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Re: Extreme BMD 12K test

Geoff Boyle
 

The more I experiment with this camera the more impressed I am with where I can take it.

I’m having to use some workarounds because of lack of computing power but I’ll see how much a 3060 with 12Gb costs in January.

At one stage I was looking at Task Manage to see what resources were being used and the graphics card was running at 100% and the main processor at 85% mind, it was only using 15Gb of memory 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Mitch Gross
Sent: Wednesday, 16 December 2020 13:59
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Extreme BMD 12K test

 

Really impressive stuff. 

Mitch Gross

New York



On Dec 16, 2020, at 4:17 AM, Geoff Boyle <geoff@...> wrote:



The same file as before but with the exposure changed to plus 3 which is effectively rating the camera at ISO 128,000

Zoomed in by 1.5* to match the frame line in my VF that was set for an 8K image within a 12K recording. This was to allow for extreme movements during stabilisation. A frame line of 10K within the 12K would have been more than adequate.

I spent a little more time on the noise profile in Neat this time :-) but stabilisation was just select stabilise, select perspective and click start, camera lock was enabled, zoom was disabled. The manual zoom mentioned above was applied after stabilisation.

 

 

https://vimeo.com/491544224

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:51
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Extreme BMD 12K test

 

I forgot to say that it took about 15 minutes in total to do this. An hour if you include going down in the lift and across the street to shoot it 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:49
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] Extreme BMD 12K test

 

https://vimeo.com/491507391

 

This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld.

The second section has been corrected using BRAW settings only to increase exposure by 2 stops, it was noise reduced in Neat and then stabilised very quickly, it could be better, in Resolve.

 

Because of limitations of my system this had to be done in 2 passes, exposure corrected and noise reduced and rendered out as 16bitDPX then loaded back into Resolve and stabilised.

 

If I had a more powerful post system it could have been done in a single pass.

 

3 year old Dell with Intel i7, 32Gb RAM, RTX1070 with 8Gb, SSD RAID and single SSD for input and output.

 

This is just a quick and nasty example of what I’m doing at the moment, pushing the camera further and further to see what I can get away with.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Re: Extreme BMD 12K test

Mitch Gross
 

Really impressive stuff. 

Mitch Gross
New York

On Dec 16, 2020, at 4:17 AM, Geoff Boyle <geoff@...> wrote:



The same file as before but with the exposure changed to plus 3 which is effectively rating the camera at ISO 128,000

Zoomed in by 1.5* to match the frame line in my VF that was set for an 8K image within a 12K recording. This was to allow for extreme movements during stabilisation. A frame line of 10K within the 12K would have been more than adequate.

I spent a little more time on the noise profile in Neat this time :-) but stabilisation was just select stabilise, select perspective and click start, camera lock was enabled, zoom was disabled. The manual zoom mentioned above was applied after stabilisation.

 

 

https://vimeo.com/491544224

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:51
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Extreme BMD 12K test

 

I forgot to say that it took about 15 minutes in total to do this. An hour if you include going down in the lift and across the street to shoot it 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:49
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] Extreme BMD 12K test

 

https://vimeo.com/491507391

 

This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld.

The second section has been corrected using BRAW settings only to increase exposure by 2 stops, it was noise reduced in Neat and then stabilised very quickly, it could be better, in Resolve.

 

Because of limitations of my system this had to be done in 2 passes, exposure corrected and noise reduced and rendered out as 16bitDPX then loaded back into Resolve and stabilised.

 

If I had a more powerful post system it could have been done in a single pass.

 

3 year old Dell with Intel i7, 32Gb RAM, RTX1070 with 8Gb, SSD RAID and single SSD for input and output.

 

This is just a quick and nasty example of what I’m doing at the moment, pushing the camera further and further to see what I can get away with.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Re: Extreme BMD 12K test

Geoff Boyle
 

The same file as before but with the exposure changed to plus 3 which is effectively rating the camera at ISO 128,000

Zoomed in by 1.5* to match the frame line in my VF that was set for an 8K image within a 12K recording. This was to allow for extreme movements during stabilisation. A frame line of 10K within the 12K would have been more than adequate.

I spent a little more time on the noise profile in Neat this time :-) but stabilisation was just select stabilise, select perspective and click start, camera lock was enabled, zoom was disabled. The manual zoom mentioned above was applied after stabilisation.

 

 

https://vimeo.com/491544224

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:51
To: cml-raw-log-hdr@...
Subject: Re: [cml-raw-log-hdr] Extreme BMD 12K test

 

I forgot to say that it took about 15 minutes in total to do this. An hour if you include going down in the lift and across the street to shoot it 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:49
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] Extreme BMD 12K test

 

https://vimeo.com/491507391

 

This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld.

