Audio is good for me, on a laptop with airpods.

@@DirectedbyEirik Cheers

little low on desktop pc

Seems quite, also the stereo on the audio is a bit distracting for me

FYI, on computer with headphones

How and where to learn grading correctly?

Or just color manage. Saves you hussle.

@@amathma TAC Resolve training, Lowepost, Cullen Kelly, demsytify-color, and so on.

@@allenpayne9182 I'll have a look thanks !

^ This.

Wow, thank you! that's great to hear.

You're right. Differences can be hard to see and are very subtle but they make a big difference.

no problem

I also use Juan’s LUTs and they are just superb. Great skin tone, bar none.

Yeah, a few people are mentioning Juan Melara has LUTs. I've used some of this film power grades but didn't know he had Alexa LUTs until now. Do you use just his Alexa LUTS or his Alexa power grades, too?

@@ChristopherMichaelLaw Just the GHAlex / S1Alex LUTs (since I have the Panasonic systems). I didn't notice Powergrade options on his site. Will check those out :)

@@vaidehiarts thanks

Cool

Interesting. I'll give you technique a try and see what I think. Are you changing the timeline in the settings? What Arri log are you using log3 or log4?

@@ChristopherMichaelLaw I am using the older Log3, but it should also work with the log4. I am changing the whole project settings to - Color Management: Davinci YRGB - Timeline Color Space: Arri Log-C3 - Output Color Space: Rec 709 Gamma 2.4 The Nodes are: - NR - Motion Blur (if no ND used) - Light - CST (from whatever to Arri Log C3) - Light - Luma control - Halation (most often switched off) - WB - Film Matrix - Colors - Film Curve - Contrast (to lower it if desired) - Mid tone details by freq. separation - Saturation, feeding into ... - ... subtractive color mixing - Sharpen (using B&W and mixer) - CST Out (from ARRI Log C3 into a) Color space = Rec 709 and b) output gamma = Arri LogC3) as input for ... - ... Kodak 2383 Film Print emulation Done! Results can be as sweet as: kzfaq.info/get/bejne/ldaJn5V21ZzVkmg.html The CST at the beginning can also be done with CineMatch, which is the only CST-option for iPhone and Filmic Pro V2. Hope this helps!

@@joyoffilming9500 Yeah man. Cheers for the detailed answer. I'll test that out for sure. 👍

Glad you liked it. A few proper movies have, at least partly, be shot on the Wirral. The Keira Knightley, Ralph Fiennes film Official Secrets had parts filmed on the beach down at Thurstaston -- but they used a Sony Venice, so....

@@ChristopherMichaelLaw Sony Venice does demand a bit of respect. Fantastic range of cinema cameras - but pales against your bit of cardboard lol.

No problem, mate👍

Many thanks!

Oh yeah BTW, FUJIFILM’s Classic Chrome film simulation looks very similar to the Utopia look. FYI

Yeah, they are probably my two favourites.

I think I feel the same way. But I’m not sure if I’m tricking myself. It’s one thing to see a difference when you’re shooting with a camera but can you tell what camera someone else was using by just looking that their footage? Can you look at an advert and say Alexa, Red, Sony or whatever? I don’t know if I can, I’ve never tried. Rodger Deakins said he can’t tell what films are shot on film vs digital and has to look it up on IMDb - what hope do I have? But then, as I said, I feel there is something about the Arri look. 🤷‍♂️

@@ChristopherMichaelLaw Well, I guess it’s enough that you see it😁 some see it, others don’t and so it comes that there are many options to go with. That’s a nice thing if you ask me. In the end Arri cameras are mainly used that much because they simply work. At least that is what most DOPs I‘ve met told me. None of them would choose f.e. A RED over an Arri normally. Maybe that’s because RED isn’t really used in Germany since we build Arri cameras here, but also in Hollywood they’re not used that often. The usability, reliability, quality and color science is what makes Arri camera to the legends they are. At least in my opinion.

Cheers!

Thanks!

I've always fancied an OG pocket. The image was beautiful. The battery life has scared me off.

@@ChristopherMichaelLaw yeah definitely! i just use a small NPF battery tray which with one small NPF battery which translates to an entire day of shooting!

Awesome, I might look at picking one up because that image is great

Did you leave this exact comment on someone else's video? I'm getting major deja vu reading it. I could just be going mad, though. I agree the worst thing about the 6K is the rolling shutter - are you just using the gyro to fix it or are you also using a higher shutter speed?

