@@JustinPhillip no, they shifted the dynamic range values to be more accurate, so it has a little more on the highlights and a little less in the shadows. Check it out
So....could I set my ISO to auto, set my shutter speed and frame rate to the appropriate 180 rule, expose my inside image properly with my predetermined f-stop and just adjust my filters until the outside gets exposed correctly? If correctly exposing the outside crushes the black of the inside, then can I add a key light to my inside subject? What if I don't have a light meter nor graph of the camera dynamic range?
Nice video, one thing I do know is that at ISO 1000 while highlights are retained nicely, the shadows become so grainy its a bit annoying. I think you did a great job but with the p4k if you have shadows in the shot it blows it a bit for me. Even in this video you can see how the grain in her face is in comparison to the original. But you did a great job because it's not as bad as I normally see it at 1000. Just how the camera is at 1000. Might check out your patreon, seems cool.
Question about using a 4x4 filter in the 4x5.65 matte box. Do you notice any limitation on doing this with photo lenses? I'm looking to get a tilta mattebox mini along with 4x4 K & F concept filters which give a good image for a very cheap price. I do see that the tilta has the filters positioned an inch or so away from the lens where as your matte box has them flush. Do you think I'll run into issues using this setup with a 4x4 to 4x6.65 adaptor of some sort to black out the gap?
@@JustinPhillip The tilta mini mattebox has the filters about an inch away from the lens, more to the front of the mattebox, so there is a gap on either side of a 4x4 filter where light can get in. Do you think it's a bad idea on that mattebox?
So after you messured that for outside you need at least 6 stops nd so you wouldn't clip, you balance inside shot with additional light until face reaches middle grey which is at 2.8?
correct. the upstage side of Marianne's face, is what's "key", so i get a reading of 2.8 there from the inside level. Outside we already know what we're getting.
Wow! It might just be the virus but after watching this my brain hurts. I’ll definitely need to watch this again to try and understand this voodoo magic. Thanks for posting.
Your brain hurts because you are trying to reconcile what he said with what he actually did which are two very different things. In the video he never tells you he boosted the lighting on the subject, and that its was the lighting and not the ND thst helped close the gap in exposure between the exterior and interior. An ND in front of the lens will not do that cos it will bring down exterior and interior by the same amount and thus the gap in exposure would remain the same. Now if you had maybe put ND in the window to only bring down the extior, that would have worked as well. Its not voodoo magic, its just very badly done "educational" video that will actually end up giving people wrong information and it'll require more effort to unlearn all this bad advice he gave.
Excellent video once again, pretty spot on how to calculate as a dp. But the ND1.8 would cut the light on the talent as well, so you'd need to up the key light level, aren't you?
Nope, key stayed at 2.8, however i did add a small fill one stop under, and then also an edge light to her frame right, just to add more shape. But wanted to keep this tutorial short and on topic of the dynamic range :)
Be careful, you're using the old chart! It changed with updates, see the manual: documents.blackmagicdesign.com/UserManuals/BlackmagicPocketCinemaCamera4KManual.pdf
Love hearing people talking about the right way to use a speedbooster. Caldwell is an idiot in spite of his good design of the speedbooster. When I talked to him once online he didn’t know what circle of confusion was. Edit I take it back, on previous video about Tokina 28-70 you do it wrong make up your mind.😜
@@sebastianmorales6849 aperture has nothing to do with cropped sensor. There is the argument of "full frame equivalent" but we've already tackled that here on the channel a year ago.
@@sebastianmorales6849 The amount of light does not change with crop factor, an f2.8 on full frame lets in the same light as an f2.8 on a crop sensor. It's actually one of the benefits of a crop sensor that you can achieve a wider depth of field while keeping the same amount of light.
Okay so could you also just expose for the window and then use a lower ISO since it holds more in the shadows and then bring up the shadows in post?
I was just thinking this. Seems over-complicated as hell, when you could just use waveforms.
My exact thoughts
I'd be interested to see this revisited with the Komodo mate. How much more DR will you get with it over the bmpcc?
Another clear, concise video. Great stuff.
Thanks!
Hey Justin, you're using the old dynamic range chart for the Pocket 4k. Blackmagic updated it a while back, might want to check it out
say whaaa, what do you mean? it has more dynamic range now? lol How's that even possible?
@@JustinPhillip no, they shifted the dynamic range values to be more accurate, so it has a little more on the highlights and a little less in the shadows. Check it out
Lee Brandt interesting
once you exposed for the window, what did you change inside?
