Film quality

[Filip Dobosz]

There is a great set of settings that I got in the BBC Whitepaper here https://forums.creativecow.net/thread/142/862819#862819 . There is a set of “film like” setting they recommend. I have been using them, sometimes changing the gamma setting and shifting the black level here and there. I don’t know how they would look as a transfer to a film print.

[William Mims]

Thanks Michael for the heads up on the nano flash. Sounds like it is a good investment for shooting a feature with EX3s. Have noticed that as I get back up to speed with Ex3 to Vegas vs. a Sony/Grass Valley edit bay (’97) that my Transcend cards in MxR expresscards transfer to the tower but my Sony SxS cards will not via Clip browser…Haven’t figured that one out yet. Sony needs to do some serious price slashing on their cards.

Mims

[Michael Palmer]

I’m on a Mac system and there is a driver needed just to read the SxS cards. Did you ever load the SxS driver?

https://www.sony.co.uk/biz/view/ShowProduct.action?product=PMW-EX1&site=biz_en_GB&pageType=Overview&imageType=Main&category=XDCAMCamcorders

Good Luck
Michael Palmer

[Brent Dunn]

If possible I would do a pre-shoot on a few test scenes, run them through whatever post / colorizing you plan. Shoot these same scenes with the different settings you plan on using to see which works best for your production look.

I used to be a musician and was at the beginning of the digital recording studio’s switching from Tape. They used to always compare the “warm sound” of tape vs digital.

The technology is now going to be indifferent to the past in reference to the “film look.” What matters is the viewing public. They won’t be able to tell the difference even though us “techno-files” can.

When in a recording studio, the worst thing I heard was “fix it in the mix.” It comes down to “crap in – crap out.” It’s all about the story line with the technology being used as a tool to project that story.

So, do some test shoots, find your look, and use great lighting, great scripts, great actor’s, great directing, camera, sound, editing, etc.

Good luck, can’t wait to see it.

Brent Dunn
Creative Director
DunnRight Video.com

[William Mims]

Hey Guys this just in:
I ran across a blog that lists the settings on the EX 3 for that “film look” I started asking with this thread. You all have made some important input about the subject but this is what I really wanted to know:
Check out- marvelsfilm.wordpress.com/…/marvels-ex1-and-ex3-profile-settings-for-filmic-look/ –
In this article he states the amount of tests he did to find the right settings. I am a big fan of “24” on Fox, I know that it is shot with Sony cameras but it looks like Panavision to me. The other half of the game is of course, lighting.

Mims

[Bengt-goran Bengtsson]

Hello William and all others.
When reading this thread a thought came into my mind about why video did not work as a replacement for film 10 years ago: I think the worst thing was the smear. (The smear is the “light beam” going up and down from a bright light in the old video.) The very best ccd´s and now in the EX1/3 cmos sensor has “no” smear. Now the picture is more “film” like in that way that it is clear and every part of the picture is undependant or the rest.
just a thught…
/BG Bengtsson

[Rick Reyna]

Hi world my name is rick reyna iam the director of the new movie the ‘rally’ that was all shot on the sony ex3 wow it was that or the red iam glad we went with the ex3 you can see the movie trailer at therallymovie.com I can answer any #uestions you might have thanks all

[Rick Reyna]

Hi world my name is rick reyna iam the director of the new movie the \’rally\’ that was all shot on the sony ex3 wow it was that or the red iam glad we went with the ex3 you can see the movie trailer at therallymovie.com I can answer any #uestions you might have thanks all