Or aleast if sony was to realese there own monitor recorder with touch af and other controls, or realese something like what they had for sony f55, where it was able to record raw with a module on the back, sony can realse something like that in the form of a cineback or a lower camer module, and if they could get fx30 to have 6k raw or 4k oversampled raw from 6k.
This was a fantastic tutorial. And Oren is a gem. This guy is amazing. Please make more tutorials by Oren. Also can’t wait to see the next movie he DPs.
This is so cool. I love that Oren uses gear that we all have access to as opposed to "standard" hollywood kit like Signature Primes. Just shows how damn good he is!
@@guptageneralstores5243 it costs me 200$ to rent a full kit per day. and you wont even need that many. my personal kit is 35, 70 and 150mm, or use cookes for fullframe which is like 300$ for a shift.
I'm a subscriber now, thank you Oren for that straight forward, user friendly breakdown. I love lighting, whenever I ask for a piece of equipment my producers always say, "we know, it's got something to do with lights doesn't it!"
The Creator is a beautiful film, and I am intrigued by Oren’s “octopus rig” and how they handled pulling focus. Was the HDMI output fast enough for the first AC to pull focus?
Amazing tutorial! I'm curious what the PR RAW pipeline is. I've tried different software for transcode (Resolve doesn't support PR RAW) but nothing seems to work quite right, though it could also be user error. Can anyone point me to a solid workflow for PR RAW?
Thank you so much for this incredible BTS and perfect advices from such a talanted DP. Great content! And you are making great products! Thank you very much
What about all these videos that teach you how to work with ISO values in different way. Like use lower native for dark scenes and high native for much brighter exterior scenes?
Oren please, colorist working with ProResRAW ? in what software, most do it via transcoding to prores444 and then going to davinci. And sadly this transcoding is available only at 10 bit.
The colorist is David Cole at FotoKem. They used their in house dailies system nextLab, to do the transcoding from ProRes Raw to linear sgamut3 cine EXRs. Then in Resolve, applied the grading.
@@MonotremeFilms Oren, how did you monitor the Atlas at x2 squeeze on the NinjaV during the shoot knowing you were punching in, during post to end up with scope ratio? Also the grain structure would increase in size in the post enlargement no? Thx for your craft and efforts!
The colorist is David Cole at FotoKem. They used their in house dailies system nextLab, to do the transcoding from ProRes Raw to linear sgamut3 cine EXRs. Then in Resolve, applied the grading.
I wish we talked a little bit about the key you can see in the talents eyes at @3:29 besides the tubes. looks almost like a light shot through a curtain that's fairly wide?
Currently no it doesn’t have shutter angle, but that feature will be coming via firmware update later this year. I don’t think it has open gate. That feature is mainly on Fujifilm, Lumix, and Blackmagic.
FX3 will definitely be my next camera. The only thing I wish it had was 3:2 recording, especially for anamorphic purposes. Losing so much realestate on the sides of the image is so sad.
Thank you Oren for the insights I will definitely be using these tips on my upcoming short film! PS. You work on the creator was fantastic and a huge inspiration, I will be following what ever you do next!
I wonder how much of a denoising process had to be involved in post, since FX3 doesn't have Dual Base ISO (it has just a so-called "dual base sensitivity") so in a RAW it has to be pretty noisy using ISO 12,800.
@@sonycine I do believe noise texture from FX3 is really fine & film-like. Although, I'm sure that VFX houses had to denoise each individual clip heavily for following CG work. I know this well since its part of my job 🙂
For this video we actually deliberately did not do any de-noising on the 12,800 footage at all, to showcase what it looks like out of the camera! The camera does do some de-noising internally at that ISO though, so that's what you're seeing in the video. On The Creator itself, we did do some additional de-noising and then added back in different film grain on top of it, but not in this demo video.
@@MonotremeFilms Highly appreciate your response and honesty, Oren! It's really hard to evaluate noise level properly due to You Tube compression though... I didn't know that camera's internal de-noising is ON even while outputing ProResRAW signal. Good to know! 🙂
"Using 12800 ISO meant we could use lower wattage and battery powered leds..." oh, i guess they used some 20w pocket lights "... like this aputure 600c" EXCUSE ME? My 100w cob led just crawled under the table in fetal position to cry itself to sleep.
The Creator looks beautiful. But this tutorial/masterclass looks very lit and artificial. I get what they are going for, it's just not a great example. Also, the grading is a big part of the Creators look.
![สาวเมืองเพชร - ธีเดช ทองอภิชาติ [Official MV]](http://i.ytimg.com/vi/kEt7F9PvO3I/mqdefault.jpg)
Hope the next iteration of FX cameras can do 12-bit internally
I mean they just made a $25k mini Venice that basically does that. Hard time believing Sony would wanna disincentivize buying it
Not gonna happen as long as RED keeps the internal compressed raw patent to itself.
