Category Archives: Post Production

The 24 Hour Shootout Survival Kit

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Last week Arbor Day Pictures aka Nancy Mitchell, Hannah Mitchell and myself participated in YPSI24, a 24 hour shootout competition where we won second place amongst 40+ entries. It was an awesome experience to witness so many filmmakers of all levels express themselves using a variety of video techniques within experimental and narrative storytelling.

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However, with a 24 hour time limit and a 3 person crew including myself (2 of whom were acting on camera), it was vital that I assemble an equipment package that worked for our story. Too much gear and I’d risk a lot of unncessary setup and breakdown time. Too little gear and I’d lose the visual storytelling that was essential for characterization. We were super honored to win an award and it may not have happened without our 24 Hour Shootout Survival Kit. So here’s how we did it.

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THE STORY
A few weeks before the shoot, we bounced around some preliminary ideas, some that either proved too difficult or too time consuming. Finally, the night before YPSI24, Nancy assembled all of our initial ideas into a creepy story about supernatural revenge. Next, I fleshed out the summary into a rough, 5 page script which would be our blueprint for the day. We all agreed that the concept would remain loose in order to incorporate the YPSI24 “ingredients” that we would be given. Creating a script as a guide for our shotlist/schedule was definitely a critical part of our planning.

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THE SUPPORT
For Camera A support I went with the heavy duty yet light and portable 8.5lb ProAm Heavy Duty Tripod Legs which are typically built for jib cranes but work great with a Manfrotto fluid head and Konova K3 slider as they can hold up to 80 lbs. It even has a super convenient mid level spreader for added stability and adjustable rubber or spiked feet for all kinds of terrain. At $120 shipped, the ProAm Heavy Duty Tripod Legs are an exceptional deal for the quality.

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proam
product information button runplayback ProAm USA PROAMFT Pro Tripod Legs & Bag Kit

manfrotto
product information button runplayback Manfrotto MVH500AH Fluid Video Head with Flat Base

konova_k3
product information button runplayback Konova Slider K3 100cm (39.4-Inch)

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THE LIGHTING
Lighting was very minimal as we were mostly daylight dependent. For the ending interior shots we used a pair of budget friendly ePhoto 600 CN600HS LED Lights with Kayo Maxtar V-Mount Li-Ion Batteries. The Kayo Maxtar is a new addition to my kit and one of the best V-Mount battery options out right now. Fully charged, the Kayo can power these lights for up to 6 hours straight. Very impressive!

ephoto
ePhoto 600 Led Dimmable CN600HS Video Photography Light

kayo
Kayo Maxtar 177Wh(12000mAh/14.8V) V Mount Battery

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THE SOUND
To keep our sound kit as light and simple as possible, I went with the Zoom H1, Rode Micro Boompole, Rode VideoMic Pro, Aspen HQ-S Lav Mic, P&C Handgrip and an audio extension cable. Our rule was that whoever wasn’t on camera would be the Sound Recordist. With some easy to remember sound recording basics and having a kit this simple ensured that no one would have to be a pro to capture quality sound.

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product information button runplayback Zoom H1 Ultra-Portable Digital Audio Recorder

rode
product information button runplayback Rode Micro Boompole – 3-Section Boom Pole

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product information button runplayback Rode VideoMic Pro Compact Shotgun Microphone

aspenmics
AspenMics Lavalier Microphones

p&c
product information button runplayback Dot Line P&C Handgrip

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THE CAMERA A KIT
Having some early success with the latest Panasonic V-Log color profile, I decided to use my workhorse GH4 mounted with a Metabones Canon FD Speedbooster and classic Canon FD glass – 20mm, 28mm, 50mm and 35-105mm. This combination would create a vintage, lived-in look that I thought would be perfect for a horror film.

