Welcome to our community

Be a part of something great, join today!

Register Log in
  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Dragon Skin...

Evin, thanks for the ProRes LT version.
I've downloaded it, and played with it a bit in Photoshop CC.

I used some Curves, Selective Color and a bit of Camera RAW filter to achieve quite a pleasing result.
Cheers, mate!
 
With the additional bits one might expect thin negs to respond better to color manipulation. Do you find this to be the case?
 
Evin Grant said:
Thanks Blair, I stopped looking at CML years ago, I couldn't give less of a shit if they're comparing me to Bin Laden :ihih:



Sure looks like a 105mm 2.8 Micro Nikkor to me...
attachment.php
Click to expand...

What also interests me is the XL battery module. This looks like a newer version of it, sans the module adaptor, is that correct?
 
Scott Crawley said:
With the additional bits one might expect thin negs to respond better to color manipulation. Do you find this to be the case?
Click to expand...

Absolutely, but it's much harder to even make "thin negs" with this sensor.

The XL redvold module is pretty slick.
 
Very nice!!!

Also the rule to achieve an accurate digital skin tone is to nail whole thing at shooting and try to avoid any colour grade in post.

And if you would need a bit of grade than do it with native RAW app like a Red Cine X PRO only!!!
 
Sanjin,

Will let someone else with more strength to answer this statement.
 
Luis Otero said:
Sanjin,

Will let someone else with more strength to answer this statement.
Click to expand...

Yeah Luis,

just because that is the main issue of any digital camera, especially so called cine digital cameras.

Experts should finally write an appropriate workflow for cine digital RAW colour correction!!!

Otherwise film (stock) is the winner in the skin tones and the highlights rolloff competition.
 
Jeff Whitehurst said:
Anybody else notice that sweet dual outrigger handle/monitor mount Peter was rocking? :drool5:
Click to expand...

It's a pretty handy tool for handheld for sure. Also, when moving the camera about. Pretty useful if you ask me.

I do want to see these bulb shots :)
 
Jeff Whitehurst said:
Anybody else notice that sweet dual outrigger handle/monitor mount Peter was rocking? :drool5:

Outrigger2.jpg
Click to expand...

Yea this is what Jarred is using, (his camera) when I seen it first time I immediately said to myself, YEAH, some one tough this one nicely, I more then once found that one handle only and the side grip does not serve me as well as it would if I had two handles, yet I wanted to also be able to mount the monitor in the same exact spot if need to, and with this new Twin Handle Grip, we will be able to do just that, also mounted below the camera can serve as a very nice option too.

Look forward for this to hit the store too... ;)
 
Sanjin, Resolve does work off the R3D (although not Dragon yet) so I don't see your point. Also I think what is more important than the tool set you use for correction is your colorists eye and experience in seeing and correcting the subtleties of skin tone. I've personally found that the make up artist is much more important in this regard than either the camera or the grading software.
 
Evin Grant said:
I've personally found that the make up artist is much more important in this regard than either the camera or the grading software.
Click to expand...

absolutely true....if the damage is done in make-up it is really, really hard to un-do....5K and 6K makes it even worse (or harder) or of course if done right, so much better.....
 
I hope i can make this comment/observation without ruffling feathers, but I still see green in the mid tone/transition areas in skin on both this test and the Collister test. It's something that I've always seen with my MX Epic, and when I bring it up everyone quickly dismisses it as a make-up issue, even when it's on male subjects with no make-up... I also find that if I shoot under less than ideal fluorescents or LEDs, with my stills camera the green is easily corrected, but with my Epic on exactly the same set-up, I can't get rid of the little bit of green in those transition areas no matter how hard I try. Anyone else have this issue?
 
You must log in or register to reply here.
Back
Top