We had to re-upload this video because the soundtrack is being released on a label and the owner revoked the creative commons license. Not sure how kosher that is.
Since we picked up a set of Nanlite Forza LED monolights and started grading ProRes 4444 in DaVinci Resolve Studio 17, it’s like we’re dealing with a completely new camera altogether! Skin tones are the most accurate we’ve seen from any mirrorless camera and the image quality rivals that of cinema cameras costing thousands more.… Read More
Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ.
We used to mount the Ninja V directly on the Tilta camera cage with the SmallRig cold shoe mount, but that solution had several serious drawbacks. (1) It was necessary to tighten the mount to the cage with an Allen key; (2) there was no convenient way to carry the camera; (3) the lack of… Read More
I just picked up the Sony 50mm GM this afternoon. It’s surprisingly compact for a lens of those parameters and feels reassuringly solid. The FX3, on the other hand (which I had a chance to play with at the shop), missed an opportunity: the awkward placement of the joystick, record button and on/off switch were… Read More
The secret is to (a) shoot ProRes RAW HQ; (b) use the false color of the extraordinary Ninja V as a guide; (c) avoid the false colors bright orange and red; (d) transcode to ProRes 4444 in Apple Compressor; then (e) grade in DaVinci Resolve Studio. The shadow, midtone and highlight wheels of Final Cut… Read More
All we did was change the hue and saturation of the curtains, but wow!
The HDR color wheels and magic mask of DaVinci Resolve Studio 17 are simply incredible!
There can never be too many blog posts on exposing for HDR! False color is a practically foolproof method for determining exposure for HDR. Avoid bright orange and red – colors that indicate overexposure. Although the tee shirt looks completely blown out on our reference display, after reducing exposure with the global wheel of the… Read More
For a long while now, we’ve been keenly aware that highlights in skin tones and light-colored fabrics have been difficult if not impossible to recover in post, leading us to re-examine our ETTR method. After watching a video by Gerald Undone, we tried using two zebra settings, aiming for an ETTR of only +1.66 stops… Read More