Daniel Meier

Interesting thread. I'm also a BMPCC owner, but didn't quite yet figure out exposing the camera with iso settings other than ISO 800. I tested all ISO settings from 200 to 1600 in RAW mode. I realized that at 1600 there was a bit more highlight detail (about 0,5 to 1 stop). Of course there was also more noise and the danger of seeing fixed pattern noise in certain situations. ISO 200 and 400 were really gross looking in terms of highlight detail. My theory (also read it on BMCuser) is, that in RAW mode the camera always peforms at its native ISO 800. So if you change your ISO to 200, you now feed the sensor with 2 stops more exposure through the lens. But since the camera is still set at 800 you overexpose the image and lose highlight detail. I guess it's something like Pulling and Pushing with film. Just in a crappy digital way. So changing to 200 will do the same as putting a -2 EV LUT on the display. Similar to Sony Slog2 LUTs, where you deliberately want to overwxpose the image. Here are some questions that still leave me being confused about the BMPCC: 1. The Camera is said to have 13 stops of DR. In which shooting mode does that apply (RAW and/or ProRes). At which Iso setting? 2. Since my test with different ISO settings I'm quite in doubt, that the above mentioned gray tone mapping also applies to the BMPCC. Lower ISO were definitely not giving me more shadow detail. Just less noise 3. So far I haven't seen anyone complaining about thr green tint the camera has. It can't be fixed with simple Tint slider controls. It only affects some parts of the image (especially the midtones) in some lighting conditions (mostly sun and overcast daylight). I found the Slog2 Lut for Sony's A7s2 applied to Prores BMD footage giving me thr most neutral looking colors. No one adresses this issue and no one uses this Lut. Maybe you guys can share some knowledge / experience. Would appreciate it.

Jacobs Ladder stills where taken straight from the Blu-Ray. Prisoners was screengrabbed of of Amazon Prime Video Player.

Thanks Brian. M theory with this was that maybe the white levels were taken down a bit, since the audience would have a more comfortable viewing experience (they wouldn't get blinded by highlights as much).

Hey Folks, I've been experiencing this for a few times now. On some feature films the white levels seem to bee pulled down a bit. They look very muted due to this. Here are some examples from the movies 'Prisoners' (2013) and 'Jacobs Ladder' (1990): https://www.dropbox.com/sh/3ij761e9fxhwydd/AABVaH4o325Ct6wQZzAofGsTa?dl=0 While looking at the frames of 'Prisoners', you can clearly see, that even the brightest, blown-out highlights (muzzle flash, windows, etc.) aren't at 100 IRE. They fall at 80-90% most of the times. Whereas on the other hand 'Jacobs Ladder' (1990) has got its white levels at proper 100%. Is there a technical or artistic reasong behind this? And during wich production state is this happening? Whilst shooting, in the DI, during DCP export?

I guess some of you guys have done this mistake before. It's that shameful feeling you that get, when you realize you had been recording in between two takes. I wonder if there is a cinematic term for this mishap?

Since I'm not able to edit the opener post, here are the fixed links: - Sigma 50-500mm (http://www.lenstip.com/244.1-Lens_review-Sigma_50-500_mm_f_4.5-6.3_APO_DG_OS_HSM.html) - Sigma 150-600mm Contemporary Version (http://www.lenstip.com/434.1-Lens_review-Sigma_C_150-600_mm_f_5-6.3_DG_OS_HSM_Introduction.html) - Sigma 150-600mm Sports Version (http://www.lenstip.com/417.1-Lens_review-Sigma_S_150-600_mm_f_5-6.3_DG_OS_HSM_Introduction.html) - Tamron 150-600mm (http://www.lenstip.com/403.1-Lens_review-Tamron_SP_150-600_mm_f_5-6.3_Di_VC_USD.html) - Tamron 150-600mm G2 (https://www.amazon.com/Tamron-150-600mm-5-6-3-Canon-Digital/dp/B01LNSAYJ4/ref=sr_1_4?ie=UTF8&qid=1496265333&sr=8-4&keywords=tamron+g2+canon)

