Thread: SLOSS Metal Arts (Metal Pour) - 4k 120 fps

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  1. #1 SLOSS Metal Arts (Metal Pour) - 4k 120 fps 
    A test shoot I did to try out the slow motion capabilities of the Scarlet-W. All shot on the Canon 70-200 2.8L II in 4k at 120fps. Location is SLOSS Furnaces in Birmingham, AL.

    Sterling Williams

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  3. #3  
    Quote Originally Posted by Clark Dunbar View Post
    looks good!
    Thanks Clark!
    Sterling Williams

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  4. #4  
    Senior Member Zeb B's Avatar
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    Cinematography is very solid. Highlights clipped. Look at :31 or any of the white hot metal. No detail.

    Maybe shoot -2EV or more from what you did. Test on a blazing bonfire or fire pit. Hold the details in the brightest highlights- then dig out what you can from the shadows.

    In the steel mill set maybe bring some fill lights to reduce the DR. This can be tested before a commercial shoot to see what you need to do to balance the exposure range. Bright white fire is way up there in luma. Shooting it at night or in a dark setting might be too much DR for even the best camera.

    On a RED, if you’re slamming the Stop Lights, you’re burning out the detail. Bet a buck the Stoppies were lit up ;-)
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    Senior Member Christopher S Johnson's Avatar
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    Looks amazing! Really great color and composition. Did you finish in IPP2? If not I'd be interested to see if that does anything for the highlight clipping.
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  6. #6  
    Quote Originally Posted by Zeb B View Post
    Cinematography is very solid. Highlights clipped. Look at :31 or any of the white hot metal. No detail.

    Maybe shoot -2EV or more from what you did. Test on a blazing bonfire or fire pit. Hold the details in the brightest highlights- then dig out what you can from the shadows.

    In the steel mill set maybe bring some fill lights to reduce the DR. This can be tested before a commercial shoot to see what you need to do to balance the exposure range. Bright white fire is way up there in luma. Shooting it at night or in a dark setting might be too much DR for even the best camera.

    On a RED, if you’re slamming the Stop Lights, you’re burning out the detail. Bet a buck the Stoppies were lit up ;-)
    Thanks Zeb.

    Agreed, that was one of the most difficult things I've had to expose, because it was so dark in there but the metal is super bright. I'll be doing another shoot but this time with lighting. I'm always on top of the goalposts and traffic lights but on this one it would go from underexposed to totally blown out so fast! Definitely has me thinking on the next one!
    Sterling Williams

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    RED Scarlet-W
    www.sterlingandrewwilliams.com
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  7. #7  
    Quote Originally Posted by Christopher S Johnson View Post
    Looks amazing! Really great color and composition. Did you finish in IPP2? If not I'd be interested to see if that does anything for the highlight clipping.
    Did not finish in IPP2 but I may try that on the next go round. Very new to this whole workflow. Colored in resolve monitoring in rec709. No LUT applied.
    Sterling Williams

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  8. #8  
    Senior Member Zeb B's Avatar
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    Quote Originally Posted by Sterling Williams View Post
    Thanks Zeb.

    Agreed, that was one of the most difficult things I've had to expose, because it was so dark in there but the metal is super bright. I'll be doing another shoot but this time with lighting. I'm always on top of the goalposts and traffic lights but on this one it would go from underexposed to totally blown out so fast! Definitely has me thinking on the next one!
    Look at how much Phil light there is in this vid ;-)

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  9. #9  
    Quote Originally Posted by Zeb B View Post
    Look at how much Phil light there is in this vid ;-)

    That's what I need! 😁 You can totally see it on the shots with the hot metal. Detail is all there!
    Sterling Williams

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