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I kitted out my GH4 shoulder rig with a Varavon Armor Cage, Aputure V-Screen field monitor, Fotga follow focus, Ikan Tilta V-Mount Plate and a Kayo Maxtar BP-GL175 Li-Ion Battery. With the Kayo, I was able to power the Aputure monitor and use it as a counterweight for the GH4. There’s also a convenient USB port located on the side which kept my iPhone charged at every location.


product information button runplayback Panasonic GH4 4K Video Recording

Metabones Canon FD Speedbooster GH4
Metabones Speedbooster Canon FD Lens to M43 Adapter

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Varavon Armor II GH4 & GH3 Cage

aputure
Aputure VS-3 V-Screen 7″ IPS Field Monitor

fotga
Fotga DP500IIS Follow Focus

ikan
ikan Tilta TT-C12 HyperDeck Shuttle Mount with V-Mount Plate

kayo
Kayo Maxtar 177Wh(12000mAh/14.8V) V Mount Battery

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THE CAMERA B KIT
Our story included many scenes of walking through the woods so I wanted to incorporate gimbal tracking shots without having to spend any time balancing or breaking down the Camera A Kit. For this situation I went with the Ikan Fly-X3 Gimbal paired with the Xiaomi Yi Action Camera aka the $80 Chinese GoPro. Since these walking shots would include both Hannah and Nancy in the shot, it would leave me as the Sound Recordist. The Ikan Fly-X3 doesn’t have a 1/4-20 thread so I rigged a Joby GorillaPod to the handle and fitted it with a Rode VideoMic, Zoom H1, an audio extension cable and a pair of lightweight Auvio Headphones. With the shotgun mic I was then able to capture realtime location sound while also performing stable gimbal shots while walking backwards through the woods. Trust me, it’s not as easy as it sounds.

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product information button runplayback Ikan Fly-X3 Plus 3-Axis Smartphone Gimbal Stabilizer Kit with GoPro HERO3/4 mount

xiaomi
Xiaomi Yi Action Camera with Wi-Fi

Joby Action Clamp GorillaPod Arm
product information button runplayback Joby Action Clamp with GorillaPod Arm

auvio
Auvio Black Ear-Cup Foldable Headphones

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Another interesting rig we built was an Indy Mogul style DIY 3rd person POV action camera backpack. Designed with cheap PVC pipe from Home Depot, we mounted an Oben Mini Ballhead and the Xiaomi Yi on the rig to create the over the shoulder look during the “search” scenes in the woods. With the Xiamoi’s Wi-Fi app, I would be able to monitor the shots while giving direction to Nancy. We wanted to present an unusual sense of vertigo during these scenes since her character would become more desperate as day turned to night.

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product information button runplayback Oben BD-0 Mini Ball Head

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THE CAMERA C KIT
For a 24 Hour Shootout, it would be tempting to use the DJI Phantom 3 Professional as a shortcut for production value but we didn’t want to go that route. Our initial thought was that an aerial would take up valuable time that we could put towards characterization. Also, because of the hazardous weather conditions on the shoot day, flying a drone would prove too risky. However, nature was on our side when we had a small 10 minute window of clear weather. It was a tricky manuever as I had to fly through a 10 foot clearing in the trees towards a height that revealed just enough of the forest without showing any residential homes or highways. I fitted the Phantom 3 with a Polar Pro Polarizer Filter to prevent glare off the water and was able to get the shot in just two takes. However, flying the drone back to home point was nerve racking as I clipped a few small branches due to the wind and unstable GPS lock. Luckily I had Nancy and Hannah as my spotters on each side of the clearing to prevent the Phantom from going down into the water. The shot was definitely worth it as it created a vast sense of exploration for the Alice character, establishing the forest as a kind of supernatural playground.

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product information button runplayback DJI Phantom 3 Professional Quadcopter with 4K Camera and 3-Axis Gimbal

polarprofilters
Polar Pro DJI Phantom 3 Professional Filter 6-Pack

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THE POST PRODUCTION
We finished our last shot at about 11:30pm and after ingesting all the footage in Adobe Premiere, post production began at 12 midnight. By this time, I was exhausted but not completely tapped out. I knew that once I got past the hump of assembly I would go into creative mode, driven by pure adrenaline. With the help of a large iced coffee I finished assembly by 2:00am and edited straight until 9:00am. The GH4 V-Log setting was especially helpful in color correction for each clip. After dropping in the Panasonic Varicam 35 LUT, I simply adjusted exposure within Lumetri Color and did my best to match the Xiaomi Yi and Phantom 3 footage.

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As the sun started to rise and the 10:00am delivery deadline looming, I did a few last touches and exported the file onto a flash drive. Since the YSPI24 rendevouz was a half hour away, I wasn’t able to do a final preview. At this point, I was completely delirious and just grateful that we completed our film.

