1st 24 hours with an Epic

[Gunleik Groven]

As much as I can...

It is a alight problem that people tend to see me as a geek and need the geeky stuff.
The geeky knowledge comes from shooting and posting those shots in a confined environment... (which means me in all positions...) hahahaha

 

[Mike P.]

What glass did you use on that lowlight stuff on the last page (pg.32)? I assume it was not the same "Old crappy" glass for the B&W stuff...

It all looks great.

 

[Gunleik Groven]

It is old and crappy and quite soft, but not the same.

The B&W stuff is an Angie from the mid 40'ies 25 -100

The night stuff is a highspeed (pre super speed) zeiss.

The Angie is quite r ecognizeable through its Vaseline look.. And blooming.

The longer lenses are a couple of DDR zeiss. Starts off at 2.8 soft and temperamenty too.
But you take what you have...

And I kinda happen to like what I have...

They are all blooming terribly in the highlights, though.

Thanks for the compliment!

 

[Jon MIchael Puntervold]

The highlight bloom is very cool.

Btw: I've never seen you as a geek or a guy that do geeky stuff. You know the laboratory, so did the best photographers of all ages. But I ask you about the laboratory, because you know it, not because I believe it's your limited field of knowledge... The first thing I saw of your work was a wonderful absurd short, the one with all the men, the girl and some forest and classical music. It was not the product of a nerd with a limited knowledge base. Digital art is the current and the future. Computers are the artists tools - for better and/or worse - and artists need to know the tools of the trade; to manipulate the techniques and bring innovation... that has not changed. And it's something to be proud of. Beautiful imagery and beautiful music is often a quite linear "mathematical" process...

You absolutely should do more of it on bigger projects. There are a lot of shitty DOPs in Norway - who are not creative. They just reproduce shit, because they don't seem to know the processes and can't manipulate with the tools in front of them. They make the same shitty pictures over and over. Maybe they've seen some of Deakins work, and on a good day they manage to reproduce some of his traits... but it's a shitty hell of reproduction. And the films look the same, within a certain aspect of "creative freedom". Sorry for being so blunt. Bad morning, and it's always more fun to kick upwards than downwards.

Anyways - I hope to see you do more DOP-work.

 

[Gunleik Groven]

Tanks Jon. Me2...

When I am doen with my current gig, that will have priority.

Both stills and cinematography.

G

 

[Gunleik Groven]

...

 

[Gunleik Groven]

Must just add that there are many good norwegian dop's... Even though I appreachieate the compliment. Many who I have the fortune to Work with...

That said... I do not think the Epic has particular issues with lowlight/available light. Or skintones...
Just nede to put some Contrast in the framme. It just Needs to be an image in there in the first place...

 

[Gunleik Groven]

While waiting... for the end...

While waiting... for the end...

I wonder if it is time to let this thread go...

I will still answer to it, but the following of the "new discovery of Epic" is kinda mute by now.

Have a couple of other ideas, and the "RAW workflow" thingy is still far from done.

So I guess I'll end it with a last series about Waiting... And stuff to do while you wait.

No analysis, no excuses, just a bunch of images...

I will of course answer to anyone posting here, but I guess this is my last initiating post to this thread.

Thanks guys, It's been fun!
But it is really more than a year since the 1st post by now...
The title is kinda misleading...
So this is the end of this research.

Let other start!

Here goes...

Ning waiting:

Cheers

G

 

[Gunleik Groven]

Ok... Have to comment on that...

Fun to have started this thread with RPPs and Masters and tons of light, and end it with an available light B&W shot with crappy lenses...

But kinda like Mark Toia has said...


The Epic doesn't make the lenses any better, but they work kinda ok, if they have anything at all to them...

After all it is mosty about exposure.

I have upgraded to a Nikon D-50 as my main non-RED stills cam...

Fun part is that while it 5-6 years ago appeared totally impossible to use that cam, I HAD to get a D-200 and better glass, the D-50 and cheap glass magically make bettr images than I and the 200 did back then.

It is all about knowledge and control.

After that, it s a bit about DR, highlight and lowlight handling, useability, pixelcount and magic sauce...

In no particular order...

Hahahaha

The times they are a changing!


Cheers and thanks for the fun!



Continuing this thread (though I'll start others) is mostly turning into nonproductive things.

 

[Victor MOREIRA]

They can give confidence to a DP/operator.

+1. And proud too.

 

[greg filipkowski]

Hi G
Can u possibly post and r3d of this? with all the rcx settings & look
http://foto.no/linkeddata/bildekritikk/images/versions/657392_v135398_1280x1024.jpg
Most of my images are coming out very sharp video feel, it was last week I shot a pov of the driver shooting thru a windshield and it felt nice. Maybe I should cut out a little piece of the windshield a stick it in front of my canon glass all the time , I shoot with 24L 1.4, 50. 1.4 85 1.8, I keep them at 2.8 -4.0 for the depth of field

RCX Export do you use sinc sharpest setting?Lanchos?
ANY of your looks settings would be lovely

 

[Gunleik Groven]

Hi Greg.

Thing is, I don't really have much secret juice to share. I generally shoot the camera "flat" and light/find light for that, and post from there too with very small changes to the image. Either from rg3 or redlogfilm depending on image, workflow and available software.

I do not ever shoot with tweaked camerasettibgs, as that just makes me lose the exposurecontroll, and I do not like that.

As for post on that particular image, it is out with rg3, slight deep in the bottom of the luma curve and the same with the redchannel curve to get it a bit more punchy and giving the greeinish lowlight tint.

Rest is flat and as shot at 1600 iso with a zeiss 18mm highspeed that vigbettes nicely and with a lovely focus- falloff out of centre...

It's more an issue of optics and lights than in-camera tweaks... Even though i in many respects am a post guy, too... I am a huge fan of creating images for the camera as I shoot.

Just a philosophy thing. Not a moral one. Whatever works the way ou want it to work, is right!

Thanks

G

 

[Gunleik Groven]

Ok. As I expect there to be a few new Epic and Scarlet users on here in the time comming, I'll shamelessly bump a couple of threads I think might be usefull... nJoy!