Tried to download the footage a number of times the last few days. Only some files unpack. 4K experiment.
I love the way this stuff grades, crazy amount of detail in there...Screen Shot 2013-12-20 at 10.07.35 PM.jpg
As I have already said elsewhere.
I've really changed my mind about the 4K.
I was a bit skeptical after the initial work I did with the *very very early* sensor evaluation but I have to take my hat to BMD. They have done an AMAZING job in the current hardware / firmware build that all this public footage is coming off.
Like leaps and bounds better. I've totally been won over actually. I've fallen for the pictures from this camera, and I never thought I would.
I think the camera has really developed into something that has a great personality all of it's own. I really like the less flat "film" profile that they've ended up with as well. It means you don't have to drive it as hard to get to a nice looking grade. I've been feeling that shooting at 800, it's top ISO setting) in daylight has been working well, and helps to give more separation in the near blacks...
BMD have been throwing everything at getting this camera looking great, and I think it shows.
For me, I can get a grade that looks pretty sweet with a lot less work than the film prores files out of the 2.5K picture. And I really really like the cadence. The global shutter is really something special on motion, and especially hand held. Handholding with a shortish prime is really lovely.
I do feel the lessor DR. I've been shooting it a lot alongside Alexa on the current show I'm on now.....and there is a much more obvious difference in DR, something I tend to barely notice with the 2.5K.
That's probably the only thing from my original dislikes that still more or less stands.
The 4K is really something special. It's got it's own great look, it's a near s35 sensor size and global shutter. 4K I can take or leave. I've shot a lot at 1920 in camera and it's honestly so good.....
As long as you can forgive the DR. If you're coming from already owning a 2.5K or pocket, you'll notice it. If you're stepping up from another lessor camera, you probably won't feel it.
Unfortunately I've had a year to get used to the BMCC's dynamic range... which is amazing really, combined with the elegant roll off. The difference between it and the BMPC is pretty obvious (which surprises me as it's only a stop or so of difference) but I agree it's a small trade off for the great look the BMPC has, global shutter etc. I think I'll be able to hold off buying the BMPC for at least a year or so... finger's crossed as I know I don't need it.
We've never seen a definitive test on DR from the 2.5K... I wish we knew exactly, because sometimes it feels greater than 13 even if only by half-a-stop.
Depends on the situation of course.
Is it possible to get a deeply saturated look in terms of color with the 4K camera, though the use of Resolve? Or is saturation in color purely a function of dynamic range? Its obvious that HDR photography gives a more saturated look, but can this be simulated through effective use of Resolve? I love the higher resolution and the global shutter, but as I intend to do electronically simulated animation in some scenes with a more saturated look, will this camera give me what I need in terms of color depth?
Frame of ProRes:
Frame of ProRes with SpeedLooks camera profile. In this instance, SpeedLooks BMC profile, so a slightly different profile will be developed by LookLabs once the BMPC 4K is released. The camera profile is designed to bring all cameras back to Arri Log-C as the reference, so when the LUT is subsequently applied, different cameras can be matched relatively closely before any further colour correction is applied by the colourist.
Frame of ProRes with SpeedLooks camera profile, and with minor adjustment to bring 0 IRE and 100 IRE into range (no other correction or curve in between these values has been applied), then one of the SpeedLooks 'Clean' LUTs is applied at the end of the stack. The frame is just on the edge, within the legal limit on the vectorscope in Premiere, assuming REC709.
As above, minor desaturation.
Not sure why the last two frames were scaled down upon import to BMCuser...
Created with Premiere and via Direct Link with SpeedGrade, however, I believe I can do this type of task completely in Premiere via the Lumetri plugin, if I do not want to use the other features of SpeedGrade. These SpeedLooks are also designed for DaVinci Resolve and will/should produce the same results. Both SpeedGrade and Resolve installs come with the relevant pack(s). The 'Clean' LUTs are based on various Fuji and Kodak film stocks. LookLabs also have a series of LUTs called 'Big' which takes the look and saturation even further. CaptainHook's LUT or other LUTs that are available provide a deeply saturated look, depending how you tweak them.
As for HDR, the BMPC 4K having less dynamic range to the BMCC may be making it more difficult to achieve the look you want in post if the shot has been clipped?
Thank you for your fine explanation.. Its really appreciated.. Considering your handle you might be interested to know that I worked with the Jefferson Airplane back in the Fillmore days. I came on the scene a few years after the release of White Rabbit.. Peace to you and thanks again..
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