Blackmagic Forum

There's a recent feature titled "Clairevoyant" that now on Amazon Prime. It was picked up at the Cannes festival. As I understood it, the picture was shot with an Ursa Mini Pro 4.6K G2 and an Ursa Mini 4K (I think for the second cam). The whole movie was a very low budget costing around $3000 to make. I have not watch it but will sometime this week. It's a mockumentary type of film according to the articles I read, and it has some traction in the film's distribution. That's pretty good for being able to make a $3K movie and get it bought at the Cannes festival.

https://www.imdb.com/videoplayer/vi872792857

FINALLY finished the grade and edit for a short I've been hammering away at. Shot on Ursa mini 4.6K w/ CDNG and ProRes.

The grade's pretty intricate and I really wanted a heavy grain pass to come through. Can't wait to put it out there.

https://imgur.com/a/WvwdBJc

I'd love for you all to take a look. Can't seem to attach them here.

Latest model video:

UMPG2 with DZOFilm Pictor Zooms.

timbutt2 wrote:Latest model video:
UMPG2 with DZOFilm Pictor Zooms.

Tim, just curious. I notice your shoots are majority of models. Are this for a modeling agency that you work for?

Ellory Yu wrote:

timbutt2 wrote:Latest model video:
UMPG2 with DZOFilm Pictor Zooms.

Tim, just curious. I notice your shoots are majority of models. Are this for a modeling agency that you work for?

A lot of the model videos are creative exercises outside of the other video work. A good number that I do are Trade for Print type videos, which is common down here where I am. So I make them about being creative and fun. I use them also to test new gear sometimes. Like when I first got the DZOFilm Pictor Zooms I collaborated with a model friend to do a video so I could test them out. Then the same thing happened with the Vespid Primes.

This one here was a video to help sell this model. So, sometimes the models ask me for that type of video. This is one where the model paid me for the video because she'll use it to get cast or contracted for a job.

I don't even know what happens with some of the corporate videos I get work on. I often hand over the footage and never see it again. So I don't have links to a lot of the other work I do. I may be able to share a recent corporate video that I shot and edited, but since it's a CEO address to his employees I might not be able to share it. Thus the model videos become easier for me to share.

I think on average I do maybe 6-8 model videos a year. When I do a Model & Photographer Meetup I could get 3-4 model videos shot in a day like what happened in November 2019. Sadly I missed the one this weekend because I was at the Suncoast Film Festival networking while also supporting the rest of the team on The Wild Man, which was a film I was colorist on.

I will be able to share some commercials for a restaurant I shot soon. I just delivered the color grade for the final last month before the festival.

Thanks for sharing the info. That’s a good and fun way to get practice. Unfortunately where I am that would cost money.

Here's a recent corporate video: https://vimeo.com/705996813/23fd5a2f3b
Two Pocket 6Ks (Pro & non-Pro) with Sigma Art Zooms. Nanlite Forza 300B as Key, Nanlite MixPanel 150 as Fill, Forza 60B as Edge, and MixPanel 60 lighting wall a bit. All post work done in DaVinci Resolve.

Here are 4 of the 5 Grillsmith Commercials.

Video 1: How Food is Made

Video 2: Chef's Attention

Video 3:

Video 4:


Each video was shot on the URSA Mini Pro G2 as the main A-Cam. DZOFilm Vespid Primes were the main lenses. The "Interview" with the Chef was UMPG2 and Pocket 6K Pro both with DZOFilm Pictor Zooms. All of this was shot Blackmagic RAW Q5 full resolution and full sensor. The director edited the proxies generated from Resolve in Premiere Pro and I color graded in DaVinci Resolve 17. (I'm working on getting him to switch to Resolve.) I used a Resolve Color Managed Workflow.

Hi everyone!

Here is my Reel for 2022, I'm testing a few things so it's not finished. I'm a colorist so these are all projects I've colored and I wanted to edit it as I would a short film.

https://www.vimeo.com/707410515/0545852d1c
Hope this embeds properly? If it doesn't I'd love to know how to properly embedd a video for you all.