@@practical_theorySony already has license. It’s on them.
@@practical_theory let hope this nikon move will get rid of that pattent
Or aleast if sony was to realese there own monitor recorder with touch af and other controls, or realese something like what they had for sony f55, where it was able to record raw with a module on the back, sony can realse something like that in the form of a cineback or a lower camer module, and if they could get fx30 to have 6k raw or 4k oversampled raw from 6k.
This was a fantastic tutorial. And Oren is a gem. This guy is amazing. Please make more tutorials by Oren. Also can’t wait to see the next movie he DPs.
I was about to say the same. I could listen to Oren a lot more! Such a fantastic fella!
This is so cool. I love that Oren uses gear that we all have access to as opposed to "standard" hollywood kit like Signature Primes. Just shows how damn good he is!
man signature primes are like super accessible. Or you would say their anamorphic on creator were that accessible?
@@antonstafeyev3606 I think he meant accessibility in terms of budget.
@@guptageneralstores5243 it costs me 200$ to rent a full kit per day. and you wont even need that many. my personal kit is 35, 70 and 150mm, or use cookes for fullframe which is like 300$ for a shift.
Dude that lens cost around 8k
@@DavidRuiz-kw8kx you can rent them for a weekend if you absolutely need them for something
Did anyone notice the Module 8 L2 Tuner paired with the Atlas Orion anamorphic? Creating unique looks easily and economically is core to our business.
I'm a subscriber now, thank you Oren for that straight forward, user friendly breakdown. I love lighting, whenever I ask for a piece of equipment my producers always say, "we know, it's got something to do with lights doesn't it!"
Yall, this is so valuable. Thank you for putting this together.
The Creator is a beautiful film, and I am intrigued by Oren’s “octopus rig” and how they handled pulling focus. Was the HDMI output fast enough for the first AC to pull focus?
Thank you @sonycine for making this happen… I definitely been wanting to know more about this lightning set for this movie
Damn, Oren rocks! Coming down from his Hollywood DP role to being a teacher... Respect!
Would love to learn more about LUTs used how they used it with the FX3.
Amazing tutorial! I'm curious what the PR RAW pipeline is. I've tried different software for transcode (Resolve doesn't support PR RAW) but nothing seems to work quite right, though it could also be user error.
Can anyone point me to a solid workflow for PR RAW?
Did you try Assimilate by Atomos ? I think it's the most handy way to transcode PR Raw to CNDG which Resolve supports
If your on Raw Convertor is excellent with both a mac/pc version for easy conversion to CDNG.
Thank you so much for this incredible BTS and perfect advices from such a talanted DP. Great content! And you are making great products! Thank you very much
What about all these videos that teach you how to work with ISO values in different way. Like use lower native for dark scenes and high native for much brighter exterior scenes?
Wow, so much talent and charisma in one person! I'd like to see more of him, please!
Could watch this type of video for hours. Great work! Thanks for sharing! 🙏🙏
Oren please, colorist working with ProResRAW ? in what software, most do it via transcoding to prores444 and then going to davinci. And sadly this transcoding is available only at 10 bit.
The colorist is David Cole at FotoKem. They used their in house dailies system nextLab, to do the transcoding from ProRes Raw to linear sgamut3 cine EXRs. Then in Resolve, applied the grading.
This was a wonderful experience
The practical lights gave it a nice touch, added depth to the scene and Aputure lights...well I never would have guessed.
I'm curious if they used the noise from the FX3 in the final theaterical delivery, or if it was denoised and layered with film grain.
We did some de-noising but kept some of the FX3 noise as well, and also added film grain and other film emulation elements on top of it for the film!
They would have to remove it for ILM's needs and then could put it back on at the end.
@@MonotremeFilmsdid you shoot all of the creator at 12800 ISO? Or did you use 800 as well?
@@MonotremeFilms Oren, how did you monitor the Atlas at x2 squeeze on the NinjaV during the shoot knowing you were punching in, during post to end up with scope ratio? Also the grain structure would increase in size in the post enlargement no? Thx for your craft and efforts!
Thanks for shooting in our space! Y’all smashed it!!! 🎥🔥
Really interesting key light technique with the Helios Tubes and light socks
Can you tell me which software used to color grad FX3 external Proress RAW? i am so curious to know it... IF it's done in DavinchiResolve HOW?
The colorist is David Cole at FotoKem. They used their in house dailies system nextLab, to do the transcoding from ProRes Raw to linear sgamut3 cine EXRs. Then in Resolve, applied the grading.
