Since the introduction of Digital Cameras it became easy to film and to learn making indie films, you just grab your camera and experiment with it. However the look of the digital footage(even color corrected and graded) still leaves amateur and domestic camera impression, the digital footage doesn't look as good as straight out of the film camera.

What is it about film that people like so much? Simple - it's color. Maybe some will say dynamic range, some will say the motion and flares. But the best feel about the film is that it looks unique and cinematic. People say that film has a unique color processing that can never be achieved by a digital camera. I take a more scientific approach and after many researches I found some breaking points in simple After Effects effects profiles and LUT usabilities and achieved unique fake color caps which gives that beloved film feel. The limited color brightness is one of the most important things when trying to emulate film look.

The hardest part in grading Digital footage is that it needs to be RAW or LOG, that means a flat footage taken out of expensive cameras. Then it is graded digitally by shifting colors of keyed parts, adding tints and editing curves. Amateur and Indie filmmakers sometimes doesn't have all those REDs and Black Magics and ARRIs and other beautifully named machines and anyway they want to look pro, so what we all indie filmmakers do is not called grading we just do the color correction - just create some interesting looks by shifting and tinting video. But there is certain points and colors that will leave that digital and domestic feel in the DSLR video even when it is color corrected. The colors overbright, and oversaturated areas doesn't change with color correction. Many of indie filmmakers lowers the saturation, but what happens is that they desaturate all areas of the footage so colors in shadows becomes undersaturated. I tried to fix it by collecting some unique braking points of Adobe After Effects CS6 as known as ColorGhear techniques but instead of doing it manually I tried to automate the process. The process is not grading nor color correction - it's something very different and unique and is used as a simple preset for After Effects CS6, which will be available soon for just a few dollars ($5-$10).

So I made some tests. At first I didn’t even think that I would come up with something interesting but now I actually need your opinion, it is usable? Does it really make a difference and most important – does it make the footage look like FILM (kodak). It does certain things to a simple footage: adds color bright limit, adds saturation limit ONLY to oversaturated areas, increases saturation to undersaturated areas, makes overbright colors(not whites) more visible and appealing on screen (for human eye).

There was a guy who tried to create and then disappeared his plug-in known as "Filmvision plug-in" I think he used similar techniques.

What do you think ?

Also I will make a video with just original color limiting process because the current video also affects the overall saturation and makes it more blockbuster Blue Orange type of thing.

I continued my living room project and used @duartix 's timebuster 1.3 patch shot with 2fps and it's great, I am really satisfied with this one

Check it out!

If you do not need all the pictures for your video, this is a great space saver

BTW, I am using class 10 SD cards so it can't be the card speed that's holding things up.

$550, buyer pays shipping. I'm located in Canada.

-GH2 with charger, and original panasonic battery - $429

The items listed below I would prefer to sell to local people who are in MD/DC/VA because the shipping will be too much, and for one item, it is best tried before bought as you'll see explained below:

-I have an OCT-18 to M43 adapter. This is the one made and sold by Ciecio7 on ebay. I bought it for $180 from a nice guy on this website, but when I brought it home, I couldn't get it to work. Most likely I'm just having a brain fart, so if you need one and are interested, I would suggest we meet locally so you can try it on your camera and lenses to make sure it works for you. I'm selling it for $170. This is the one: http://www.ebay.com/itm/Lomo-OCT-18-OCT18-OST-18-OST18-to-Micro-Four-Thirds-MFT-M43-Adapter-Ciecio7-/200977727817?pt=US_Lens_Adapters_Mounts_Tubes&hash=item2ecb34c149

-Creative Light Translucent Light Reflector - it's one of those circular reflectors thats twists/collapses and has a pouch it goes in - about a 3-4 feet in diameter - $20

-Kamerar 4 ft Slider - $80

Located in Northern Cali. Ship to US only. Paypal payment.

Fran

My current workflow is: MTS files into AE > converted to 2.33 aspect ratio (1920x824) DNxHD format > footage imported and edited within Premiere Pro > exported as 175 bit DNxHD 1920x1080 master file. Note that the 2.33 conversion is strictly letterboxing via composition settings in AE and not altering the pixel dimensions (as those 1920x824 files don't show the pixilation).

One thing I noticed was that when I expand the video feed in Premiere it shows the pixilation that's outputted in the final format, but I wrote that off as simply being reduced resolution for real time playback that wouldn't translate to the final video. Also the preview remains pixilated even with no effects applied (only effects on clips are quick color corrector, Neat Video, and shadows/highlights).

Any insight would be greatly appreciated. I've included a still of the 175 bit DNxHD final video, and a matching frame of the original MTS file straight from the camera. Ignore the top and bottom margins, but look at the high contrast lines like on the Marshal logo, and the metal frame of the B-52 amp below it.

I have only used it for about 12 real estate videos over the course of 2013 and other than that it has been packed away in it's protective case.

It's in beautiful condition with only minimal signs of use.

$300 shipped to lower 48 states and canada

Did a search, only a few things came up... but these are posts from 2011. New cameras pop up all the time etc.

I'm in need of a decent camera that will act as my "C" camera (a backup body, also as my wide-perspective for weddings and other events). Price should be about $400US. What would you suggest?

