outdoors run and gun in the morning when the sky is in the shot. Am I thinking correctly or am I missing something? Thanks! God bless!
  5. Yes, I've also heard that it's 1080 until you hit record. I can plan the shot, mark the follow focus, and shoot the scene. If the subject walks toward the camera, I can check focus in the starting point and ending point where he stops walking. This means that I will have sharp focus at those two points. But how about in between those markers while the subject is walking, how do you get critical focus on that? Is it mere luck? Thanks and God bless!
  6. Sorry for this newbee question, but how do you do critical focus with an external monitor? The resolution out of the HDMI port is SD. Thanks and God bless!
  7. I'm looking at purchasing a Canon VIXIA HF M300 and putting a DOF adapter, 35mm lens, and LCD monitor (which I already have). My questions are these: 1. How would you compare the light sensitivity of this camera's CMOS sensor as compared to the Canon XL1? The m300 has 1/4 image sensor and the XL1 has three 1/3 CCDs. My DOF adapter eats up half stop of light, so I'm a bit worried here. 2. Can I capture the video while I'm shooting it through the HDMI out so that I'll capture uncompressed? 3. Most my videos (but not all) will be destined for SD delivery in DVD. According to a review, you can shoot decent quality videos with the m300 when recording at 24Mbps. Should I capture at that rate and then convert the footages to SD? I'm thinking that since the final delivery is SD anyway, I can shoot at 17 Mbps and get longer shooting time. 4. Is the 24p in this camera the same as the 24p in the Panasonic DVX100B (24 fps with pulldown on an NTSC 29.97 timeline)? Thank you very much guys! ut in omnibus glorificetur Deus
  8. Do both: shoot with the adapter and color grade. I would like to pass this warning to you (someone told me this) that when you use the adapter, you'll need a bigger monitor so you can see if you're in sharp focus. Without the adapter, all you need to do is press the little auto focus button.
  9. I am also ordering an adapter from the US (I'm from the Philippines). Someone told me that if I use a 50mm lens and shoot closeup (of a person's face), the nose may become in sharp focus but the ears are blurred. That's how narrow the depth of field will be. If I do a close up shot like the one I described, what will be a better lens to use so that I'll have the whole head in sharp focus but the background (which could be about 5 feet away) blurred. Thanks and God bless!
  10. While shooting my XL1, I'd like to capture straight to my editing system using video composite cable. I'd like to turn off the time-code display (and other indicators) in my view finder so that they won't appear in my captured footages. I tried pressing the EVF Display button to turn them off. All the texts at the left of the screen are gone, but everything at the right (like the time code and battery level indicator) is still there. How do I turn them all off? Thanks and God bless!
  11. Thanks Jack and Phil. The room is about 70 x 30 meters and I'd like to be able to walk freely without any limitation caused by a short video cable. Can I use a microphone XLR cable instead of a coax cable for the video? Then I'll attach RCA connectors on both ends. Is the quality the same? Thanks and God bless.
  12. I'd like to use my XL1 to make image magnification to an LCD TV. I'll be using the video-out composite connector of the XL1 (because there's no other option but the S-Video which will project an inferior image quality). Since I'll be moving around a very large room, I'm wondering: what is the maximum length of the composite cable without affecting image quality? A salesman in the local audio-video shop told me we can make long composite cable using a long microphone cable and RCA connectors. He also told me I can go 100 meters without sacrificing image quality... which I doubt. I appreciate your answers. Thanks and God bless.
  13. In my XL1, everything that is slower than 1/60 is considered slow shutter (and that goes for my other cameras too). The slow shutter is accessed through the digital effects menu and frame mode should be turned off for it to work. Why is it not possible for both frame mode and slow shutter to work at the same time? Does that mean that the slow shutter is not a real shutter speed but just a simulated digital effect? If that's the case then can I simply shoot 1/60 and simulate the slow shutter speed in a motion graphics software? God bless.
  14. I just thought there is something that I can do on my own to fix this problem and without sending the camera again for repair. The last time I sent my XL1 it took more than two months before I got it back.... and some problems are still there. Anyhow, I'll try to call Canon Service Center again. Thanks and God bless.
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