@@ChristopherMichaelLaw it might've been you ha ha

@@ChristopherMichaelLaw sorry hit reply before I finished. yeah im using a higher shutter speed to nullify the motion blur artifacts. but its crazy because unlike the other stab settings in resolve, the gyro really works well, but the rolling shutter removal is totally new and works like a charm. for the shutter I just bring it into fusion and run the optical flow and vector motion blur. I try to never use any stabilizations at all but to remove the RS its a godsend. Just make sure if its a zoom you input the lens data, otherwise the camera doesnt know. shoot BRAW and dont use Is on the lens itself if it has it. the best thing is you can use the gyro stab at the lowest setting and it still pulls the RS. you dont have to crank it to max. go experiment, youll love it

@@flipnap2112 Yeah, I've seen videos of people talking about reducing rolling shutter by shooting with a faster shutter speed before the gyro stabilisation even came out. I'll have to test it again.

@@ChristopherMichaelLaw honestly that never worked, it just helped minimize motion blur artifacts when you stabilize in resolve. the gyro is actually writing data directly to the BRAW file that tracks the cameras movement, how it eliminated RS I dont know because thats a horizontal scanning problem within each frame. but ill be damned if it doesnt pull almost 99 percent out. and no jelly effect.almost looks like global shutter.. just make sure you shoot BRAW and dont use IS lenses or a gimble. youll flip out, its so good. U cant shoot prorez though, and speed boosters wont work. has to be 1:1 with the lens to camera. make sure if youre using a zoom you manual enter the focal length youre dialed into. prime lenses pick up the info from the sensors so no need to manually do it. just go hand held for a few sample shots and the "gyro" setting will be in resolve if you've updated. good luck

Yes, there are versions of these LUTs for the A7 mark 4. Follow the link in the description and instead of clicking the BMPCC 4K/6K LUTs click the Sony ones! It will then give you a list of Sony cameras. Pick the A7 IV. The LUTs are calibrated for the Sony sensor. It's important to get the right ones, you can't used the Blackmagic ones on the Sony and vice versa.

Yes. That is exactly how to use them. Load them onto the camera so you can use them to monitor your image - what you see is what you get - when you use the LUT in post.

@@ChristopherMichaelLaw Brilliant! I’ve just bought some really cheap vintage lenses for a few weeks til I can save and get a few Sigma Art Lenses so I’ll wait til then before purchasing! Thank you!

Well spotted, Douglas! That was obviously in there to see who is paying full attention. You've passed the test ; )

Would you say colour grading removes the Alexa look some what?

I don't know. I do like the look of the buttery LUTs but as far as I know they only claim to be "inspired by the industry standard Arri Rec709" rather that trying to accurately recreate it. They will probably be the next LUTs I check out.

They are not design with the URSA in mind. I can see why they wouldn't work but you're probably best emailing Joel about it. www.joelfamularo.com/contact

If you bought the ones designed for the FS7 then I’d imagine they will work the same as how the Blackmagic ones do. Try the read me included in the download.

I've never heard of them before. I'll look into them.

I don't really know. If you can change or convert the braw file to the GEN5 colour space then i think it would work.

Sorry, I don't understand?

@@ChristopherMichaelLaw i ask about photographer competition

Thanks for sharing!

Thank you, it was the role of a lifetime.

No doubt everything you said is important in crafting the image. I'd also include production design as having a huge impact on how the film looks. It's interesting that there is such a difference of opinion even among professionals about this. What did you shoot your movie on?

@@ChristopherMichaelLaw check my message in spam, it's gone

They are the older versions of the same LUTs. They are a bit darker and contrasty. Not a great deal of difference.

@@ChristopherMichaelLaw Thank u

A combo of both.

Its about manipulating the tones of BM camera to ones preference. In this case closer to another camera that one shoots with. Beyond native bit depth, native highlight roll off, native dynamic range, Every camera interprets color abd light differently. There is a bias. Anyone who has had to match cameras should know this. When trying to color match cameras, Staying in the color space of each of the cameras is not the objective its besides the point so maybe thats why your missing it.

Aye!

I don't really know. If you can change or convert the braw file to the GEN5 log colour space with a color transform node in resolve, then i think it would work. Maybe email Joel, he'd probably know more.

I don't think anyone is saying you can't make art without high-end equipment. Quit the opposite. How you get to the end result is irrelevant in terms of the art. Expensive or cheap equipment are both legitimate. But filmmaking isn't just art, it's also craftsmanship. If you're getting paid to bring somebody else's artistic vision to reality then you will need to know what tools will archive it. But if your'e just making art for yourself, then yeah 100% agree.

I'm not fully sure what you're saying but I think it's fine to use a LUT as a starting point. Just put any changes in the nodes before the LUT so you don't lose any information.

@@ChristopherMichaelLaw You can adjust an image to fit the lut so you do not blow the highlights, but any details loss you may not notice when editing will remain there. This can also apply to the saturation curve, for example, or for shadows details. To add to the problem, it is also the internal math when luts are applied that can create artefacts when interpolation errors occur. Any LUT can be recreated with HSL curves.

I know many professional colorists who chose the female gender.