Finally finished my current short film.
Filmed on a minuscule budget, with a crew of 2, consisting of myself and the DP, and shot on the BMPCC 4K, using a Kowa 8z anamorphic scope and Voigtlander lenses. Editing and color was also done by myself in Davinci Resolve.



This wasn't a film I wanted to make.
This is a film I HAD to make.

Henchman wrote:Finally finished my current short film.
Filmed on a minuscule budget, with a crew of 2, consisting of myself and the DP, and shot on the BMPCC 4K, using a Kowa 8z anamorphic scope and Voigtlander lenses. Editing and color was also done by myself in Davinci Resolve.



This wasn't a film I wanted to make.
This is a film I HAD to make.

So who gets murdered at the end? Random act of kindness or what?

wemrick1 wrote:So who gets murdered at the end? Random act of kindness or what?

The snitch neighbor

Henchman wrote:

wemrick1 wrote:So who gets murdered at the end? Random act of kindness or what?

The snitch neighbor

Got it. That makes sense.

Henchman wrote:This wasn't a film I wanted to make.
This is a film I HAD to make.

Interesting. Can you elaborate?

BTW, nice cinematography work. Thanks for sharing.

Ellory Yu wrote:

Henchman wrote:This wasn't a film I wanted to make.
This is a film I HAD to make.

Interesting. Can you elaborate?

BTW, nice cinematography work. Thanks for sharing.

It was filmed on a minuscule budget of under $1k, and a crew of 2 consisting of myself and the DP.

The film was inspired by the recent Texas abortion law, as well as the willingness of the GOP to embrace far right, white nationalist members, allowing them to take control of the party, and push the country towards a Christofascist state.
It puts the shoe on the other foot when it comes to control over one's body.

And with what's happening here right now with ROE VS Wade, it's become even more relevant.

Henchman wrote:

Ellory Yu wrote:

Henchman wrote:This wasn't a film I wanted to make.
This is a film I HAD to make.

Interesting. Can you elaborate?

BTW, nice cinematography work. Thanks for sharing.

It was filmed on a minuscule budget of under $1k, and a crew of 2 consisting of myself and the DP.

The film was inspired by the recent Texas abortion law, as well as the willingness of the GOP to embrace far right, white nationalist members, allowing them to take control of the party, and push the country towards a Christofascist state.
It puts the shoe on the other foot when it comes to control over one's body.

And with what's happening here right now with ROE VS Wade, it's become even more relevant.

I hear you. Still nice work for a 1K budget and 2 crew. I think it will win some festival awards.

Here is a little "help my friend" video I did a few month ago with my franken rig as a one man band.

Gear :
URSA MINI PRO G2 + PL MOUNT + OLPF RAWLIGHT + LOMO OKC1-50-1 PL + Kowa 16H + Rectilux

Easyrig Vario 5 + Stabil + Gravity One by Flowcine

I operated the focus my self with a little Nucleus Nano, would have been a little more stable with an AC.



Small BTS :

I shot this short with the BMPCC OG in CinemaDNG. Here’s the teaser. I really like the IQ - the warm tones and contrasty look one get out of CDNG from the Pocket OG.

Ellory Yu wrote:I shot this short with the BMPCC OG in CinemaDNG. Here’s the teaser. I really like the IQ - the warm tones and contrasty look one get out of CDNG from the Pocket OG.

Nice !

Ellory Yu wrote:I shot this short with the BMPCC OG in CinemaDNG. Here’s the teaser. I really like the IQ - the warm tones and contrasty look one get out of CDNG from the Pocket OG.

Sold me. I want to watch it.

