Posts Tagged ‘dslr

24
Apr
15

Additional notes on my Cine Style Pofile

The Marvels Cine Style Profile for Canon DSLR is free to use (also professionally/commercially) and to share, with the sole exception that you may not charge money for it.

If you like the free Marvels profile,¬†we invite you to make a small donation via PayPal by clicking the link below. This is voluntary and much appreciated ūüėČ

Each year around the¬†23th of December, i donate at least 50% of my¬†yearly ‚Äúpicture style income‚ÄĚ to charity, via¬†eBay¬†GivingWorks and ¬†(previousely) eBay MissionFish. Between 2011 and 2015 i donated 554 dollars to 4 different charity projects, thanks to your generous donations.

Donate HERE by PayPal or Creditcard if you use our Picture Style.

It’ll be¬†well spent!

Martin

22
Apr
15

“Marvels Cinestyle for Canon cameras” page has been updated

I have updated the Cinestyle page with new download links and extra info.

You’ll find it at the top of this blog under “marvels cine for canon dslr“.

Another good read on the subject is “Installing Canon Picture Styles for Dummies” (no offence ūüėČ

Do not forget to read the original article (with the Phil Holland tests) “Finally,¬†the new marvels cine profile 3-x for canon dslr“.

Cheers!
Martin.

25
Oct
14

I downgraded from Red Scarlet MX to Blackmagic Production Camera, but it feels like an upgrade!

Martin Beek https://livecrew.nl I’ve thought long and hard about my next move, camera-wise.¬†My Red Scarlet MX was eligible for upgrading to an Epic for 9000US$, or upgrading to a Scarlet Dragon for¬†9500US$. I paid a small fortune for¬†my Scarlet and adding another 9 grand meant that¬†i could’ve better bought an Epic in the first place. IMHO, not much of a deal or “gesture” to Scarlet owners.

I¬†decided eventually to sell the Scarlet now it’s still worth a few bucks. Emphasizing on “a few”.
I had to let it go a few weeks ago for 7200 euros including a cage, Redmote, two 64gb SSDs, 5″ LCD, sideSSD, etc.; the complete scarlet package plus tophandle and cage. That amount of money is peanuts, but hey, you know that it devaluates starting day one.

I decided to “downgrade” to a 3000US$ Blackmagic production camera, forMartin Beek https://livecrew.nl https://livecrew.nl/martinbeek¬†having a camera around the place and have something to play with during the fall and winter. Bought myself a great Sigma 18-35 1.8 zoom and a cage with handles¬†plus three 500GB SSDs. Still had enough money left to buy some extra audio gear, Vmount batteries and pay a few months¬†of¬†mortgage for the house!¬†ūüėČ

I thought i’d bought Martin’s next plaything and considered¬†it to be a downgrade just to please my desire to own a camera.
I was almost shocked to learn that the 3000$ silly looking package produced way sharper and detailed images that my Red scarlet ever did! It has roughly the same dynamic range and s/n ratio, but seems to reveal much more micro-detail instead of bags of noise when blowing images up to 200%. VERY VERY IMPRESSIVE!

https://livecrew.nl/martinbeek Martin Beek https://livecrew.nl I shoot 24p¬†exclusively in 4K on any camera – i rent highspeed cameras when i need them. So the Blackmagic production camera is a gift from heaven to indie filmmakers. For the price of renting a Red (don’t you ever think of buying one!) you can buy two¬†or three BMPCs !!! ¬†And, just to make this clear, i am not paid of sponsored by BM to tell you this! ūüėČ

I’ll definitely shoot my next feature on multiple¬†BMPCs, i swear!

Cons?

  • It needs bags of light (so buy a speedbooster or <=1.8 lens)
  • 400 ASA natively:¬†use a ND filter and don’t switch to 200ASA (limiting DR)
  • 800 ASA is too noisy, just stick with the 400 ASA and crank the¬†exposure up¬†in post; it’ll look great!
  • No white balance. Just a range of Kelvins to choose from. Shoot a color card or WB¬†card and adjust in post.
  • Internal battery wears down just below one hour. Buy one medium sized Vmount battery and you’re good for hours.
  • The BM CINEMADNG Raw codec is HUGE and will slurp your precious SSD gigabytes before you know it.
    BM HAS to device¬†a way to adjust¬†the compression level of the codec or come-up with something new, because this data-rate is outrageous. Recording just¬†12 minutes on a 500GB ssd is something i can NOT live with. Imagine shooting a feature film with this…¬†My storage and backup costs would go through the roof! The Red Scarlet recorded 34 minutes of full 4K with low compression (1:6) on a 64GB ssd !

DSC_0133Pros?