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THE EXPERIENCE
YPSI24 was an insanely inspiring good time. From the cordial and energizing meetup with our fellow filmmakers to the hack-a-thon like shooting experience to the final screening at the 500 seat venue, YPSI24 reminded me of why I got into video in the first place. It wasn’t to win awards or make commercials. It was to tell a story using a language that didn’t require an army of people pontificating about the laws of Cinema. It’s a relief to know that the DIY spirit that’s shaped both my personal and professional life has never left me. Hashtag #setlife is not enough. Old traditions and new technologies are not enough. It’s the communal experience of being vulnerable with people that I care about which matters most. Check out our 2015 YPSI24 short “Always Alice” below and remember to always stay inspired!


Always Alice (2015 YPSI24)

Atomos Shogun 4K Recorder 6.2 Firmware Test with the Panasonic GH4 & Sony A7S

After my first impressions with the Atomos Shogun 6.2 Firmware Update, we decided to do a Steadicam field test with the new features on both the Panasonic GH4 and Sony A7S. Using the same Canon FD lenses and Avid DNxHR 4K codec, I was able to get great results that showcase the advanced performance of both cameras when paired with the Atomos Shogun. Click the video above to compare the results.

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product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

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The Panasonic GH4 was outfitted with a Metabones Canon FD Speedbooster to maximize focal length while using my custom CineLike V color profile would require very minor grading in post. With the Atomos Shogun 6.2 Firmware Update, I was also able to utilize the 4K to HD downconvert to allow passthrough to an HD monitor on the Steadicam sled. This proved to be a valuable feature since my AC could use the Shogun to easily focus and access all the features on the touchscreen.


product information button runplayback Panasonic GH4 4K Video Recording

Metabones Canon FD Speedbooster GH4Metabones FD speed booster GH4 4k adapter
Metabones Speedbooster Canon FD Lens to M43 Adapter

A7S

The Sony A7S was fitted with a Metabones E-Mount to Canon FD adapter which retained the full frame focal length while the S-Log color profile and native 3200 ISO required using a Tiffen ND 1.5 Filter and a custom LUT in post. The 3D LUT feature on the Shogun was helpful to quickly preview the color grade and assist with focusing. I can see this being a great feature for client preview since those unfamiliar with S-Log can sometimes get thrown off by the flatness.

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product information button runplayback Sony Alpha A7S Mirrorless Digital Camera

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product information button runplayback Metabones Canon FD to Sony NEX Camera Lens Adapter

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product information button runplayback Tiffen 77mm Neutral Density 1.5 Filter

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This is also the first time I’ve used the Avid DNxHR 4K codec which uses a 4:4:4 color space for high quality color correction and finishing. I had to download and install the codec from the Avid website to make it compatible with Adobe Premiere Pro CC. While I can’t tell the difference between DNxHR and ProRes just yet, it’s always good to have options for the different flavors of NLE.

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Overall, I’m very pleased with the new Shogun firmware and how easily it adapts to the quirks of both the GH4 and A7S. While it’s no surprise that the GH4 performs consistently everytime, I was definitely pleased with the amount of dynamic range the A7S is capable of, especially when paired with the Shogun. Next, I look forward to testing out the Shogun’s new firmware features at night.

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PVGear also just announced a full metal cage system that protects the plastic housing of the Atomos Shogun, locks down and protects fragile HDMI Ports, and provides several mounting threads for additional accessories that are often used with the Shogun. To further protect the Shogun Audio Input Cable, PVGear has designed a custom block that surrounds and protects the cable from accidental damage. I’ve always felt the Shogun housing feels very fragile and a bit exposed so this will definitely become an essential part of my rig. Look for the PVGear Shogun Cage to start shipping this April.

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Cage for Atomos Shogun 4K Recorder

Atomos Shogun 4K Recorder 6.2 Firmware Update First Impressions

Atomos just released another major firmware update for the Shogun 4K Recorder. I’ve been using the Shogun pretty heavily on my last few shoots with both the Panasonic GH4 and Sony A7S so this update has definitely increased it’s potential. The 6.2 firmware updates include custom 3D LUTs that provide an instant color grade preview when shooting with flat picture profiles, Avid DNxHR and DNxHD codecs and 4K to HD downscaling which allows for HD passthrough for external video playback on HD equipment. I definitely look forward to trying these new features out on the field and check out the video above for a closer look.

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product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

Sony A7S Lowlight and Grading Test Part I

After finally receiving the Sony A7S, we decided to test it out on the streets of New York City for a promotional RunPlayBack spot. The low light capabilities of the Sony A7S has reached an almost mythical status and I wanted to jump right into the party.