Thanks Walter. When I worked on the "The Gravel Road" film, we shot it in late 2015. There were several roadblocks from the production company, namely funding. It took a while to complete. By late 2017, the teaser was ready, and it was circulated in Jan 2018. However, from what little I know, the rights have been sold to a euro production company. I recalled having to ship a 12Tb drive with all the assets to the producers who I think sent them to Europe. That was the last I saw of it. I kept in touch with the director, and we became friends. I went on DP'ing a few shorts with her and edited/graded one of her feature films in 2019, just shy of the pandemic. It was released on Amazon Prime in 2021. If you have Prime, it's free to watch. Here is the link:
https://www.amazon.com/Angel-Mountain-D ... 194&sr=1-1

Her style for narrative plots is pretty much the same. Angel Mountain, the one on Amazon now, and The Gravel Road are kind of the same period story telling style. Angel Mountain was shot using the Ursa Mini Pro G1 in 5:1 BRAW and also Sony A7 as Cam-b with an Atomos in ProRes. Although I was on set pretty much almost all of the 14-day shooting schedule, I remained as the editor and also helped with the color correction.

When I shot "The Gravel Road", we used the BMPCC OG. We had a few of them and it was exciting to shoot with this little camera, albeit we rigged it to death . I really like that warm look of CDNG, which is not easily duplicated, IMO, in BRAW.

I agree with Ellory that there was something magical about the original Cinema Cameras CDNG look. The trailer for The Gravel Road really made me think of that nostalgic Super 16mm look. It looked great!

One idea that has struck me is that different sensors act like different film stocks. I think Deakins was the first to state this. I'd love to see Blackmagic revisit the interchangeable sensor idea with having different sensors for different looks. But not sure the practicality of it. Either way, the idea is there.

One of the reasons film still has its place is different film stocks create different looks.

My last two shoots have used Lossless CinemaDNG on the URSA Mini 4.6K. That captures Colour Science Gen 3 and then I apply Gen 4 in Resolve. Working in ACEScct 1.3 has been very easy with pleasing results. So lots of respect for the old cameras that seem to be delivering better results years later with the advantages of the latest post software applied.

Ellory Yu wrote:Thanks Walter. When I worked on the "The Gravel Road" film, we shot it in late 2015. There were several roadblocks from the production company, namely funding. It took a while to complete. By late 2017, the teaser was ready, and it was circulated in Jan 2018. However, from what little I know, the rights have been sold to a euro production company. I recalled having to ship a 12Tb drive with all the assets to the producers who I think sent them to Europe. That was the last I saw of it. I kept in touch with the director, and we became friends. I went on DP'ing a few shorts with her and edited/graded one of her feature films in 2019, just shy of the pandemic. It was released on Amazon Prime in 2021. If you have Prime, it's free to watch. Here is the link:
https://www.amazon.com/Angel-Mountain-D ... 194&sr=1-1

Her style for narrative plots is pretty much the same. Angel Mountain, the one on Amazon now, and The Gravel Road are kind of the same period story telling style. Angel Mountain was shot using the Ursa Mini Pro G1 in 5:1 BRAW and also Sony A7 as Cam-b with an Atomos in ProRes. Although I was on set pretty much almost all of the 14-day shooting schedule, I remained as the editor and also helped with the color correction.

When I shot "The Gravel Road", we used the BMPCC OG. We had a few of them and it was exciting to shoot with this little camera, albeit we rigged it to death . I really like that warm look of CDNG, which is not easily duplicated, IMO, in BRAW.

That's beautiful. You obviously work well together. I will watch Angel Mountain. I have prime.

So I have always wanted to shoot a car commercial and have always been intimidated when I talked to other creators, especially the ones with my camera (Red Gemini). I was afraid of costs going thru the roof and not having enough MANPOWER to pull it off how I wanted to. I took up the challenge and honestly learned SO MUCH that I wanted to share with you guys!

We shot this using 3 cameras. Red Gemini 5k, BMPCC6K, and the FUJIFILM XT4. For most of the shoot we used the Atlas Anamorphic 50mm and for the tight detail shots we used a sigma 18-35mm and DZO Vespids for the car scene of me (in the beginning).

So, here are the things I’ve learned about this shoot and the cameras. The Red Gemini is an absolute BEAST in lowlight compared to other cinema cameras in its caliber but the BMPCC6K, outdid it. When I brought up the image in post, something about the noise on the Pocket looked and FELT so much better to look at. What I will say is, I didn’t use the Lowlight OLPF for my Gemini and that could’ve made a difference.