  • Lightweight form factor, though very well build metal design – feels solid
  • Record prores and raw (Cinema DNG)
  • Super 35mm large sensor, great filmic shallow DOF with the right lenses
  • Comes with a fully licensed version of DaVinci Resolve (including dongle)!
  • Very nice skin color representation and silky smooth light¬†transitions (just a personal / subjective opinion)
  • Low (audible) noise
  • full Canon EF lens communication and LANC (BeBop lanc controller will even control focus)
  • 4K SDI out
  • 12-35 volt input, so hookup any juice¬†that doesn’t kill you ūüėČ
  • Easy operation, easy menu’s

DSC_0130

My next project…¬†Taking¬†a scene shot with my Scarlet, and repeating it with the same lens on the same location and under the same lighting conditions and show you the difference!
Shooting some hi-contrast winter footage with the BMPC!

Cheers!
Martin.

05
Sep
12

New (third-party) Facebook page

https://www.facebook.com/martinbeekdirector – creator of the Marvels Cine Style

https://www.facebook.com/marvelsfilm – our page

28
Dec
11

Marvels Picture Styles, Plugins and donations

Marvels film, Jorgen Escher (colorbyjorg.wordpress.com) and i have published a number of free Picture styles (a.k.a. recipies, picture profiles, looks) and a free plugin for Final Cut Pro.

I don’t want to link to the files directly here, but list the URLs where you can download the latest version of each.

All these products are free and free to use (also professionally) and to share, with the sole exception that you may not charge money for it.

If you like the free Marvels profiles and/or plugins, you can make a small donation via PayPal by clicking the button below. This is voluntary and much appreciated ūüėȬ†Donations will be spent annually (usually around Christmas) as a donation to a good cause.¬†On december 23th 2011, the amount of 414 Euros was donated to Save The Children, via eBay MissionFish. Thanks for your donations!
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  • Marvels Cine Picture Style for Canon DSLR cameras v.3.4
    This special picture style for Canon DSLR (video) D-series cameras such as the 1D, 5D, 7D, 50D and others, has become very popular by both DSLR enthousiasts and professionals equally. Several feature films and many short films shot by the Canon 5Dmk2 have been shot using the Marvels Cine picture style.
    Also referred to, in many publications on the web, as:¬†Marvels Advance,¬†Marvels Flat,¬†Marvels Cinestyle,¬†Marvels Cine,¬†Marvels Advanced flat,¬†Marvels Panalog, and other…
    These are all names for one and the same product and it’s official page is here:¬†https://marvelsfilm.wordpress.com/marvels-cine-canon/
  • DSLR Moire Filter for Final Cut Pro v.1.01
    This FCP plugin battles the disturbing problem of micro-moire. Micro-moire manifests itself as red/blue color streaks and pixels that appear in natural and irregular patterns, such as hair, water and grass. Micro-moire is seldom visible on the camera’s LCD display and sometimes not even on a 7? external monitor. Many a good shot has been spoiled. Get them back off the shelf and run them through this new filter!
    Cameras that are prone to deliver this artifact are the Canon D series DSLR cameras, such as the 5D, 7D, 50D and others.
    The official page is here: http://colorbyjorg.wordpress.com/plugins/
  • Sony EX-1 flat picture profile for cinematic look¬†
    Before we had HDSLR cameras, i had to use either 16/35mm film cameras or HD videocameras with a “Depth of Field” adapters. I’m glad to say that this all belongs to the past now, but i still have fond memories of my first Sony HD camera, which was the EX-1 and later the EX-3. We used both the RedrockMico and Shoot35 DOF convertors and Nikon & Zeiss lenses. To program the camera in such a way that the imagery was matching 35mm film, we developed this picture profile.
    The official article is here: https://marvelsfilm.wordpress.com/2010/04/24/all-new-sony-ex1-picture-profile-for-cinematic-look/
  • Red Epic & Red Scarlet looks files: coming soon…
07
Apr
11

Marvels Cine style now has it’s own page

On this blog you’ll find many posts, discussions, questions, examples and articles on the subject of the Marvels Cine Picture Styles for Canon HDSLR cameras. We have decided to dedicate a “sticky” page to our Marvels Cine ¬†style.

At the top of this blog you see a link “marvels cine for canon hdslr“. From that page you can download the latest version, leave comments and add your name and projects to the Hall of Fame!

Cheers!

Matin.

18
Feb
11

Questions about the elusive Cinema Film Look

I receive questions from people all over the world regarding Film Look and Cine Style shooting on almost a daily basis. What people are trying to achieve, is to match their prosumer camera’s image, with what their eyes are seeing on the big screen (let’s call it that for now – you might say “Hollywood movies” or “Blockbusters”…).

Here is what i have to say to those people. It’s a kind of mash-up of the many email answers i’ve sent and replies i’ve given on this blog.

The part below starts with a reply to a question about making a “Red” picture style for Canon DSLR cameras, that i’ve left in place here.

First, footage directly out of the RED is Raw and looks very flat and desaturated; it will most certainly not look cinematic or specifically “Film Look” at first sight. The footage will be graded to the colorgrader’s personal taste and he can make it look more like film, or even look like cheap video. I have seen a LOT of Red footage that didn’t have the Cinema Film Look at all! So, getting back to your question, you could also say that you want to copy/import the looks of other footage in general. E.g. Avatar. I’ll get back to that later.
Here we come to point two; how do you define Cinema Film Look ?! That’s a very subjective and personal experience. Factors such as shallow depth of field, crushed blacks, nicely roll-off of whites, soft edges but also sharp at the same time, and a certain specific coloration can be named, but each of them might be valued or applied different by YOU.

