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Rich: Alright, we've headed down to the studio to take a look at the footage we got from the pocket cinema camera, and we shot with a bunch of these, but we're just going to take a look at a couple of shots, just to see how it behaved. Right here, we have a stand-in. This is Patrick Inhoffer, who's a colorist. It's kind of funny to put a colorist in front of the camera Robbie: He was very, he was very nervous. Rich: Yes. And we're looking at the video color correction here, this is the video look of the pocket cinema camera, and I must say, it's Not as saturated. I don't know if that was the lens. Robbie: Yeah, I mean if we go back to our first shot here where we have some footage from the the regular cinema camera, yeah you'll notice that skin tone seems to be a little bit more saturated, a little bit more robust compared to something like over here.
Now, again that could be, as you said lens, it could be sensor size. I was a little taken back by that as well that it wasn't as sort of, a one to one. I was expecting them to be right off the bat closer. And, and, you know, we, we did do our due diligence in terms of color, temperature, and all that kind of stuff. Rich: I mean, the exposure's really close, which is fine. And if we look at the vector scope here, we could just see that the amount of trace Robbie: Saturation, yeah. Rich: Is way down. So let's just apply a three-way color corrector to that. Robbie: Yeah, and just don't worry about the color temperature of the exposure right now. Let's just add a little bit of saturation in there and see what happens.
Let's just do some master saturation. Jack him up just a little bit, get a little bit better. Rich: Yeah, so. Robbie: And let's let's go back and compare those those vector scopes again. Visually that's matching a little bit better. Rich: Yeah, so there to there, yeah. Robbie So, better. Rich: Yeah. Robbie: Not perfect, but better. I mean, and that's the thing is that like you know, this is a much smaller sensor. Than you're going to find in the the Black Magic not much smaller but smaller then you're going to find in the full size cinema camera. But there also both, both cameras have relatively small sensors compared to, you know, sort of the APSC or the 35 millimeter sensors that you're going to find in traditional DSLR.
Rich: Yeah. And to be clear, we're working with one of the earliest shipping versions of this camera. Robbie: Yeah. Rich: So they didn't have raw support turned on yet. I fully expect there to be some more firmware. I think the take away here, is that the video look as of this recording, between the pocket cinema camera and the major cinema camera. Robbie: A little different. Rich: Are not the same Robbie: I mean the, I mean the, that could be technically, I mean yes, it could possibly be that, it could have something to do. Rich: Sure. Robbie: I think it's actually a multivariable equation. I think we were shooting slightly different lenses. Rich: Sure. Robbie: And, and then all the things that go into matching shots on here.
We notice we're getting some difference. Rich: But with one slider they match pretty quick. Robbie: They match, they match much better, yeah. Obviously. Rich: So let's take a look at the log footage. Robbie: Yeah, so this is the next shot down. This is Patrick again, this was again on the Black Magic pocket camera. Just shooting in what Black Magic calls film mode, which is essentially just a log recording and if you remember, Rich, logarithmic recording is just a way of being able to preserve your shadow and highlight details and then. Rich: Mm-hm. Robbie: What it's going to give you is this really flat kind of desaturated look. That's the way it's supposed to look. Rich: Yes, that's on purpose. Robbie: Yeah.
Rich: And we look at the scope and it, it seems about right and if we put that compared to the other one, those are a very close match. Robbie: Yeah, and actually one of the things I did, I actually played before we got on set here Rich. I actually played over in DaVinci Resolve, kind of matching these two log shots together. And they seem to match a lot closer, than the two, pro res shots that were using the video color space based on the camera. Rich: So I think as we're exploring this here, I'm going to favor, for me.
Robbie: Yeah. Rich: Shooting in the log space. Because its' going to give me more latitude. Robbie: But that's because you know a little bit about color correction, and I think this is a really important thing. If you're, want to sort of get the most of the image and just work with it, get it up to the web, do whatever you need to do with it, I would argue that, sort of the video mode on, on these cameras, especially the pod camera is going to give you the fastest, quickest results. because it's going to look pretty normal, you can do maybe a little simple color correction on it. On either camera if you decide to go log, you're going to have to do something with it, unless you want to be the person that just loves the flat look.
You see that in a lot of commercials these days, no contrast on it or anything. But when you commit to the, sort of the Rich: It's funny when mistakes become art. Robbie: Right. When you commit to the film mode on the pocket camera or for that matter on the full sized cinema camera. You're going to have to do something with the image. You're going to have to color correct it, and that kind of stuff. And then on a future episode Rich, Rich: Yeah. Robbie: We're going to go into Adobe Speed Grade, I'll show you actually a pretty cool workflow, where we can develop a .look file over in speed grade that does this sort of log to linear conversion and apply it as effect here in Premiere Pro. Rich: That's very cool.
And we are also seeing some simple lots made available from different manufacturers. So if you are using footage, shot on an RA or another camera that is using log, a lot of times the manufacturers do have a pre-set as well. Robbie: Absolutely. Rich: Although I'm sure his is better. So, be sure to tune into that future episode, and I'd like to thank you for joining us today.
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