1. Summary:

    When it comes to the "film look"...
    Resolution is good.
    Sharpness is bad.
    Filtration is good
    Cropmarks doesn't give you an "anamorphic look" - Nothing beats real anamorphic.
    Lens filtration is good, but nothing compared to lenses with "character".

    Camera: Canon 5DMk3 (ML RAW)
    Lens: Canon 100L, Dog Schidt Optiks FF58mm + Anamorphot 1.33x 50
    Filters: Tiffen Black Pro Mist 1/4, Tiffen Black Diffusion 1, Tiffen Smoque 2
    Light Sources: ARRI 650W (key light), Aputure LED Video Light (back light)
    Diffusion: White Bed Sheet, White Shower Curtain, Black Correx Board
    Graded in Resolve with Impulz LUT (Tetrachrome 400 CIN + Cineon to Kodak 2383 FPE (D60))

    # vimeo.com/109523448 Uploaded 25.5K Plays 19 Comments
  2. Filmed on travel on the islands of Maui and Lana'i using the Sony A7S for its low light and slo-mo capabilities, and with a GoPro H3+B on a DJI H3-3D 3 axis gimbal. I tried to piece together a meditative sequence to reflect the feeling you get when you are there for any length of time, you just end up seeing more and seeing slowly. These were shot using a combination of Kholi's excellent PicPro profiles and regular Slog2 graded with Film Convert. Slo-mo scenes were shot in APS-C mode at 60P and conformed in post. As always it's hard to match GoPro with other cameras (I'm not a pro colorist), the new 4K hopefully will help at least on the resolution side.
    Glass was a mixture of Voigtlander and Nikkor lenses, with the special appearances from a FF58 Dog Schidt and a SLR Magic Anamorphot anamorphic lens for some of the landscape and night shots.
    Compression kills a lot of the footage like the rain on the surface, the source ProResHQ file is beautiful in comparison. Regardless at the time of this video the A7S is pretty amazing for something so small and a great companion to the Blackmagic Pocket for light and unassuming film capture. If you can bring it along I suggest recording external to something like a Ninja Blade in ProRes (or 4K Atomos) but for just running around the in camera 1080P holds up pretty great to grading. It's a very special camera for those special times, and you don't have to worry about iso or noise it really frees you up.

    Locations: Kaiolohia Beach, Wailea, Makena, Hulopoe Bay, Sacred Garden of Maliko, Dharma Center Paia

    Music Licensed from musicbed.com:
    Tony Anderson "Wall of Fire" and "Highways of the Heart"

    # vimeo.com/108640749 Uploaded 19.8K Plays 12 Comments
  3. Acoustic session with Joanna Isselé from Imaginary Family. Hear the coocooo from the pigeons that sing along!

    Check imaginaryfamily.com
    http://tiny.cc/hiddenEP

    Created by Hugo Goudswaard

    # vimeo.com/71412824 Uploaded 6,271 Plays 11 Comments
  4. A little friend took me out for icecream today..

    Shot on FF58 Quasi 1.5 fixed ultra low contrast lens. non tinted. lens separation. for Marco Tempest (New York)
    The 'Quasi1.5' aperture is a circular aperture. This option does not increase low light performance or increase the shallowness of DOF in the same way as a true f1.5 lens. But instead opens up the aperture so it is oversized for the optics and thus the lens can be made very very low contrast (ultra low). If tinted, the effect of the tint is more prominent with a Quasi1.5 aperture for the same reason (more light can illuminate non polished areas of the glass). Though not any brighter than a normal f2 lens, the effects of the bigger aperture creates a lift in the shadows (lowering contrast) - this delivers more light to the areas of the sensor that would normally be very under exposed when using a normal lens so creates a masking of sensor noise - which can often be helpful in contrasty low light settings since the dark areas are exposed more. As seen here the low contrast lens also creates a sense of greater dynamic range.

    Sony A7S in Neutral creative style (S-Log not enabled) : turn picture profile 'off' then select 'Neutral' in creative styles. and dial in: -3 contrast, 0 saturation, -3 sharpening. wb was set to auto, and shutter was auto too. with a little one there's no time to set exposure!

    When working with footage shot on a very low contrast lens you can pull contrast back in post (with a boost in contrast) and this process creates a pleasingly lo-fi look with pastel smooth gradations rather than typically harsh over dark blacks normally seen from modern contrasty lenses exposed in a traditional fashion

    # vimeo.com/106292534 Uploaded
  5. A few shots from testing Magic Lantern's new RAW video feature. Shot loads more but can't convert files over 2Gb with RAW2DNG yet. This is such a nice feature to have, but so heavy to work with, let's hope we find ways to streamline the process.

    These shots are still a little soft since shot with my Dog Schidt Optiks FF58 and Iscorama adapter combo which isn't the sharpest setup.

    Oh and cancelled my Pocket BMC order this afternoon also. :)

    Added another shot since the new RAW2DNG gave me access to my 2Gb+ clips, but still can't open my 4Gb+ clips for some reason.

    # vimeo.com/66580953 Uploaded 44.9K Plays 20 Comments

Dog Schidt Optiks Lenses in ACTION!

Melting Bloke (Richard Gale) PRO

A channel showcasing some of the stuff shot with DSO lenses..

dogschidtoptiks.co.uk

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