Відео

This is actually super interesting., My experience with a lot of action camera stuff is usually splicing it in with the main camera footage, whether it be crash cam stuff or what not. When it comes to cameras, I would say capture as much information as possible. There isn't anything you can't do if you can get the information. You can make digital look exactly like film if you have captured the information and have the know how to achieve that look in post. With that said, not every camera has the ability to capture the level of information that something like an ARRI can, and here were talking about action cameras. That doesn't mean you are screwed. You just have a smaller canvas which can be hard when trying to paint big pictures. I don't know the specs of the OSMO, but let's say you have 10 stops of dynamic range (which I think is the most important thing in a camera.). Its going to be a bit harder to get a moody, contrasty shot of someone sitting by a window where you have good light on them while still retaining the info outside. It is very easy on an Alexa 35 with 17 stops of DR because you will see everything inside in the shadows and everything outside. It is already lit. When you only have 10 stops of DR, either the outside is far too bright that it's a clipped white blob, or the inside (and character) is a blob of darkness. You have to find a way to get the light levels closer together so that you can see both, so maybe push light into the room so that its closer to the level of light outside, then add a light to get that shape and directionality of a light coming in the window onto the subject. If you can do that then the camera will have the visual information and you'll be able to push those colors in post whether it be changing the exposure, contrast, etc. There isn't any magic camera setting. I prefer 172.8/24fps when I shoot. I tend to always lean towards 4300K for anything that involves tungsten lighting at night, and 6000K for sunny exteriors, but that's just my workflow. If your camera has some sort of LOG and you check False Color and exposure, as long as you have the info there it's all going to be lighting. And looking at something like Zone of Interest where there are many shots that are just high sun exterior, the composition and blocking and choice of where to put the camera/move the camera does miles for making the images "feel" cinematic. If you can't control your lighting, and it isn't looking how you want it to look you can always find some really interesting way to frame the shot or move the camera. What would be a really unique perspective to put the viewer in? With an action camera that becomes very easy. I think a lot of the cinematography we see in these indie films approach the shot with that mentality and it leads to really stand out composition. TLDR: Not really a magic setting for an OSMO. If you have log, just focus on lighting it well or making the shot sick as fuuuuuuuuuuuu

thank you!

@@jyuddahjaymes7534 I’ll be honest I cannot remember :(

Ahh no problem! It just has such a milky, dreamy texture and I’m trying to understand how you made it this way. Really brilliant. I know both lens and camera combo is goood but still, there’s some magic at work! Care to share? 😂

@@jyuddahjaymes7534 theres not too much magic going on, this is just the lens and the camera. I did have the ISO set to 3200(2500) which I think did a lot in terms of texture in the image. Otherwise, it really is just the lens quality.

@@PeteMajarich thank you! This was just the natural light through a window and a table lamp

@@mitchellbrinkerdp NICE WORK!

@@r.c8756 nah man, i showed the graphs on how dynamic range is distributed across the EI range. this is true for alexa, sony venice, etc. the same principle can be used on other cameras such as the fx6 and fx3, as well as blackmagic. next time you are out, check false color in the highlights at 400 and go to 3200 and compensate. you will see the red become yellow and yellow become green.

@@mitchellbrinkerdp I just looked deeper into it. The thing is, it’s a feature that’s pretty much specific to high-end cinema cameras. I come from a photographic background so what I said is true for digital cameras but does not necessarily apply to cinema cameras. I apologize, I should have checked that before commenting.

Edit: Apparently the International organization for standardization website says it is ISO based on the Greek word for equal, though not giving a direct pronunciation, it presents it as a word itself. So you are correct. Please excuse me. It's i.s.o. It is an initialism that stands for international organization for standardization. Think of it like FBI. Though I think if you wanna say eye-so go for it. As long as you can communicate with your crew.

@@robfryphoto nah I prefer holding it

@@AussieSolarGuy wow I’m very jealous

@@theMouseHacker it’s from a short film I shot

@@RunNGunPhoto The nitty gritty nuanced science of the sensor is great, but 99% of working DPs aren’t concerned with it. They’re concerned with how to get the image they want, and what the settings are doing to achieve that at the most streamlined level. Everything mentioned here about dynamic range in relation to the EI is the meat that everyone should know. And whether or not it’s actually “increasing sensitivity” or not, you can change your sensor to 12800 ISO and use a matchstick to get exposure with no loss of information if you want. Call it more sensitive or don’t, but that’s what’s important and if the easiest explanation for someone is that it makes it more sensitive then that’s fine. As long as there is an understanding of what that does to your image vs opening up your aperture, etc. The goal is to simplify for people, which is why I’m not getting into the deep inner working of science of what’s happening at the sensor level. There are plenty of DPs in the ASC who would simply say, “who cares, just know how to get the image you want.” It’s art, and you’re painting. It’s a lot about feel and understanding and taste. That’s my spiel to all the “uhm actually the sensor isn’t” comments.

@@mitchellbrinkerdp That was a really drawn out way to 1+1= whatever you feel like. I concisely explained *WHY* it's important to know how your sensor works. Please do your research before spreading misinformation. Making up your own "facts" for clicks on UA-cam is pretty low-effort.

@@RunNGunPhoto i can promise you there are no made up facts or misinformation here. we are in completely different industries, and there are very big differences in how things are approached. whether or not “sensitivity” is the technically correct word doesn’t matter. if you pick up an Arri Alexa or Sony Venice down to an FX3 what I explained about how ISO affects your image is the case and all you need to know. ISO higher = more range in the highlights, less range in the shadows hence higher noise floor. ISO lower = more range in the shadows, less in the highlights. If you bump your ISO to 6400 in a dark room, of course there will be noise, it’s clearly not “creating” light. I said it doesn’t matter, if that’s what you want to do for the shot, then go for it. There are no rules.

@@mitchellbrinkerdp No this is an extremely convoluted and backwards way of saying "expose for the highlights." Which is also poor advice. I am a photographer and cinematographer. "Industry" isn't relevant. It's still bad advice.

@@RunNGunPhoto it’s not a convoluted way of saying expose for the highlights. i’m not saying anything about exposing for the highlights. that is completely different. i am talking about the way exposure index dictates the distribution of the dynamic range across the ASA range. i have also mentioned how the noise floor is affected with those changes in ASA and why. there is absolutely a difference in industry here. how things are done in the photography and videography world is not equal to how things are in the cinematography world. unless you have 9+ years of experience shooting on and working with arri cameras, i don’t know why you’re telling me what i am right and wrong about. this isn’t top 10 iphone cinematic tricks here, this is stuff you would be told by people at arri. im simply taking this and saying you can apply it to other cameras because they all fundamentally do the same thing in their own way.

You're correct.

@@edjefferson9175 what?

@@StefanCH1999 yeah I just don’t have the footage anymore

@@NNWillieProject you’d be surprised. you’ve probably seen films using noise as grain and didn’t even realize.

@@mitchellbrinkerdp I've noticed. Haha But, I agree, the look isn't for everybody. My opinion, with the budget of millions spent on the film and then make it look rusty-like, grainy, and noisy; I wouldn't take the risk. lol

@@NineDekay sigma 24-70 art