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product information button runplayback Sony Alpha A7S Mirrorless Digital Camera

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Since the A7S has the standard Sony E-Mount, I picked up a Metabones E-Mount to Canon FD adapter so I could use the same glass as my GH4. Because the Sony A7S has a full-frame CMOS sensor, my Canon FD’s stayed true to their focal lengths.

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product information button runplayback Metabones Canon FD Mount Lens to Sony NEX Camera Lens Mount Adapter (Black)

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Unfortunately the Sony A7S can’t record 4K internally, but with an external recorder like the Atomos Shogun, you can record 10-bit 4K in ProRes. After rigging the Shogun to the shoulder mount, I powered it up with a Switronix Li-Ion battery. This entire setup was mounted onto my modded SR-1000 shoulder rig which I broke down here.

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product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

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Switronix XP-L90S V-Type 14.8VDC Lithium Battery

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Now let’s get to the good stuff – sensitivity range and noise control. The Sony A7S has a sensitivity range of ISO 100 all the way up to ISO 409,600. Another cool feature is the ability to customize Picture Profiles with a multitude of values. I decided to shoot with the S-Log picture profile along with these custom settings from Ed David:

Black Level: 0
Gamma S-Log: 2
Black Gamma > Range: Middle, Level: -3
Knee > Mode: Auto, Auto Set > Max Point: 95, Sensitivity: Mid
Color Mode: Pro
Saturation: +8
Color Phase: -2
Color Depth > R +1, G -1, B +2, C -2, M -1, Y -3
Detail > Level, -5 Adjust > Mode: Manual, V/H Balance: -2, B/W Balance Type 3, Limit: 0, Crispening: 0, Hi-Light Detail: 0

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Our shoot was brief since it was unusually cold and rainy but we were able to capture a variety of handheld shots in different lighting conditions within Manhattan. I definitely wouldn’t recommend taking the Sony A7S out during wet conditions as it isn’t completely weather resistant. After a quick grading using RGB Curves in Adobe Premiere CC, I was blown away by the amount of dynamic range in the footage. Highlights, shadows and color detail were preserved even when overexposed by 1 or 2 stops which is recommended. Our next Sony A7S test will be a more controlled setting to push the lowlight and grading settings. Overall I’m really excited about the performance of this camera. While it certainly won’t replace the GH4, it is definitely one of the best low light cameras I’ve ever shot with. Stay tuned!

Atomos Shogun 4K Recorder Behind the Scenes

I recently received the long anticipated Atomos Shogun 4K Recorder and paired it up with the Panasonic GH4 on a branded content shoot for ICON Q featuring Producer, DJ and Designer Emily Oberg. After reaching out to a few Shogun owners I came prepared with all the essentials necessary for this beast of a recorder: a few SanDisk Extreme PRO 240GB SSD drives, a Fiilex D-Tap Cable, Switronix V-Mount Batteries and an Ikan Tilta V-Mount Plate.

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We used a GH4 mounted on a Varavon Armor cage and RedRock Shoulder Rig. The Atomos Shogun was powered by the Switronix XP-L90S Lithium Battery that doubled as a counterweight while attached to the Ikan Tilta HyperDeck Shuttle V-Mount Plate. This would be our main rig setup throughout the day as we had to run and gun across multiple interiors and exteriors throughout New York City.

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The Shogun is a serious accessory for the GH4 which create a ProRes 10-bit 4K image that really does make a difference when compared to recording on SD cards. I noticed less artifacts when shooting in lowlight situations, deeper shadows and more detail overall. There are however, some caveats when shooting with this workflow.

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Just when you got used to capturing loads of manageable 4K footage, the Shogun will immediately humble you. Shooting at regular ProRes 422 will give you about an hour and change with a 240gb SSD drive. While SSD drives continue to drop in price, having to copy these files to your edit and backup drives can quickly fill up space.

