Thread: bmpcc / ir filter footage request

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  1. #1 bmpcc / ir filter footage request 
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    Just curious if anyone has seen this or could take a quick test shot? I've looked online, but all the IR stuff seems to be taken outdoors with ND filters.

    I'm curious what the differences are indoors, particularly under incandescent bulbs in the 2850K range. Does it make a big improvement? The pocket currently looks horrid under those lights.
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  2. #2  
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    Of course IR control makes a big improvement - that's what it's for. The reason the footage looks horrid is because of IR pollution. An IR cut will make it look exactly the way it should.
    People don't need to take shots to prove that to you.
    I don't mean to be blunt (obviously I do) but there's really nothing more to say about IR and BM cameras - BM cameras don't have IR control and you need to add it.
    The brand of filters have been long established here (Hoya Prond and Firecrest.) and the're easy to find.

    IR issues show under all kinds of situations and virtually always under others - like incandescant lighting.
    It's why virtually every pro shooter here has an IR cut fixed on their lens at any given time and why they aways use the above mentioned ND filtration when they need ND control.

    Thats it. Get an IR cut and IRNDs if you have a BM camera.
    It's as basic as knowing what cards work with BM cameras.
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  3. #3  
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    I know all about the IR issues, I just thought there was something more to the story with regard to color temps 3200K and under.

    Honestly, I've never shot or seen footage on line from tungsten / incandescent light sources that looks any good on the pocket.

    That's why I was curious to see a before / after, because I don't really buy that it will fix all the issues with those light sources. I think the sensor might just suck with tungsten. Even if the IR pollution is gone, I feel like it's still going to look bad. I wanted to see a test to confirm that.

    Don't want to buy a filter only to be disappointed, and couldn't find test footage to compare, that's the reason for the post.
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  4. #4  
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    To the extent that the reddish brown tone that can result from incandescent lighting is addressed with the Hoya IR cut then I would say, yes it does.
    There's no question that BM cams (digital in general) sensors like daylight balanced lighting, and we shoot with a pretty extensive, high CRI LED package.

    I shot scenes a year or so ago at a brewery/club that used the long, transparent Edison bulbs as their main lighting. They were going to be in every shot and provided great ambient and accent lighting.
    So I used the CTO inserts (for the first time) in all our lights and shot at 3200k with the Hoya IR. The footage looked great, if a bit intentionally warm.

    I'll see if I can get a couple of grabs from that shoot and post them.
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  5. #5  
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    Awesome, would love to see them!
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  6. #6  
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    Quote Originally Posted by dbp View Post
    Does it make a big improvement?
    It makes a huge difference. Don't think about it, just buy the filters. You won't be returning them.
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  7. #7  
    Junior Member Meiereika's Avatar
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    I'd be also thankful for some on-and-off comparison footage with the Hoya IR-Cut.
    Since I'm about to order one soon, to test it, I might be sharing some test clips for ya.

    But my real problem with the Pocket is the green tint in the midtones. I think only few people adressed this problem.
    It occurs in all lighting situation. With both, ND and no filtration at all likewise, I'll always get some green cast in my grey tones.

    You can see a few still frames that illustrate this issue. They have no color correction applied to them, except for the LUT.
    You can tell which LUT was applied by looking at the file name in the upper left corner.

    https://www.dropbox.com/sh/8t78zdu3g...15%29.jpg?dl=0
    https://www.dropbox.com/sh/8t78zdu3g...15%29.jpg?dl=0

    https://www.dropbox.com/sh/8t78zdu3g...82%29.jpg?dl=0
    https://www.dropbox.com/sh/8t78zdu3g...82%29.jpg?dl=0

    https://www.dropbox.com/sh/8t78zdu3g...12%29.jpg?dl=0
    https://www.dropbox.com/sh/8t78zdu3g...12%29.jpg?dl=0



    Considering getting neutral looking colors, I found this LUT to be the best option when it comes to grading the BMPCC.
    It's called "EOSHD-A7S-SLOG2-SGAMUT". It's very contrasty and pulls your footage by one or two stops. But if exposed correctly the footage looks great with nothing but the LUT applied.
    By default, it adds a nice magenta shift to the midtones. Just about the right amount.

    I hoped for better results when I bought the LUT BOZ_BMDFilm of Bulent Ozdemir. But it ended up looking like all the other Rec-709-Conversion LUTs for the BMPCC - considering the green tint.


    Now I think the Hoya will make the image even more greenish. But hopefully spreading the tint across the whole luminance area - not just the mids.
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  8. #8  
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    Absolute favorite, go-to LUT for the Micro, BMPCC and BMCC.

    http://hanshijmering.com/downloads/lut-bmpcc/
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  9. #9  
    Junior Member Meiereika's Avatar
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    Would you mind throwing it on some of my still frames?
    I consider buying it then!
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  10. #10  
    Senior Member shijan's Avatar
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    All shoot with Hoya IR filter and Mosaic OLPF. Green tint is a ProRes problem itself. With RAW you got weak greens and you need to use ColorChecker to get correct colors. For gamma compression i used 1D LUT Cineon to Amira709 generated in LUTCalc, and for gamut compression i used Color Space Transform node in Resolve.







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