The second section has been corrected using BRAW settings only to increase exposure by 2 stops, it was noise reduced in Neat and then stabilised very quickly, it could be better, in Resolve.

 

Because of limitations of my system this had to be done in 2 passes, exposure corrected and noise reduced and rendered out as 16bitDPX then loaded back into Resolve and stabilised.

 

If I had a more powerful post system it could have been done in a single pass.

 

3 year old Dell with Intel i7, 32Gb RAM, RTX1070 with 8Gb, SSD RAID and single SSD for input and output.

 

This is just a quick and nasty example of what I’m doing at the moment, pushing the camera further and further to see what I can get away with.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Re: Extreme BMD 12K test

Geoff Boyle
 

I forgot to say that it took about 15 minutes in total to do this. An hour if you include going down in the lift and across the street to shoot it 😊

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of Geoff Boyle
Sent: Wednesday, 16 December 2020 07:49
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] Extreme BMD 12K test

 

https://vimeo.com/491507391

 

This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld.

The second section has been corrected using BRAW settings only to increase exposure by 2 stops, it was noise reduced in Neat and then stabilised very quickly, it could be better, in Resolve.

 

Because of limitations of my system this had to be done in 2 passes, exposure corrected and noise reduced and rendered out as 16bitDPX then loaded back into Resolve and stabilised.

 

If I had a more powerful post system it could have been done in a single pass.

 

3 year old Dell with Intel i7, 32Gb RAM, RTX1070 with 8Gb, SSD RAID and single SSD for input and output.

 

This is just a quick and nasty example of what I’m doing at the moment, pushing the camera further and further to see what I can get away with.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Extreme BMD 12K test

Geoff Boyle
 

https://vimeo.com/491507391

 

This starts with a totally uncorrected image. Shot at dawn with the camera set at ISO 1600, 12K, 2:40, Q1 and handheld.

The second section has been corrected using BRAW settings only to increase exposure by 2 stops, it was noise reduced in Neat and then stabilised very quickly, it could be better, in Resolve.

 

Because of limitations of my system this had to be done in 2 passes, exposure corrected and noise reduced and rendered out as 16bitDPX then loaded back into Resolve and stabilised.

 

If I had a more powerful post system it could have been done in a single pass.

 

3 year old Dell with Intel i7, 32Gb RAM, RTX1070 with 8Gb, SSD RAID and single SSD for input and output.

 

This is just a quick and nasty example of what I’m doing at the moment, pushing the camera further and further to see what I can get away with.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 


Re: Further experiments with the G12

john sklba
 

>I’m shooting at 12K but with a 8K frameline.

Can I ask what system you are editing on and some of the specs? Proxy workflow?

Thanks.

John Sklba
Memphis, TN.


Re: Further experiments with the G12

Feli di Giorgio
 


On Dec 7, 2020, at 11:37 AM, Bob Kertesz <bob@...> wrote:


Here's the final American Gladiators promo spot from 2008, if you or
anyone else is interested in seeing it:

http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4
<http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4>



Nice one, Bob.


Feli di Giorgio

Visual Effects, Los Angeles


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com



Re: Further experiments with the G12

Brian Heller
 

Back in the days of HyCams and film,
I did a bunch of work for Avco later Raytheon.

They had a room set up with hundreds and hundreds of PAR64 quartz bulbs run at higher than normal Voltages. 

The room had an interlock system to prevent the lights being turned on while anyone was in the space.  I didn’t have sufficient security clearance to ever see it in action, but just seeing it was amazing.   At the time they were filming things like sidewinder trigger mechanisms.

B


On Dec 7, 2020, at 2:41 PM, Bob Kertesz <bob@...> wrote:


Digital Domain did a good amount of work with Fincher around that time
and I was curious if you had a hand in it.
I did a couple of projects at DD with Fincher, but not that one.

Here's the final American Gladiators promo spot from 2008, if you or
anyone else is interested in seeing it:

http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4
<http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4>

Two phantoms, and due to the high speed and depth of field required, far
more light than I had ever seen before or since on a stage - it was
blinding. The post team did a fine job putting it together, and I was
pleased with how it turned out.

Not having seen it for years, I just realized that the woman Gladiator
with the black hair is Gina Carano, with a recurring role on The
Mandelorian on Disney+ (and a role in Deadpool, among others).