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SanDisk 240GB Extreme Pro Solid State Drive

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Another thing to consider is power. The Shogun uses standard Sony NP batteries but you’ll quickly run through them if you’re not constantly powering on and off. I opted for using Switronix V-Mount batteries to double as my main power source as well as a counterweight to the Shogun. One Switronix XP-L90S should get you through an entire day unless you’re powering other devices.

switronix
Switronix XP-L90S V-Type 14.8VDC Lithium Battery

charger
Switronix GP-2LSJ 2-Position Simultaneous Charger

ikan
ikan Tilta TT-C12 HyperDeck Shuttle Mount with V-Mount Plate


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Fiilex Coiled D-Tap Cable (1.9′)

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The Shogun’s image quality is top notch with a highly responsive touchscreen. A red outline and flashing front and rear lights let you know when you’re recording and the ability to auto trigger record through the GH4 body is also a nice touch. One major thing to keep in mind is the delay on HDMI output. It’s somewhere around 3 frames of delay which is pretty significant. Hopefully this will be improved with firmware upgrades but for now it’s manageable. The GH4 LCD screen should still be used as a way to double check your settings and also serve as a backup “real time” preview screen.

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Overall, the Atomos Shogun is a hefty investment but worth the price tag for those who want to unlock the 10bit capabilities of the Panasonic GH4 and 4K capture on the Sony A7S. Just be prepared to shell out more money for extra accessories and a beefier, data heavy workflow. Be sure to check out the final ICON Q video featuring Emily Oberg coming soon.

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product information button runplayback Atomos Shogun 4K HDMI/12G-SDI Recorder and 7″ Monitor

Receive a 10% Discount Off All AspenMics Lavalier Microphones for DSLR Video

Recently, we created the above promo video for RunPlayBack that highlights choregrapher/dancer Britnee Hay. Utilizing voiceover, garnered through a one on one interview and mixed with B-Roll shots of her creative process in New York City, we were able to tell her story. Everyone should ideally have a wireless audio system as part of their kit, but for quick, run and gun situations, I like to use the affordable AspenMic HQ-S Stereo Lav Mic paired with a Zoom H1 that’s placed with the talent. This is the easiest and most straightforward way to record audio during interviews.

The Aspen HQ-S will work directly with any camera or audio recorder. If you want to use the HQ-S with your iPhone, you’ll need to purchase the kit that includes the TRRS adapter. The AspenMics are currently available at $55 dollars, which is almost half the price of other wired lav mics. And with our custom coupon code: runplayback, you will receive a 10% discount off all AspenMics Lavalier Microphones.

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aspenmics
AspenMics Lavalier Microphones

zoomh1
product information button runplayback Zoom H1 Ultra-Portable Digital Audio Recorder

How to De-fish GoPro Footage in Adobe After Effects CC

A few days ago, I explained how to do a basic de-fish of fisheye footage using the default effects in Adobe Premiere CC. While fisheye lens distortion is definitely a stylistic choice, in some cases, the fisheye look is just not suitable for the scene. Since the GoPro has a fixed fisheye lens, the easiest way to get around it is to do an advanced de-fish using Adobe After Effects CC. Here’s how you do it.

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First import your GoPro footage into After Effects and under the Distort video effect, choose Optics Compensation. Under Field of View or FOV change the number to 75.0 and select the checkbox under Reverse Lens Distortion. Next, change the FOV Orientation to Diagonal and for Resize choose Max 2X.

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You will notice an immediate de-fishing of your GoPro footage as the horizon lines begins to straighten out. To get the maximum field of view, select your footage in the timeline and under Transform, change the scale to 75.0%. This will scale down your footage to reveal the maximum horizontal plane.

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Although you gain horizontal width of your image, you lose the vertical space because the image is squeezing inward to de-fish. To solve this, just drop in a 2:35 letterbox matte to give the footage a widescreen look. Throw in some color correction and warp stabilization and your raw GoPro fisheye footage will appear more cinematic and pleasing to the eye. If you have any questions please hit me in the comments below.

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product information button runplayback GoPro HERO4 Black Edition 4K Video Action Camera

How to Quickly De-Fish Your Fisheye Footage in Adobe Premiere CC

Rapper Joell Ortiz and I recently collaborated on a promo spot for New Era titled “Home of the Authentic”. Our goal was to shoot a few of Joell’s childhood stomping grounds in addition to capturing soundbites about his love for his hometown of Brooklyn, NY. Our locations were mostly walking exterior scenes so we decided to shoot on the Panasonic GH4 with the Rokinon 7.5mm 3.5 fisheye mounted on the Varavon Birdycam 3-Axis Camera Gimbal. Although I love the fisheye look, it felt a little extreme for a promo video. However, I knew that I would be able to de-fish the footage in post without slowing down my workflow. Here’s how I did it.

