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  1. #191  
    Senior Member Michael Sandiford's Avatar
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    Few colourists I know will either rent out a new camera for tests or request some footage to work with so they can figure out their own best practice. On a side note I worked on a very large project this summer that involved footage from various sony cameras. FS7, FS5 A7Smk2 ASRmk2 A6300, A6500 and the rx1000. Colour matching them together and remember they are from the same company was a nightmare, we found different cameras gave different results from the same technical LUTS all from the same manufacturer, which was incredibly surprising ( oh and if you think IR pollution is a Blackmagic thing I can tell you the FS7 and FS5 suffer from it terribly). When I finished and I got to do some basic corporate stuff with my BMCC 2.5k which was in the same place as the most difficult colour matching shoot in the bigger project and it was a pleasure to use the footage in comparison. There was a green cast in the room that couldn't be avoided and the quality of the 2.5k in pro res 422 looked a million times better to me and in the colour correction I was able to remove all the green and have fantastic skin tones. If I had to chose between Blackmagics colour and Sony's for me there's only one winner. On the larger project we did the final bit on the C200 and that also was head and shoulders above the Sony's for me and that was with the 8bit codec.
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  2. #192  
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    Quote Originally Posted by Michael Sandiford View Post
    There was a green cast in the room that couldn't be avoided and the quality of the 2.5k in pro res 422 looked a million times better to me and in the colour correction I was able to remove all the green and have fantastic skin tones. If I had to chose between Blackmagics colour and Sony's for me there's only one winner. On the larger project we did the final bit on the C200 and that also was head and shoulders above the Sony's for me and that was with the 8bit codec.


    I'm a creative director for a small shop, not a colorist per se, but I grade our work for broadcast and web all the time.
    I've also done a lot of side by side testing with Sony, Canon and BM cameras before acquisition.

    I completely agree with your observation and would add this regarding the 8 bit footage. I've always trusted Canon cameras (producing wiith them for 20 years) to give a solid look and color out of the camera when properly exposed. It's why it's 8 bit was always accetable - you shot it so you didn't need to push it much in post.

    I've never seen that with 8 bit Sony footage. It never looks as solid and the colors, especially skin tone, need correcting and that's where I find the 8 bit Sony really lacking - and S-log is a pretty inconsistent mess camera to camera..

    With any BM camera - Pocket, BMCC, Micro, UM - the files are just better to work with PR HQ or raw. And like most anything, it takes a while and a lot of exposing and editing to get the most out of them.
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  3. #193  
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    Quote Originally Posted by Michael Sandiford View Post
    Few colourists I know will either rent out a new camera for tests or request some footage to work with so they can figure out their own best practice. On a side note I worked on a very large project this summer that involved footage from various sony cameras. FS7, FS5 A7Smk2 ASRmk2 A6300, A6500 and the rx1000. Colour matching them together and remember they are from the same company was a nightmare, we found different cameras gave different results from the same technical LUTS all from the same manufacturer, which was incredibly surprising ( oh and if you think IR pollution is a Blackmagic thing I can tell you the FS7 and FS5 suffer from it terribly). When I finished and I got to do some basic corporate stuff with my BMCC 2.5k which was in the same place as the most difficult colour matching shoot in the bigger project and it was a pleasure to use the footage in comparison. There was a green cast in the room that couldn't be avoided and the quality of the 2.5k in pro res 422 looked a million times better to me and in the colour correction I was able to remove all the green and have fantastic skin tones. If I had to chose between Blackmagics colour and Sony's for me there's only one winner. On the larger project we did the final bit on the C200 and that also was head and shoulders above the Sony's for me and that was with the 8bit codec.
    This I why I like using color charts.
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  4. #194  
    Senior Member Michael Sandiford's Avatar
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    Quote Originally Posted by Howie Roll View Post
    This I why I like using color charts.
    We did use them which I'm incredibly glad for.
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