The cameras I've been looking at are:

• Lumix GF2
• Lumix GF3
• Lumix GX1
• GoPro Hero 3+ (out of my price range, but it's on the list because I originally considered it)
• Used GH2 (I can't seem to find any on eBay AU, and other websites have them still sitting on a price of $600+)

Some help here would be great.. as I have looked and looked, but I have no idea what to expect. I just want a camera that slots in with these two cameras but also not break the bank. If it comes with a lens, that is helpful.

Cheers; Daniel

This is a re edit of a horrorshort i made 2 years ago. Shot with panasonic GH2: drifwood's Canis Majoris night hack (class 10 45mb/s card) With Voigtlander Nokton 25mm F0,95 lens

I am using a gh3 for my recording.

I am looking for a solide light kit with led. One Main light like led panel and two additional lights as spots that can be focused.

Right now I have planed: 2 x dedolight DLED 4.0 1 x limelite mosaic 30 x 30 cm daylight led panel

You got ans experience?

Thanks Alex

I've also just seen this on YouTube which seems to suggest that this footage ALWAYS has a jitter to it ..is that right??

Any advice would be much appreciated....

Thanks

Alan

What I would like: A significant boost in pre-amp quality. Good mounting options with rig&GH2. I don't do any narrative work but it is imporant for me to be able to work comfortably as a one man band (small documentary etc)

The options I came to now: Juiced Link RA333 and into GH2 (maybe with cheap recorder later).

Tascam DR-60D. I am not sure about preamps in comparison with Roland or Marrantz for example

Roland R26 or Marrantz.

And at wich I switched the past few hours: Fostex DC-302 Bit pricey over here (800 euro) but ordering at B&H might save me some money. And I've read a lot of good stuff about it here on PV.

So my question(s) would be: Wich solution would give me the cleanest audio? Doubting about pulling the trigger on the Fostex beacuse of it's size. Saw some mounting pictures with GH2, but not a lot. Will it be comfortable working as a one man band?

The last point is why I ruled out the (here highly regarded) tascam DR680, I feel it's too big to mount on a rig.

Am I getting in the right direction here?

Used, but in great condition! Comes with original box. Lens is bright and clear. No scratches or dust.

$500 - Includes Shipping & Insurance for Lens. Payments accepted via Amazon Payments or Paypal. USA Only.

Private Message me for more info! I sell things on ebay under "bobbyauctionssince1998" and on Amazon Used under "BobbyDigital" if you'd like to check my feedback, etc.

This, folks, is a coming-of-age of our il' baby, the hacked GH2!

One way to put it is like this: we now have a benchmark; an aesthetic which we know works, at least with a particular kind of movie genre. Now, some of us might like to take a closer look at every aspect of how Upstream Color was lit, shot and post-produced - and slavishly replicate this in every way with another script. Sounds stupid and un-creative, but that's exactly how film completion insurers and financiers like it!

Some reviews:

The Guardian

The Sydney Morning Herald

And more to come - keep an eye on IMDB

We shot the fundraiser video on the Panasonic GH2 using Driftwood Cluster X - Moon T7 settings. Would love to hear feedback from you guys and if you can "like" our facebook page even better!

Here are the links:
http://www.indiegogo.com/projects/a-good-life-tv-pilot-episode

https://www.facebook.com/agoodlifetv

Thanks,
Stampfli

In early December I decided to start looking into macro photography more after seeing a blog from a russian photographer who shot snowflakes in his backyard with a point-and-shoot camera.

I had looked at expensive macro lenses and then came across another way to make your own!

Everyone has seen old Canon EF lenses around the 28-80 or the 35-80mm kit lenses?

Well if you remove the front glass element, your lens becomes a fixed focus, multi focal length macro lens!

Here is a blog post from my brand new website showcasing how I do my macro shots and my best ones are near the end of the blog! Have a look through if you have time and let me know what you think!

http://www.tylerknight.ca/snowflake-macro-photography/

We are now going to Italy through France and then — Greece.

If you guys have time/ideas and enthusiasm please don't hesitate to contact our crew.

As our previous experience showed nobody knows the situation better than the folks on the ground.

What we are looking for are people's stories, characters, plots, stories which can tell us something new/unusual about the current crisis.

Use this chance!!!

You can reach me here or through ksyomin @ gmail.com

Peace to the GH2 world dwellers!

It's a question about the sync issue. I do a number of long events, mainly plays, that run 90 minutes or so. I've been hearing that the Tascams drift out of sync after an hour or so. Haven't heard as much about the Zooms (save for people shooting PAL). So the first question is whether the Tascams have been fixed on this point, or if the Zoom H4N will or won't drift out of sync with my video.

I understand that I can plug these recorders into my camera's mike port, and record directly onto the video. If I do this, then I have two questions. The first is how the camera records this: does it record multiple tracks onto separate audio streams? Or does it consolidate it into a mono audio track? The second is whether the record can record its own multitrack audio file while it's feeding the camera something. (This'd make post-synching easier, and give me more options for audio mixing.)

I think the environments make it difficult, for an amateur at least, to capture both the moments we find most exhilarating, the sounds and the feel of the adventures, but I'm working at it.

These cams have been to some fun places and I owe a big thank you to VK and all the others for their work.

Test filming in HBR mode (1080p25) with very safe "hack" at 33 mbts.

First use of a voigtlander nokton 50mm 1.1. that I've just received. Great lense ! All manual control.

I thought this would be funny to shoot. And a much more interesting subject for the test than the usual garden tree... :)

Export with Clipwrap. Edited in FCP7 with no color correction.

Music : Betty Hutton "Stuff like that there".