[Jeremie Mac Carthy]

Thank you for sharing your thoughts and for sharing advice with me. I will follow the necessary steps to better myself.

Have a great one.

[Jeremie Mac Carthy]

I hope I didn’t come off as too cold on my latest answer.

I am incredibly grateful to you and anyone who takes the time out of their day to respond to people like me, as I’m trying to figure out my direction as I’m going. I want to learn everything I possibly can to be the ideal team player on a production, and hopefully one day a great cinematographer.

I hope your edit goes wonderfully well. Take care.

[Jeremie Mac Carthy]

Thank you for your input Micheal,

I believe non-log profile images are more forgiving in ISOs when it comes to dynamic range. I think it’s safe to move it around without affecting highlights too much. Or so i’ve learned.

[Jeremie Mac Carthy]

Mads,

Thank you for taking the time to reply. Your input is incredibly useful to me.

Through this experience I’ve learned to dissociate myself from the project when it is not mine, and not be as personal when it comes to perfecting image quality, as long as production is happy. I can sometimes disagree with the final demands, but ultimately it’s out of my hands and I should deliver only what is expected.

This way of working however, is bland and non-ambitious to me. I hope to create and film projects, no matter the subject, as beautiful and interesting visually as possible. Maybe I’ll convince some clients directly as to why it matters. Otherwise why are we doing anything at all.

Thank you for your kind words and for sharing your knowledge. Sometimes it feels overwhelming and lonely when working with people with very different viewpoints and workflows. But i’m learning.

[Jeremie Mac Carthy]

Hi Mads. Thank you for your reply.

You are correct in that the deliverables were expected very shortly following the shoot, and the other filmmaker, like you, was mainly thinking as an editor and was tweaking the settings as such.

We had a wide shot on a7siii, and 2 close ups on a73 and Fx3. The other filmmaker dialed every camera to 8 bit 4.2.0, cinetone or cine4, lowest ISO possible, 4k.

As an aspiring DP, and having spent so much time learning about theory and technique, I’ve always thought best to squeeze the maximum amount of quality when operating a camera, particularly if it’s in the mid range.

Am I wrong to think this way ? I understand you must find compromise when delivery is expected on such short notice, but in this day and age, will 10 bit and 4k really slow down the workflow of the editor ? Aren’t you defeating the whole purpose of using such capable cameras if you dial back all kinds of settings degrading the final output just for some editing ease of use ?

I understand the client might not notice the difference, but I certainly can “feel” it even if the final deliverable is delivered in 1080p. Again, maybe I’m wrong in this and I should think differently.

Regarding dynamic range in S-Cinetone: I’m still confused. Why are there 2 native ISOs in this profile if you can dial in any setting and still maintain information in your highlights at all values? (example : if shooting iso 200 in LOG, you would clip highlights very easily as there is less allocated information above middle grey)

Sorry for the long post, I’m still learning 🙂