I love the final result, the scenes look beautiful!
Thanks for sharing. I ❤ Sonys innovation
I wish we talked a little bit about the key you can see in the talents eyes at @3:29 besides the tubes. looks almost like a light shot through a curtain that's fairly wide?
I mean you can see it at least. Its something high wattage bouncing off cards outside the windows. Take a peak at 1:50
@@iceman10129 Totally! But I'd love to know :D
which variable ND used ?
can someone explain why he shot with high ISO? didn't quite get it.
Which module are you using? L2?
Enjoyed these insights! Thanks for sharing the knowledge, Oren and Sony!
This is so good, thanks for sharing! I have that Urth Variable ND filter too. Works really well.
How export 8k for I max in creator?
Does the FX3 have shutter angle or OpenGate ?
Currently no it doesn’t have shutter angle, but that feature will be coming via firmware update later this year. I don’t think it has open gate. That feature is mainly on Fujifilm, Lumix, and Blackmagic.
FX3 will definitely be my next camera. The only thing I wish it had was 3:2 recording, especially for anamorphic purposes. Losing so much realestate on the sides of the image is so sad.
BRILLIANT !! 🎯💯🔥
More of these types of videos, please! This was brilliant!
Thank you Oren for the insights I will definitely be using these tips on my upcoming short film! PS. You work on the creator was fantastic and a huge inspiration, I will be following what ever you do next!
Fantastic job on this and with The Creator Oren. Would love to work with you someday.
such a great way of lighting. love how the Helios' were used
Hey Oren, can you tell me which tuner you were using on this setup? Thanks!
That's the L2 K35 tuner. They way you can tell is with the color of some of the markings. L1 is orange, L2 is white and L3 is Yellow.
Oren is the best.
Brilliant tutorial! Really well laid out!
Don’t forget the Heavy Duty Gimbal L Bracket ‘inspired by the Creator’ to build your creator rig too ;)
We want more of these kinds of videos.... More! More!! Mooooooooooooooooooore!!! ❤❤❤❤❤
As kylo ren said… MOOORREEE GIVE US MOORREEEEE
i want more content like this
Super helpfull, please make more videos like this
Make more of these with other cinematographers
Brilliant - thanks Oren
Shooting 12800 is super clutch
WB for both shots?
I wonder how much of a denoising process had to be involved in post, since FX3 doesn't have Dual Base ISO (it has just a so-called "dual base sensitivity") so in a RAW it has to be pretty noisy using ISO 12,800.
Yea 12,8 is crazy my computer would explode trying to remove the noise
Actually, DP Greig Fraser told us he liked the noise and felt it was organic and reminded him of film.
@@sonycine I do believe noise texture from FX3 is really fine & film-like. Although, I'm sure that VFX houses had to denoise each individual clip heavily for following CG work. I know this well since its part of my job 🙂
For this video we actually deliberately did not do any de-noising on the 12,800 footage at all, to showcase what it looks like out of the camera! The camera does do some de-noising internally at that ISO though, so that's what you're seeing in the video. On The Creator itself, we did do some additional de-noising and then added back in different film grain on top of it, but not in this demo video.
@@MonotremeFilms Highly appreciate your response and honesty, Oren! It's really hard to evaluate noise level properly due to You Tube compression though... I didn't know that camera's internal de-noising is ON even while outputing ProResRAW signal. Good to know! 🙂
Awesome thank you 🙏
Really nice tutorial for those willing to exploit the capabilities of the FX3 on set 👍👍💯💯
Was all of the creator shot at 12800 iso?
Amazing insights!
Thanks great insights. !!
SO good!
This was very informative
hope to see more of this videos
Anybody elses fx6 have quite a bit of noise on 12800 iso, like quite a bit...
Great content thank you
It was amazing 5 minutes
Pls Sony drop the next FX6 with internal 12bit codec! It's time to do it!
Next time Sony be a little bit nimble ride on the hype of the FX3 faster.
I guess we don't have any excuses no more...
Amazing 👊
Great!!!!!
"Using 12800 ISO meant we could use lower wattage and battery powered leds..." oh, i guess they used some 20w pocket lights "... like this aputure 600c"
EXCUSE ME? My 100w cob led just crawled under the table in fetal position to cry itself to sleep.
"Simple" "Efficient !
3:01 ouch
👍🏾🔥
It doesn't look real. Just looks good.
Hoyze van zuckerberg
The Creator looks beautiful. But this tutorial/masterclass looks very lit and artificial. I get what they are going for, it's just not a great example. Also, the grading is a big part of the Creators look.
this guy is a scummy political activist
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