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Re: Further experiments with the G12

Bob Kertesz
 

Digital Domain did a good amount of work with Fincher around that time
and I was curious if you had a hand in it.
I did a couple of projects at DD with Fincher, but not that one.

Here's the final American Gladiators promo spot from 2008, if you or
anyone else is interested in seeing it:

http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4
<http://www.bluescreen.com/pix/American_Gladiators_FINAL.mp4>

Two phantoms, and due to the high speed and depth of field required, far
more light than I had ever seen before or since on a stage - it was
blinding. The post team did a fine job putting it together, and I was
pleased with how it turned out.

Not having seen it for years, I just realized that the woman Gladiator
with the black hair is Gina Carano, with a recurring role on The
Mandelorian on Disney+ (and a role in Deadpool, among others).

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Re: Further experiments with the G12

Feli di Giorgio
 

On Dec 4, 2020, at 3:36 PM, Bob Kertesz <bob@...> wrote:

Did you setup the green screens for Fincher’s Rolling Stones music
video “Love is Strong”?
They are walking around New York city as giants. Finished video was
black and white.
I did not.

But I did for the TV promo for the show Gladiators that ripped off the
concept. Immaculately mapped and laid out by our very own Mark
Weingartner. It featured the various Gladiators walking around the U.S.
in various locations.

Bob Kertesz


I see. Digital Domain did a good amount of work with Fincher around that time and I was curious if you had a hand in it.
Beautiful green screens by the way on that Stones project (Love is Strong). Hats off to whoever did them. Sure made our life easier. 

thx

Feli di Giorgio


Visual Effects / Los Angeles


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com



Re: Further experiments with the G12

Mark Weingartner, ASC
 



On 4Dec, 2020, at 15:36 34PM, Bob Kertesz <bob@...> wrote:

But I did for the TV promo for the show Gladiators that ripped off the 
concept. Immaculately mapped and laid out by our very own Mark 
Weingartner. It featured the various Gladiators walking around the U.S. 
in various locations.

Yeah, that was something, wasn’t it…    When the dates slipped I had to leave for Japan, so we laid out the entire job using the actual lenses and, I think we used Bill Taylor, ASC's video-tapped Fries viewfinder... and then I left the country.  Turned out pretty well:-)

When I teach I use that spot as a case study of scaling and of figuring out how to match plate perspective when you don’t have any info.

Mark Weingartner, ASC
Los Angeles-based DP & stuff




Re: Further experiments with the G12

Bob Kertesz
 

Did you setup the green screens for Fincher’s Rolling Stones music
video “Love is Strong”?
They are walking around New York city as giants. Finished video was
black and white.
I did not.

But I did for the TV promo for the show Gladiators that ripped off the
concept. Immaculately mapped and laid out by our very own Mark
Weingartner. It featured the various Gladiators walking around the U.S.
in various locations.

I did do a Mick Jagger video with Fincher, though, when Mick and the
boys were having their little "I need to be a solo act" spat and Mick
released his own album.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor
Extraordinaire.

High quality images for almost five decades - whether you've wanted them
or not.©

* * * * * * * * * *


Re: Further experiments with the G12

Feli di Giorgio
 



On Dec 4, 2020, at 1:39 PM, Bob Kertesz <bob@...> wrote:

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html

Interesting NYT article with some historical errors. This, for instance:

"Fincher moved to Los Angeles, was a founder of an influential production company called Propaganda"

Propaganda Films was around long before Fincher moved to Los Angeles - I had been shooting bluescreens for them on music videos for at least a year by then. Unless he did it remotely from the Bay Area at ILM, he had nothing to do with its founding as far as I knew. His presence, as his reputation grew, did keep them in business a lot longer than they deserved.
-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California


Bob -

Did you setup the green screens for Fincher’s Rolling Stones music video “Love is Strong”?
They are walking around New York city as giants. Finished video was black and white.


Thanks

Feli di Giorgio

Visual Effects (Los Angeles) 


_______________________________________________
Feli di Giorgio - feli2@... - www.felidigiorgio.com


 


Re: Further experiments with the G12

Bob Kertesz
 

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html

Interesting NYT article with some historical errors. This, for instance:

"Fincher moved to Los Angeles, was a founder of an influential production company called Propaganda"

Propaganda Films was around long before Fincher moved to Los Angeles - I had been shooting bluescreens for them on music videos for at least a year by then. Unless he did it remotely from the Bay Area at ILM, he had nothing to do with its founding as far as I knew. His presence, as his reputation grew, did keep them in business a lot longer than they deserved.