I wanted to touch on using the atlas. They are BY FAR my favorite lens to shoot with now. You cannot miss with these. What I will say about them tho is that focusing on anything close is just impossible. I found myself having to switch to the 18-35 because of it. Maybe a diopter would’ve worked better?

Another thing about the Atlas, shooting the street shots were impossible. The flares were overbearing and really difficult to deal with in post. I wish I shot these scenes spherical tbh! Any tips on maybe taming the flares down a bit in camera ?

Okay last thing, I shot the scenes of myself in the car (at the start of the video and end) In my backyard weeks AFTER the shoot with the cars. To make it even funnier, I shot it against a green screen in hopes to replace it but that failed so I changed the green screens color in post and….I believe it fit haha happy mistakes!

Overall, how do you guys think I did? This was my first project where I edited, colored, and sound designed everything! What could I have done better?




Sent from my iPhone using Tapatalk

I decided to enter the Musicbed 30 day challenge competition! Here is my submission:



Let me know your thoughts, here are some details:
BMPCC 6k Pro
DZO Vespid 25mm (Underwater - Sigma Art 18-35mm)

Davi Silveira wrote:I decided to enter the Musicbed 30 day challenge competition! Here is my submission:

Let me know your thoughts, here are some details:
BMPCC 6k Pro
DZO Vespid 25mm (Underwater - Sigma Art 18-35mm)

I like it. Just give it a different title.

In early April we had some days off and went to Cerna Voda in the Czech Republic. After some trail riding with mountainbikes we needed a day of rest, stayed close to the trails at Rychlebské stezky (almost no one knows about) and did some hiking/walking. With some frost during the night, spring was not yet to come.

This is somehow a testshot, as I wanted to add natural ambient sounds to the video. The idea was to get a system that can be operated by a single person with ease and without having to carry lots of stuff. I simply dropped the bag right out of the frame where I wanted it to record.



I did some first tests with two dpa4063 which I simply attached to my soundbag . Spoken words are recorded with some sanken cos11d. All went into a zoom f8 field recorder. In the end the sanken did not match very well with the dpa, so next time I will have to go either or.



If you would like to compare what it sounds like without ambient recordings, this is a short A/B comparison:


Have fun,
Stephan

Shot on Pocket 6k pro w/ Laowa OOOM

Here's the hort we made for the "Collabarative Film Challenge". Filmed in 9 hours over 2 nights. With a 2 man crew consisting of myself, and the writer who doubled as AD.
Shot on the BMPCC 4k. Using a Kowa 8z and Voigtlander 28mm

Here’s my demo reel with work from 2021.
Shot on: Ursa Mini Pro G2, Pocket 4k, Pocket 6k Pro

Event promo video. Mainly shot everything on the URSA Mini Pro G2 with DZOFilm Vespid 16mm. Steadicam shots for all the walking and talking, and slider for all the b-roll shots of the event venue house. The rest of the b-roll is a mixture of party shots I got on the UMPG2 with Sigma 18-35, and one DZOFilm Pictor 20-55 shot (zoom in shot you'll see), and then some Pocket 6K with Sigma 18-35 shots. A few additional party B-Roll shots from someone else's camera, and a drone shot.

All edited in DaVinci Resolve 18.

Adam Langdon wrote:Here’s my demo reel with work from 2021.
Shot on: Ursa Mini Pro G2, Pocket 4k, Pocket 6k Pro

https://vimeo.com/718884346/44dfc09fa6

Very nice work! Some gorgeous shots in there. Tough to tell apart the different cameras even. The Blackmagic cameras cut so well together.

Oh, and I finally edited this together. All Pocket 6K Pro shots I got while I was in Vermont last year during foliage. Sigma 18-35 and 50-100. Edited & Graded in DaVinci Resolve.

Color Matters - Part 2 is finally out!