Hey Guys! I'm looking for a good telephoto lens with a zoom range of about 100 - 600mm (more or less). EF Mount. I want to use the lens on a Sony E-Mount and Bmpcc Camera via Speedbooster. The following lenses have caught my eye, since they seem to have a good zoom range and optical stabilization, plus they are not too pricy: - Sigma 50-500mm (http://www.lenstip.com/244.1-Lens_re...DG_OS_HSM.html) - Sigma 150-600mm Contemporary Version (http://www.lenstip.com/434.1-Lens_re...roduction.html) - Sigma 150-600mm Sports Version (http://www.lenstip.com/417.1-Lens_re...roduction.html) - Tamron 150-600mm (http://www.lenstip.com/403.1-Lens_re...Di_VC_USD.html) - Tamron 150-600mm G2 (https://www.amazon.com/Tamron-150-60...amron+g2+canon) My favourite one seems to be the Sigma 150-600mm Contemporary. But I heard that the focus ring is a bit tiny and akward to use. So I'd rather go for the Sports version. But since I haven't found that many videos on the web about it's cinematography capabilities, I wanted to get some information first hand. Do you guys have experience with any of the listed lenses? Any recommendations or advice? (Considering image stabilization, f-drop during zooms, focus behaviour...) Thanks, Daniel

I was just wondering how to darken those chinese paper lanterns to control the light output. Which is the best suited paint for that matter? Also was looking for a way to paint my white polystyrene panels black on one side to use them as neg. fill. Any suggestions?

I used to think that this has to do with the larger depth of field you get with an f/16 compared to say a f/1.8. Is that true to some degree?

That's correct David. It's "Prisoners". Now it's your turn to post a frame.

Thought this thread could use a little resurrection. So I'll go ahead and post a new first shot of a movie I've recently been blown away by.

Nice to hear that, Justin! The director wanted the letterbox to "open up" a little during the introduction shot, when the song kicks in. So I let it end up at a 2,35:1 ratio.

Thanks Tyler and Matt.

What is your approach on creating customized LUTs? Do you have a favourite tool / piece of software?

Sometimes I get these weird noisy artefacts when trieng to qualify a certain color: Do you know if that is due to the footage (this example show a Canon DSLR h.264 8Bit 4:2:0 Clip)? Or is it the mediocre qualification (maybe I should refine my matte with "clean black", "clean white", etc.)?

Just wanted to share my latest work in musicvideo cinematography. The majority of this was shot last September in Berlin, Germany. Part of it was shot by the director himself (the office scene with the talent singing and the scene of her sitting in the tram). I would appreciate any critical feedback. Unfortunately I had the impression that it was too much of a random mix of settings and locations. It rather seemed like a commercial video at times. I missed a legit common theme throughout the whole video. And me and the director also weren't too happy about the editing. Too many good shots where left behind. I guess this is a motivation for us to create a little storyboard for our next music video.

What first struck was the green tint in his hair and skin coming from the hairlight (LED). Was that on purpose? Or did you do that in the grade? I like the second frame more, since it reveals more of the room and has more threedimensionality to it.

Yeah, I'm definitely glad for having made that experience. You grow by your challenges. And there were also some good aspects about it. For example, I have had a wonderful lighting crew.

Thanks to all for sharing your thoughts on this one. This was a student film. But those were no students of a film school. It was some type of media school, where they teach you everything including production, sound, editing, camera, directing, graphic design, animation. You know, the ones where most of the graduates end up as a jack of all trades. I came into this project as a substitue DOP. As their first-choice-DP left, to do a paid job. @ Macks Fiiod: It was a No-Budget shoot. I did not get paid. @ Reggie: Thanks for the Youtube link. That Cooke TV channel is full of interesting videos. @ Oron: I see your point right there. But I think the same applies to music video as well. As they can even be stronger on the visual side at times. I guess my problem here was, that I was used to the style of other directors I'd been working with before. Which would give me way more freedom and trust in my work. This has been the first letdown as such. And since I wouldn't get paid, I at least wanted to enjoy shooting a dialogue the way I had always dreamed about. As this was my first dialogue scene ever. But whenever I was about to suggest another way of approaching a shot, I could feel that vibration in the air, before even asking her. I guess the chemistry just wasn't right.

