Hair and Skintone Test

Yesterday we did some hair and skintone tests. Thought we'd share them with you lot.

Shot on 3 cameras:
Canon 5D MK2 - Canon 100mm 2.8 Macro
Sony NEX-FS100 - Carl Zeiss ZF.2 50mm 1.4
Blackmagic Cinema Camera - Carl Zeiss ZF.2 35mm 2

Have a look here:


Sample DNGs here:
https://dl.dropbox.com/u/6460491/BMCC_skintone_test.zip

The skin tones and dynamic range on the BMCC are amazing! I love how we can see her right eye, despite the shadow cast by her hair.

The skin tones and dynamic range on the BMCC are amazing! I love how we can see her right eye, despite the shadow cast by her hair.

Yes, watching just the right eye in all tests is a good illustration of the quality of the BMCC raw.

Thanks, Adam for the test; lovely talent too.

Rick Lang
Sent from my iPad using Tapatalk HD

Thanks for posting it, but it might be more useful if it was in HD...

I've just s*** my pants... detail... detail... detail...

I want more and in full resolution!!!!

Frame000139_1 - Kopia.jpg (523.7 KiB) Viewed 5847 times

1080p and download now enabled.

thx

I am very impressed with the detail, especially the hair detail! I am currently processing one of the DNG files and printing it A3 size. Let's see what the results are...

The photos below were taken on my iPhone with a desk lamp, so they are not representative of what the print looks like in real life (it looks A LOT better in real life), but I have to say that I am pretty impressed with the quality, considering the image came from a single frame of a video camera! If you view the print from 1.5 meters distance, you don't notice the lack of resolution and you'd think it was shot on an SLR. I have made some colour adjustments, added some vignette, then scaled the image up and added some grain before printing.

Yes, I'm one of the guys who play with the fill light bar like a dumbass, and still enjoying it.

I love to take raw picture, and I know how much space the footage can eat. So Adamroberts, can you please tell

us how the workflow is working for you so far? And, how much time would it takes you to edit this footage in

comparison to an standard HQ codec?

Thanks

... So Adamroberts, can you please tell us how the workflow is working for you so far? And, how much time would it takes you to edit this footage in comparison to an standard HQ codec?

Work flow was pretty simple and did not take me much longer than any other HD workflow.

Both the Sony NEX-FS100 and the Canon 5DMK2 footage was transcoded to ProRes HQ with 5DtoRGB. I then colour corrected the footage in Final Cut Pro X.

The Blackmagic footage was exported from Resolve in 3 ways as I wanted to test different work flows.
• 1st option I applied a Rec709 LUT to the RAW files and exported ProRes HQ 1080p.
• 2nd option I applied the BMC Film LUT to the RAW files and exported ProRes HQ 1080p. Both methods involved not colour correction in Resolve. All that was do was a LUT was applied to the RAW files. I then colour corrected the footage in Final Cut Pro X.
• In the 3rd option I graded the footage in Resolve with a single node and exported ProRes HQ 1080p

If I was planning on round tripping back to Resolve I would have exported with XML but in this case there was no need.

All footage was then edited in ProRes HQ 1080p in Final Cut Pro X. Vimeo export was an H.264 Quicktime MOV.

thanks for sharing

but for me, they have different visual appeals

I've made a 400% snippet

http://ryushare.com/bsfg5b3ksk7f/cp.tif

for me is more a question of to believe in terms of imagery

... So Adamroberts, can you please tell us how the workflow is working for you so far? And, how much time would it takes you to edit this footage in comparison to an standard HQ codec?

Work flow was pretty simple and did not take me much longer than any other HD workflow.

Both the Sony NEX-FS100 and the Canon 5DMK2 footage was transcoded to ProRes HQ with 5DtoRGB. I then colour corrected the footage in Final Cut Pro X.

The Blackmagic footage was exported from Resolve in 3 ways as I wanted to test different work flows.
• 1st option I applied a Rec709 LUT to the RAW files and exported ProRes HQ 1080p.
• 2nd option I applied the BMC Film LUT to the RAW files and exported ProRes HQ 1080p. Both methods involved not colour correction in Resolve. All that was do was a LUT was applied to the RAW files. I then colour corrected the footage in Final Cut Pro X.
• In the 3rd option I graded the footage in Resolve with a single node and exported ProRes HQ 1080p

If I was planning on round tripping back to Resolve I would have exported with XML but in this case there was no need.

All footage was then edited in ProRes HQ 1080p in Final Cut Pro X. Vimeo export was an H.264 Quicktime MOV.

thank you! from Brazil.

Lovely model.

I think you could have given it at least another stop of exposure.

jb

Thanks John.

Agreed. Learning that it likes a bit more light than DSLRs and other 8bit cameras like the FS100.

Done a week of testing before it gets used on some commercial work.

Seriously, thanks for posting Adam. You're making my wait even more painful

Thanks very much for the comparison test. This is very interesting.