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For those using the latest version of Adobe Premiere CC, there’s a quick trick to de-fishing your footage when using lenses like the Rokinon 7.5mm or action cameras like the GoPro. Simply create an Adjustment Layer and place it on a layer above the fisheye footage. Next, go to Video Effects > Distort > Lens Distortion and drag that onto your Adjustment Layer. Under Curvature, enter -20 and you will instantly notice that the footage has been de-fished or straightened out. Your mileage may vary when inputing the Curvature settings but somewhere between -20 and -30 should be your sweet spot. If you have more de-fishing tricks hit me on the comments below.


product information button runplayback Panasonic GH4 4K Video Recording

rokinon
product information button runplayback Rokinon 7.5mm f/3.5 Ultra Wide-Angle Fisheye Lens for Micro 4/3

varavon birdycam
Varavon Birdycam2 3-Axis Camera Gimbal

Sony FS-700 & Odyssey 7Q 2K RAW 240fps Slow Motion Test

Over the weekend I had a chance to shoot with one of my favorite go-to cameras, the always reliable Sony FS-700 along with Convergent Design’s Odyssey 7Q OLED monitor / 4K RAW recorder. The 7Q features two SSD harddrives to allow recording in both 4K RAW (up to 30fps) and 2K RAW (up to 240fps) and is compatible with the Panasonic GH4 with the DMW-YAGH Interface Unit. There’s also an update that allows ProRes recording to keep media costs low. To test how quick the media can fill up, we shot a test clip in 2K RAW at 240fps. Although the total running time was only 1:08 minutes, the output was 1,642 DNG files at a whopping 5.54GB! A DIT and tons of storage space is definitely required for this kind of workflow but I have to admit that the image is pretty impressive. Here’s the test clip, exported out of DaVinci Resolve with some slight color correction in Adobe Premiere CC. And if you haven’t tried a California Chariot yet, you have no idea what you’re missing!

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product information button runplaybackOdyssey 7Q OLED Monitor & 4K RAW Recorder

IMG_368955
product information button runplaybackPanasonic Lumix DMW-YAGH Interface Unit for GH4

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product information button runplaybackMarky Sparky California Chariot – Red Metallic

Panasonic GH4 + Metabones Speedbooster + Adobe Premiere Color Correction

I’m often asked about the color settings I use for my Panasonic GH4 + Metabones Canon FD Speedbooster combo. I did a few extensive tests and these are the settings I came up with to create a “lived-in” look with the least amount of noise in low light situations. I’ve included a few of my selected works that prominently feature this color correction.


Amalgamated Bank & Rock the Vote Present: City of the Sun

I try to steer away from film-style effects in post unless the concept explicitly calls for it. Also that out-of-the-box, sharp digital look isn’t my cup of tea.


Live In Levi’s (60 Second Spot)

GH4 COLOR PROFILE
Cinelike V
Contrast: 0
Sharpness: -5
Noise Reduction: 0
Saturation: -2
Hue: +2
Highlight Shadow: Standard
i.Dynamic: Off
i.Resolution: Standard
Master Pedestal Level: +10
Luminance Level: 0-255

RGB CURVES
Adobe Premiere Pro CC 2014

ADOBE PREMIERE PRO CC
I used to combine a bunch of different color correction filters like Three-Way Color Corrector or Fast Color Corrector with RGB Curves until I realized I could achieve the best results using only RGB Curves which makes matching footage with various exposure levels a piece of cake. This is my typical starting point for RGB Curves for a standard daylight scene. Remember to apply this effect to an adjustment layer to maintain the look throughout your sequence.


Nico & Vinz “Am I Wrong” Music Video (Official U.S. Version)

Master: I’ll either do an S curve for overexposed footage or a reverse S curve for underexposed. You’ll want to dial in carefully here as the keyframes can be pretty sensitive.

Red: I play with this curve to dial in scenes that are tungsten or too warm.

Green: I don’t touch the green curve too much unless there’s too much green in the shot.

Blue: I also like to bring the bottom left Blue keyframe up slightly to bring some color into the shadows and dark highlights. Dial this in for scenes that are too cool.

I also like to add a little post sharpening (20-30 is the sweet spot) to punch up the details. Follow these settings if you dig this look and if you can push it even further, please share your settings in the comments below.


Migos “Bando” Musical


product information button runplayback Panasonic GH4 4K Video Recording

Metabones Canon FD Speedbooster GH4Metabones FD speed booster GH4 4k adapter
Metabones Speedbooster Canon FD Lens to M43 Adapter