keidrych wasley

When creating a LUT it is worth carefully considering what look you are trying to go for and why. If you compare Arri's standard Rec709 LUT that comes with the camera and is included by default in Premiere and Da Vinci Resolve etc it is the same as the K1S1 LUT you can download from Arri's Website. This LUT does have a Log like curve in the shadows if you were to compare it to eg film. Also if you look at a DoP like Roger Deakins who uses one LUT that is slightly modified project to project you will notice his LUT also has a contrastier look espeically in the blacks in comparison to Arri's Rec709 LUT. I would highly recommend watching Steve Yedlin's display prep demo to get a sense of what it is like matching Arri Alexa to a film look. There is also an article on his site about colour science where you can see Arri's Rec 709 LUT vs Steve's film emulation. You will notice his emulation is more contrasty with a steeper roll off into the blacks, and of course the colours are (to my taste) far nicer and more film like. I personally do not like Arri's standard Rec709 for either its contrast or colour. It is very flat in the blacks which can lead to less difference in your lighting between lighter and darker areas which leads to less gradation / tones in your blacks, and especially so when grading. Rather than having a nice long gentle toe into the blacks, with the Arri LUT you can end up losing these gradual tonal shades of shadow. The Arri Rec709 can be good as a look for some things of course, it just depends on what you're going for. You can grade an image, create and export a 32x32x32 LUT in Da Vinci resolve and then create an .aml Arri Look file from this in ArriColorTool software (for 3D LUt capable Alexa's like the Alexa Mini) or load it as a 3D lut into a 3D lut capable monitor.

With Canon DSLR you should expose way to the left. This is also a technique used by Shane Hurlbut (Act of Valor, Terminator Salvation). In his words he 'starves the sensor of light', rarely having the histogram go beyond the third bar.

Hello my friend... Firstly, both cameras are unreleased and not properly tested so there's lots of conjecture. D800 is 25mbit/sec, 5D MKIII is 91mbit/sec, so for in camera compression the 5D is clearly ahead. The question then is how good is the Nikon's HDMI out? It's an unknown quantity currently. Do you want to be faffing with an external recorder on the Nikon if the 5D's 91mbit is good? I think if you expose and light the 5D right in the first place you won't need the extra bits so badly because you won't need to do much grading in the first place. Unless of course you plan on using it for greenscreen, but i'm sure you'll be using a better camera for that anyway. If the 5D MKII was good enough for House it's not really down to the bits so much... 5DMKIII will be better in low light. There's a test with good and perfectly useable results at 12800 ISO! 5D appears to have better resolution for video. Dynamic range i don't know. Nikon seems better to me from some stuff i've seen but this could be moot since there aren't any real tests done, and the 5D stuff was probably shot badly. Aliasing/Moire. 5D MKIII appears to have pretty much eradicated Aliasing/Moire as you can see here... With the Nikon however it's still there. Also, rolling shutter appears worse on the Nikon. Colours - as per your preference. Question is whether the HDMI is going to give you better colour separation and depth than the 5D's 91mbit, currently unknown. Stills, both will be fantastic i'm sure. Ultimately, getting the most out of the cameras will be down to good glass, lighting, and setting them up right. But as to your question, you'll have definitive answers in a month or so when everyone and his dog will be posting minutae peeping side by side comparisons. Hope all's well K

the lighting is in the same place. If you look at the background and not the foreground you can see the shadows are in exactly the same place on that window frame type thing. The only reason it appears different is because of the angle and placement of the camera.

Watch 'Act of Valor', Shane Hurlbut's new feature (DoP of Terminator Salvation) which has been shot predominantly on the 5D MKII. It's all being printed to 35mm. Not out for a while yet though. According to his blog, he seems very happy with the results.

Hi, Does anybody here have any experience shooting the red in 3K and at 60fps, any issues, workflow problems etc? Also, any experience shooting red 3K for a 2.35 aspect ratio? Basically i'm shooting a music video that the director wants in 2.35 format, 60fps and at the highest possible resolution for a 35mm print. It's an independent production destined hopefully for festivals hence his desire for the 35mm print. thankyou for any help.

one technique i've seen is the artist with 6x4 poly boards to the side and above her. 1 5k bounced into each one, so 3 5k's. A 4x4 kino in front below +eye light/touch ups of choice. A classic soft etc plus 1/2 stop overexposed skin. For the sheeny hair a dedo 650.

Well, at the end of 2001 some chess pieces are clearly in the wrong position which Kubrick, being an avid chess player and meticulous lover of detail would have been unlikely to have left by mistake. In the Shining helicopter shot it would only have meant cutting the negative by half a second or so if that, which is nothing in the context of how long the shot is. Added to the perfect compositions that Kubrick loves it seems highly unlikely that this was an error. Mistakes always seem to leave some essence of the real human film-maker behind them, could this be why they are left in?

I'm a cinematography student at the NFTS and a guy from arri came down to show the kit. Didn't get to shoot anything though. How they got to 150 fps i have no idea but if i see the arri guy again i'll ask, though all this flies over the top of my head. Give arri a call and i'm sure they'll give info on when it can be seen etc.

Saw the new arri d-20 the other day. This is the newer version than the prototype revealed last year and will be given for productions soon though i think not yet for rental, though that will obviously follow. It is not confirmed whether it will ever be for sale. This camera is arri's answer to the genesis and from what i saw in the 5 minute test is extremely impressive though the test was graded and not raw footage. To my eye it looked like film (was shot progressive i think, and displayed on HD monitor) but it would have been good to have seen the same test shot on 35 for comparing. I haven't used HD so i know little about it's capabilities (other than what i've seen in the cinema), and i haven't seen the genesis test footage so i can't compare it to that either. Rental costs will obviously be huge but the technology is very exciting. The test was shot by Sue Gibson bsc, it would be interesting to know what she thought of the ungraded rushes. The camera takes 35mm lenses and has an optical viewfinder so it feels just like film. The camera also looks like a film camera. It is single chip 2k resolution and can go to 150frames.