Jamie LeJeune wrote:Of everything I worked on in 2021, this was the most work and the most fun.
It was a treat to get to spend a day filming color scientist Joseph Slomka and colorist Alastor Arnold of Fotokem.
A series of their amazing interviews are coming in 2022.
For now, we’ve released a teaser:

Shot on Ursa Mini Pro 12K and 6K Pocket Pro cameras in BRAW with SLR Magic APO Microprimes.
Then we cut + graded in Resolve using a remote proxy workflow through Postlab Drive.

Pocket 6k Pro
Contax zeiss 35mm 1.4
DJI RS2

Hey everyone,
Here are a few frames from Portrait of Paris, a collection of moments from my short trip to the French capital.
Video :

Shot handheld on the BMPCC6K Pro with two Canon zoom lenses.

With this video I wanted to have a more film-like look.

I was there for 3 days with a friend and we explored as much as we could during that time.
I had been to Paris more than 10 times before but never filmed there.

Let me know if you have any questions .

Cheers,
Flo

For what it may be worth by way of interest for folk who like aviation, this is my first adventure into longer assemblies in Resolve 16 which I am still floundering my way around in. The computer does not have the horsepower for better and faster.

I have yet to come to grips with audio levels and titles. In this piece titles were writ in Premiere CS6.

The footage except for the stills and Betacam vision from Cunderdin 2005 was shot on the repaired URSA Mini 4.6K which is still soldiering on.



Footnote: It looks like I broke either the youtube or the forum as the clip fails. - I did try. Here is the address for the clip for copy and paste if you have the patience.



Now that's gone and doublebroken it. I will try to fix it later.

Third try lucky??

a reel that is a bit too long containing most of the narrative fiction shorts i've dp'd. all done on the p4k except 1:35-1:57, which was on the 6k pro.

Short Film... shot on a G2 with a 35MM Xeen... the trailer for the film that plays before it was also shot on a G2 but with Cooke S4s

Hey everyone,



This is a short documentary about my sister and her passion for the outdoors and sports. We sat down and discussed her relationship with outdoor activities, why it is as much of a way to recharge as it is a necessity.

From cycling to paragliding, from running to hiking, we filmed in the French Alps over two days, from 700m to 2300m.

Shot on the BMPCC6K Pro. All handheld, in 6K BRAW.
(All gear used listed in the video description.)

I will also do a cinematography breakdown and BTS so stay tuned

Hope you enjoy!

Let me know if you have any questions .

Cheers,
Flo

Trailer for my next personal project release... short film "Star Crossed"...

Ursa Mini Pro G2 & Cooke S4's

Color Matters - Episode 3 has finally been released (the legal clearances took forever)


The interviews and colorist cutaways were shot on BMD 12K UMP, 6K Pocket Pro, and Ursa Mini 4.6K with SLR Magic APO Microprimes. Edited + color graded on Davinci Resolve using a cloud library in a remote workflow with media synced via Postlab Drive.

Jamie LeJeune wrote:Color Matters - Episode 3 has finally been released (the legal clearances took forever)

Very nice. Where can I watch the other episodes?

Ellory Yu wrote: Very nice. Where can I watch the other episodes?

Thanks!

If you click on Portrait Displays YouTube channel, you'll see Episodes 1 and 2 there. They are also posted earlier in this thread.

Intro scene to a another short film I'm directing and shooting by myself.
This was shot guerilla style, all practical lighting.

Bmppc 4k
KOWA 16H Anamorphic
28mm Voigtlander

Henchman wrote:all practical lighting.

Good job with your color correction. I thought the driver of the car was a little bright, but everything else looked nice!

Ellory Yu wrote:I really like the IQ - the warm tones and contrasty look one get out of CDNG from the Pocket OG.

Quality throughout, but that first shot of the kids on the tree - wow!

First time I used my BMPCC 4K. 48HFP short, shot entirely on a Friday evening. My biggest regret is putting my son in that tree! Shot with the on screen lantern and a $30 Neewer light. Panasonic Lumix 12 - 35mm. Except for the guy with the beard, the cast was my wife and kids.

I shot this for my friend, Wynda. She was definitely going for an uncomfortable vibe. BMPCC with Panasonic Lumix 12-35mm, again.