Off the top of my head, the only one I can think of is Lizzie Peirce. Don't know if she has a fourth colour perception channel, thought. I was thinking the other day, how do we know if any of us see colour the same way, male or female. Maybe how I see blue is different to how you see blue, particularly as so much of vision is to do with the brain.

Can you explain what is wrong with it? No audio at all?

@@ChristopherMichaelLaw It actually sounds perfect to me. Nice comparison video too. 👍

@@ChristopherMichaelLaw the sound is too low to me.

I've never heard of them but I'll check em out. Thanks

@@ChristopherMichaelLaw you should while I have tested both on my BRAW and notice difference, if you want a cinematic look, go for colorcove and documentry/interview look go with phantom

I have seen some Alexa classics around the $5-6k mark but Amira seems to hold its price better. The cheapest I’ve seen is about $19k.

I totally agree that talent is the most important thing and that it's hard to make any comparison about an "Alexa look" when watching finished Hollywood movies. And yet, pick up any copy of British Cinematographer and in nearly every article an established DP will be talking about how they picked the Alexa because of its special look. But then Steve Yedlin talks about how you can pretty much match any camera with another. I don't know who to believe and who is right and who is wrong.

@ChristopherMichaelLaw Lol. Common sentiment. There's a lot of opposing information and experience out there. I mean, every DP is an individual at the end of the day, with their own perception of how things should work based on nomenclature and their own experiences. Yes, some DPs will remark that they choose the Alexa for it's look. I'm not sure how crucial that opinion is when that "look" is altered by person/s holding the final distribution process in their hands, since they're going to alter, often times drastically the Alexa's native acquisition image. There's a lot of legacy/known workflow tied around the Arri brand. They've been active within the scene forever and a day. They have a very established reputation. Arriflex focuses on their IP in mainly serving the big budget players, and it's easy to surmise that a lot of the hype around their cameras is the level of focused support and aggressive marketing they offer big budget sets. I don't think that nessecarily translates to a price:quality ratio. The high pricing is simply because they can charge their demographoc more, then say they could wiith low budget/prosumer level. Again, at the Hollywood level, inage quality is actually a diminished return. A lot of cameras can produce an "Alexa look" when you hire the right colorist if you understand the concept of crafting the image outside any given camera, which many a-list Hollywood DPs do, or eventually figure out. I'm not saying the Alexa isn't a great camera. I am saying there's a lot of great cameras out there, too. I am saying that they're all an acquisition box if the final distribution looks considerably different than the respective camera's acquisition, which constitutes 99.9999% of big budget films spanning across multiple genres. The Alexa actually presents most of its return around mid-budget sets in which the hired DP owns one and can charge back the cost to the film's producers, who would otherwise have to rent one anyway. Chances are the film doesn't have a lot of funds to spend on a professional Hollywood level colorist, so chances are good that the distribution will heavily retain Alexa's aquisition color science in the final distribution. Generally, in the KZfaq world, the argument of image quality, color science, is a bit overstated. If you pit a comparison between an Alexa against most cinema cameras, including BMD on a very mundane, poorly crafted, innocuous scene, the differences are going to be very minimal, if not negligible to the eyes of a general audience. Yes, you'll see color shifts and differences in roll off, but it won't be a $70k difference. But when you're a big budget production, $70k is a drop in the bucket. Shit, that's likely the weekly charge for craft services. 😀 $70k is worth the reliability Arri has built into the Alexa line. Conversely, BMD doesn't make a strong reliability claim, nor are they deeply rooted and entrenced with their clients and within the industry as a whole, at least on the camera side of their business, correct? Don't get me wrong. I own 3 BMD cameras. For my level of filming/distribution, they make complete financial sense. Sometimes, I'm able to cost them back depending on the scope of a particular project, rather than the producer having to rent them from a rental house. I've never had a single client complain about the final image, quite the opposite. But I relate this more to my coloring skills than my camera's "skill".

Is it, no one else has mentioned it? When I play it back it seems fine.

@@ChristopherMichaelLaw Maybe they listen on ear buds im on a iMac. It sounded really low here had to turn up quite a bit. If no one else thinks so, then its on me! Thanks for responding!

@@funfilm77 Yeah, no problem. Thanks for letting me know.

I think you maybe misread the title. I left myself the wiggle room of adding "kind of" to the title. Obviously it can't match dynamic range, etc but the LUT's are about bringing the colour sciences closer together.

I get what you’re saying. If you’re going to heavily grade the footage then it’s probably not as useful. But If you’re trying to copy a movies grade that was shot on Alexa then it would be useful to have the same starting point as the filmmakers. Some movies have strong grades others have simple grades. Rec709 or 2020 are colour spaces relating to how much of the visible colour spectrum can be displayed but they won’t make cameras look the same. Many of the characteristics of how the camera reproduces colours will carry over.