Digital Sony NEX FS-100 Canon 7D Analog Sony VX 1000 for shooting skateboarding :-) Super 8 Canon 814 XL-E Next Investment (I am still struggling on which one to buy next) - Black Magic Pocket Camera - Black Magic Micro Camera 4K (along with BM Video assist) - Black Magic Production Camera 4K - Panasonic GH5 - Sony FS5

A couple of months ago I shot my first short film as a DP. It was a small shoot, two days of prep on location and two days of shooting. Up until that point I had only been shooting music videos, documentaries and corporarte stuff. This was also my first shoot with a quite larger crew. Having a gaffer and few electricians as well as one camera assistant aiding me was a real pleasure. The thing that wasn't always that much of a pleasure though was the director. (She also wrote the script and produced the short, since it was a student film) I had quite a few arguments with her about composition, shot sizes and blocking. And since this was my first shoot of this genre I didn't know how to behave correctly. Let me explain it using one scene. We had to shoot a long dialog scene with all three actors at a dining table. I was happy meeting the director's wishes with the master shot: But after that the uncomfortable part began, when shooting the coverage. The director insisted on shooting all three actors in a clean single, close-up. Whereas I had planned to shoot OTS, medium close ups. Then she also wanted me to frame the actors in the middle without giving them negative space nor screen direction (almost like a POV-Shot of each actor). Thank god the sound engineer backed me and said, that even he thought that this would be looking awkward in the final edit. There were several such moments when she would be asking someone else of a different department, whether shots made sense, the way I planned them. Like looking for some kind of mediator. (I guess it was her first movie shoot as a director as well, having only a production assistant background) And I also felt like being the only one on set she was arguing with that heavily. Long story short, after a longer discussion I shot the coverage as she insisted. Since it is here movie and she's the director I thought I'd have to help her instead of battling her. All in all it was quite an uncomfortable experience, having this fight on set with all crew being around. I wish this happened during prep and not during principal shooting. I also shyed away from asking to be involved in the blocking during the prep-days. Because I felt unwanted there. Do I have the right to join the blocking sessions or is it up to the directors decision? I know that directors are to be supported at any time during the process of shooting. But how far can they go, especially when unexperienced. Film is art and there is no right and wrong. But how do you sustain your integrity on set? What is the common way to behave as a DP in such kinds of situations? Thanks for sharing your experience! Daniel

Great looking shots, AJ. I would like to compare some of your test shots in Resolve. Could you provide a download link to those clips that you have on Youtube? And two general questions: Does that grayscale mapping theory apply to all digital cameras or just the ones that are able to shoot RAW? EDIT: And does it apply to film as well? For example Kodak 200T giving me more shadow detail than Kodak 500T? I'd like to understand that theory a little better. One example using the BMPCC in RAW mode. Let's say I shoot an exterior scenery at bright sunlight rating the camera at 1600 ISO and underexposing one stop. Then bringing the shot into Resolve and choosing ISO 800 instead of ISO 1600. Does that change the 18%-mapping (along with the highlight range)? Or does it always need to be done in-camera? My approach is that doing it in-camera is the only way. Because Resolve would just pull exposure by one stop, leaving the DR untouched. During shooting I already baked that tonal range into the BMPCC's sensor, by deliberatly underxposing and therefore getting more highlight detail. Hence this is different from e.g. White Balance, which can be adjusted in post, without any quality loss.

Thanks guys for your input. I think I'm gonna try out these high-power LEDs: https://www.amazon.de/Walimex-Pro-Fotoaufnahmen-entspricht-flackerfrei/dp/B00U1PKUUY/ref=sr_1_1?ie=UTF8&qid=1481556800&sr=8-1&keywords=walimex+led+e27 They have about 100 lm/w.

You shure all know these cheap CFL Softbox Kits. I own one of those sets. It includes two sockets (supporting 4 CFL lamps each). https://www.amazon.de/Fotostudio-Dauerlicht-Tageslicht-Energiesparlampe-Transporttasche/dp/B00B5IB2MG/ref=sr_1_2?s=photo&ie=UTF8&qid=1480893676&sr=1-2&keywords=Life+of+Photo They have E27 sockets. The CFLs that came with this set have 75W power at 5400K and tent to have a decent amount of green tint. I thought about hooking this setup up to a more high quality light output (high CRI) My first approach would be to use halogen bulbs only. But that might cause a heat problem, since I would have to use fairly high wattage bulbs to get the same light output as the CFLs give me. Second idea was to use high CRI CFLs. But I only know the ones that KinoFlo make. And they have only 26W. Can you recommend any other high CRI CFLs? Or any experience in using other bulb types (LED, Halogen).

Just been digging this one out. I think that might come in handy as a little accent light or backlight. Any idea how to power this baby? An adaptor for line current would be great. If there is one. Are there new battery solutions out there? I used to power this with a huge car battery. Pretty inconvenient.