But let’s get down to earth for a moment… Watched a movie (film) in the cinema lately? Seen the HUGE amount of grain, chromatic abberiation, optical distortion, greenish blacks, flicker, scratches, out of focus, gate movement… et cetera? Is THAT what you are referring to as the Cinema Film Look!? I hope not…

So we have created a whole new idea in our mind, of what the elusive Cinema Look is! Almost a virtual unexplainable awareness of something that does not exist! Or at least something not two people will have the same idea about. It’s 100% perceptual and therefore very hard to explain in our language (which is designed for telling other monkeys where the ripe fruit is).¬†We can agree about the shallow DOF, but the rest is really elusive, intangible. Beauty is indeed in the eye of the beholder…

Watch a Tony Scott movie (“The taking of Pelham 1,2,3”, or “Unstoppable”). If you’d come up with THAT look twenty-five years ago, you’d probably would’ve been declared mad.

Let’s look at Avatar. It’s VERY digital. Everything is crispy crispy sharp. Pores of actor’s faces can be explorer in-depth. But shallow depth? Not really.., at least not exaggerated (DOF is not the friend of special effects people / image composers). Crushed, rich blacks? Not really… Does Avatar look cinematic to you? It certainly does to me! I was blown of my seat when i watched it on the big screen, although i must admit that it has a certain electronic look on my home plasma, on Bluray.

Nevertheless… there must be factors present in less “cine style” movies like avatar that appeal to us. Most of them are indeed hard to explain in normal language, and the others may include the huge color and luminance dynamic range (latitude), the high quality optics that are used, very professional lighting, top-notch camera and production crew, and a whole battalion of digital post processing wizards using equipment and software we will probably never even get to see.

I’ve read somewhere that the costs of Cameron’s 3D cameras, rigs and special monitoring did not even consume 5% of the film’s budget. So, after watching the movie, you can probably imagine where the other 95% went…
I’m sure that color grading and other digital postprocessing of some “Hollywood” movies exceeds the costs of camera rentals and operators, including the DP’s salary.

Avatar is just a extreme example here. If you look at The Social Network, which is a typical Red digital movie, it’s hard to tell if it’s film or digital, if you watch it at home. It surely has the “cinema film look”.

The Tony Scott look has inspired hundreds of filmmakers to use that same “orange and teal” look (Google on that…). It seems to hit a specific neuron in the human brain nowadays, that says “Hey! I’m looking at a blockbuster movie here, and no mistake!”. So why not jump on the bandwagon and buy that Mojo filter from RedBullet and start grading all your footage like Tony does?! Make use of that Blockbuster Neuron!

But seriously, in other words, make use of people’s conception of the Cinema Film Look. But be warned… It might change overnight…
Philip Bloom has shown us how to get tremendous film-like images out of sub-2k$ cameras. It’s all down to shallow depth of field here. Many people followed his example and are now shooting “film” with DSLR cameras. Don’t forget that Philip is a great fan of the shallow depth of field look!

Apart from being pestered with tons of shaky, badly focussed, too shallow DOF footage on the web and even on TV, we’ve also seen beautiful DSLR movies from people that really know what they’re doing, like Philip, Vincent Laforett and many others.
Mind you… those same people would probably also make beautiful stuff with a $400 sony HD handycam as with a Red One…

Still not answered your question, haven’t i?! ¬†Well. To make a long story even longer; it is very very difficult to – as you say it – tricking the colors to be registered in the camera in such a way they mimic the looks of other footage. There are two main factors at play. First, all the footage you probably have in mind to mimic, is shot in a different colorspace and using more bits per pixel. Second, we can only adjust overall R,G,B and luminance of the Canon DSLR cameras, thus doing a primitive primary color correction. So, secondary color correction and all the 101 filters, plugins and tricks the pros use to get to the look you are trying to mimic is out of the question. I think that you might be able to compose the Tony Scott “Orange and Teal” look for a specific shot with your Canon DSLR, but you’ll need studio conditions and lot of time on your hands. But there it stops. Orange and teal is (roughly speaking) remapping of colors in lookup tables, but masking parts of the image, or coloring parts of an image can’t be done on set, or in-camera.
So… Shoot flat, like a Red (rime not intended…)!
Ever seen a 35mm production film-negative? It’s dull and flat and low on saturation… It’s often a bit reddish.

Give the camera the chance to register as much light values as possible, do not over saturate and worry about the looks in post. Get your white balance perfectly allright though.

Download our Marvels Cine Picture Style for Canon DSLR cameras from this link and start shooting! There are several feature films in the making using the Canon 5DMK2, and several TV series (that i’m not allowed to name here…) that are using our new Marvels 3.4 style.

Cheers!

Martin.




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