So....could I set my ISO to auto, set my shutter speed and frame rate to the appropriate 180 rule, expose my inside image properly with my predetermined f-stop and just adjust my filters until the outside gets exposed correctly? If correctly exposing the outside crushes the black of the inside, then can I add a key light to my inside subject?
What if I don't have a light meter nor graph of the camera dynamic range?
Nice video, one thing I do know is that at ISO 1000 while highlights are retained nicely, the shadows become so grainy its a bit annoying. I think you did a great job but with the p4k if you have shadows in the shot it blows it a bit for me. Even in this video you can see how the grain in her face is in comparison to the original. But you did a great job because it's not as bad as I normally see it at 1000. Just how the camera is at 1000. Might check out your patreon, seems cool.
Nice breakdown of tackling bright exteriors when shooting indoors. Love those ND's.
Question about using a 4x4 filter in the 4x5.65 matte box. Do you notice any limitation on doing this with photo lenses? I'm looking to get a tilta mattebox mini along with 4x4 K & F concept filters which give a good image for a very cheap price. I do see that the tilta has the filters positioned an inch or so away from the lens where as your matte box has them flush. Do you think I'll run into issues using this setup with a 4x4 to 4x6.65 adaptor of some sort to black out the gap?
what gap? 4x4 glass will cover lenses up to 80mm in outer diameter
@@JustinPhillip The tilta mini mattebox has the filters about an inch away from the lens, more to the front of the mattebox, so there is a gap on either side of a 4x4 filter where light can get in. Do you think it's a bad idea on that mattebox?
Ryan Payne oh, yeah i cant attest to anything about that matte box.
So after you messured that for outside you need at least 6 stops nd so you wouldn't clip, you balance inside shot with additional light until face reaches middle grey which is at 2.8?
correct. the upstage side of Marianne's face, is what's "key", so i get a reading of 2.8 there from the inside level. Outside we already know what we're getting.
Bro thank you for all of your knowledge🙏🏿
💯
Awesome video!
Awesome video once again Justin I loved it learned a lot.
Thanks!
Wow! It might just be the virus but after watching this my brain hurts.
I’ll definitely need to watch this again to try and understand this voodoo magic. Thanks for posting.
Your brain hurts because you are trying to reconcile what he said with what he actually did which are two very different things. In the video he never tells you he boosted the lighting on the subject, and that its was the lighting and not the ND thst helped close the gap in exposure between the exterior and interior. An ND in front of the lens will not do that cos it will bring down exterior and interior by the same amount and thus the gap in exposure would remain the same. Now if you had maybe put ND in the window to only bring down the extior, that would have worked as well.
Its not voodoo magic, its just very badly done "educational" video that will actually end up giving people wrong information and it'll require more effort to unlearn all this bad advice he gave.
wow
Excellent video once again, pretty spot on how to calculate as a dp. But the ND1.8 would cut the light on the talent as well, so you'd need to up the key light level, aren't you?
Nope, key stayed at 2.8, however i did add a small fill one stop under, and then also an edge light to her frame right, just to add more shape. But wanted to keep this tutorial short and on topic of the dynamic range :)
@@JustinPhillip So the key isn't middle grey anymore? Or am I getting sth. wrong?
@@florianloppnow8520 no the key is 2.8, the fill ( a stop under) is a 2. and the edge was something like 1.4
@@florianloppnow8520 the light to camera is still a 2.8, but the other lights are just bringing her up, without bringing up the key, it's very subtle.
Justin Phillip ah, I see. Thanks man, have to try this for myself in a controlled off set environment
whyd Blackmagic make their DR chart look like a pack of Camels?
LOL
Be careful, you're using the old chart! It changed with updates, see the manual: documents.blackmagicdesign.com/UserManuals/BlackmagicPocketCinemaCamera4KManual.pdf
Love hearing people talking about the right way to use a speedbooster. Caldwell is an idiot in spite of his good design of the speedbooster. When I talked to him once online he didn’t know what circle of confusion was.
Edit I take it back, on previous video about Tokina 28-70 you do it wrong make up your mind.😜
lol what? why i cuz i double stack the adapters?
from what i understand aperture changes with crop factor, maybe check some info on your own and you could know yourself
nope
Tony northrup or whatever did a video where he proves it very clearly if you want to have a look or make a video disproving him somehow
@@sebastianmorales6849 aperture has nothing to do with cropped sensor. There is the argument of "full frame equivalent" but we've already tackled that here on the channel a year ago.
What
@@sebastianmorales6849 The amount of light does not change with crop factor, an f2.8 on full frame lets in the same light as an f2.8 on a crop sensor. It's actually one of the benefits of a crop sensor that you can achieve a wider depth of field while keeping the same amount of light.