I got a call one afternoon from Tim Clawson, one of Propaganda's exec producers, who said they had this raw but highly talented kid from ILM joining the company as a director, he had his first gig with them directing a bluescreen spot for Chandon Champagne, and was I available to be on set to help him if he needed any help and in any case to make sure the footage was usable when it was done. It was the beginning of a few years of collaboration between Fincher and me on a bunch of music videos done on bluescreen, some of which are mentioned in the article. When he started to direct features, he decided he needed a fresh group around him that had nothing to do with his commercial/music video projects, and we both moved on.

An absolutely brilliant if somewhat anal guy who envisioned the finished product long before we started shooting, would hold a full crew meeting before the start on the first day explaining in detail what every setup would be, and you had better be paying close attention because if he had to explain a setup to you again after shooting started, you were almost always replaced. I loved his precision and attention to detail.

Aside from a deep and instinctive understanding of what film making was about, he loved the tech involved, asked many relevant questions, and shooting those music videos and occasional commercials with him those couple of years was one of the real highlights of my so-called career.

-Bob

Bob Kertesz
BlueScreen LLC
Hollywood, California

Mostly Retired Engineer, Video Controller, and Live Compositor Extraordinaire.

High quality images for almost five decades - whether you've wanted them or not.©

* * * * * * * * * *


Re: Further experiments with the G12

Noel Sterrett
 

On 11/26/20 1:15 AM, Geoff Boyle wrote:
I’m shooting at 12K but with a 8K frameline.
Great minds think alike.

David Fincher has been shooting  20% larger than what he needs to stabilize since "The Social
Network". He stabilized every shot in "Mank" that way.

https://www.nytimes.com/2020/11/19/magazine/david-fincher-mank-interview.html


Re: Further experiments with the G12

Noel Sterrett
 

Great stuff Geoff. Love the high-tech windmills.


On 11/26/20 1:15 AM, Geoff Boyle wrote:

In Resolve I am stabilising the shots withing the 8K area so I have a huge amount of repositioning room. I’m using point stabilisation most of the time.

I’m then adding motion blur so that anything moving in shot looks “normal”

 



Re: Digital Cinema Society tests of Blackmagic URSA Mini Pro 12K

Guy Mastrion
 

That’s a great write-up James. Clearly explains the system and your process. The images look great too. Thanks for your work on this and sharing the output. 
--
Guy Mastrion
Creative_Director_DP_Professor
www.linkedin.com/in/guymastrion
insta: gmastrion


Re: Further experiments with the G12

Guy Mastrion
 

 Thanks for posting the appetizer .....  now for the main course
--
Guy Mastrion
Creative_Director_DP_Professor
www.linkedin.com/in/guymastrion
insta: gmastrion


Re: Digital Cinema Society tests of Blackmagic URSA Mini Pro 12K

James Mathers
 

Geoff,
    Your kind words and encouragement mean a lot to me.  Thank You!

Your Pal,
Jim Mathers
Studio City, CA


Re: Digital Cinema Society tests of Blackmagic URSA Mini Pro 12K

Geoff Boyle
 

Great article and video. Well worth looking at.

 

cheers
Geoff Boyle NSC FBKS
EU based cinematographer
+31 637155076

www.gboyle.nl

www.cinematography.net

Become a CML Patron https://www.patreon.com/bePatron?u=43292735

 

 

From: cml-raw-log-hdr@... <cml-raw-log-hdr@...> On Behalf Of James Mathers via cml.news
Sent: Tuesday, 1 December 2020 03:47
To: cml-raw-log-hdr@...
Subject: [cml-raw-log-hdr] Digital Cinema Society tests of Blackmagic URSA Mini Pro 12K

 

The Digital Cinema Society has posted test material shot with the Blackmagic URSA Mini Pro 12K camera.  Along with an essay from our monthly eNewsletter, it is designed to to look at the challenges and potential benefits of shooting 12K.  The tests were shot with a volunteer skeleton crew over two half days during the pandemic, (so be kind.)  Please note that the closeups in the interview setup and the bar scene are digital zooms from the 12K master shot, and that the Chinatown sidewalk and tunnel shots were highly stabilized, which would not have been possible without the extra resolution.

Here's a link to my DCS newsletter essay with background and analysis:  http://www.digitalcinemasociety.org/essay/where-the-12k-rubber-hits-road-james-mathers-tests-blackmagic-ursa-mini-pro-12k#read

And if you want to skip ahead to the finished video, here's a link to the HD SDR version on Vimeo:  https://vimeo.com/485764350
(Note that a 4K HDR version will also be posted shortly.)

James Mathers
Cinematographer and Founder of DCS
Studio City, CA

281 - 300 of 1984