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Color Grading the 5D MKII for Case Combines

There have been so many great comments on the BTS of the Case Tractor commercial that I wanted to share the 30 second spot with you. I am always comparing the 5D to Reversal Film Stock because you have to get it close in camera. Lets go on a journey to see how well we did. I will show you the offline edit of the MOV. files out of the camera that were decompressed with CS5. This decompressor is phenomenal. Adobe has it going on.

The first cut will be an offline edit and then next one will be the finished spot done on a Speed Grade DI color correction system. Andrew Huebscher was my colorist. http://www.imdb.com/name/nm1030152/ He is extraordinary with this platform. I have not seen very many people with that level of talent. Andrew is a Director of Photography with a great eye for color and contrast. Additionally, he can track, move and create windows that do magic things to push the 5D camera to perform at its very best. Check out “The Last 3 Minutes”, Navy Rescue Swimmer, Navy Diver, as well as Case. These are perfect examples of his talent.  Bruce Hermann at Lost Planet  http://lostplanet.wiredrive.com/l/p/?presentation=96cd4fa04afa270cd4e7fb4774cb2156 edited the spots for me and I love his style and cutting pace.  Enjoy!!

Here is the un-color corrected offline edit done by Bruce Hermann at Lost Planet

Now here is the finished product with voice over, music, and sound design.


The following 5 screen grabs from the spot tell you what Andrew and I did in the color correction bay.

Un-color Corrected Aerial Shot: Crop Duster Cam 3-5D's mounted to the landing gear of a Cessna single engine

Un-color Corrected Aerial Shot: Crop Duster Cam 3-5D’s mounted to the landing gear of a Cessna single engine

Color Corrected Aerial Shot

Color Corrected Aerial Shot

This was an interesting shot. When we got it to the edit bay it was soft because the engine vibration was blurring every other frame. So Lancer at Bandito Brothers Post extracted every other frame and then used Twixtor to frame blend. I feel it works great for a 2.5 second shot. Or we could have hired a gyro stabilized Cineflex mount for a A-Star chopper, flown in the pilot, the Aerial photographer and the mount. $25,000.00 later you would have had the same shot.

We increased the contrast on this and added the rich golden wheat color that is the thread that takes you through the whole spot. That was it.

Un-Color Corrected wide shot of a wheat field at sunset

Un-Color Corrected wide shot of a wheat field at sunset

Color Corrected wide shot of a wheat field at sunset

Color Corrected wide shot of a wheat field at sunset

On this one we did a slight vignette on the edges. Andrew and I increased the contrast and we put a power window on the wheat to dial up the richness and saturation of the afternoon sun.

Un-Color Corrected shot of our Actor driving the Case Combine

Un-Color Corrected shot of our Actor driving the Case Combine

Color Corrected shot of our actor in the cab of the Case combine

Color Corrected shot of our actor in the cab of the Case combine

The Farmer in the cab was shot on a 50mm Kowa. We grabbed the wheat with the secondaries and brought out its warmth. We put a power window on the actors face to bring up his detail and warm up his skin tone. We then took another power window and brought up the luminance level of the LCD screen in the upper left hand corner.

Un-Color Corrected shot of combines harvesting at sunset

Un-Color Corrected shot of combines harvesting at sunset

Color Corrected shot of combines harvesting at sunset

Color Corrected shot of combines harvesting at sunset

This is a 75mm Kowa, with the beautiful sunny side up flare in the lower left hand corner. We put a slight vignette on the shot around the edges. We warmed it up slightly and increased the contrast and saturation, but very slightly. Notice how nicely the sun blows out in the frame, no HD hard edges. This feels like film, like digital film.

Un-Color Corrected shot of farmer in the field at sunrise

Un-Color Corrected shot of farmer in the field at sunrise

Color Corrected shot of farmer in the field at sunrise

Color Corrected shot of farmer in the field at sunrise

This was also shot on the 75mm Kowa, at sunrise. I loved this location because it felt like the landscape was right out of a Margaret Bourke White print during the great depression.

All of us are looking at this endless horizon of creative expression, ARE YOU READY? I know I am.

Author: Shane

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64 Comments

  1. Wow… Well done to all invoved… Very nice work.

    I’d also like to thank you for the constant insight and inspiration that you so unselfishly provide. I’m over here in Scotland doing the one-man-band thing and up till recently was shooting HDV for clients. Now I try and find ways of using my 5D as much as possible thanks to guys like you, constantly pushing the envelope.

    I have big dreams of filmmaking and hopefully one day I’ll get the chance to work with guys like you.

    Thanks again,

    Scott.

    Post a Reply
    • Scott Russell, Thank you so much for those amazingly kind words. It seems like you are kicking ass and taking names in Scotland. Keep up the good work and keep pushing your dreams will come true. Make it happen.

      Post a Reply
  2. Shane,

    The finished spot is even better than I’d anticipated — which was something pretty sick. :-)

    Fantastic work, as always.

    Cheers!

    Steve

    P.S. Stay tuned for some color grading questions. Thanks.

    Post a Reply
    • Steve K, Thank you once again for you continued support and kind words. I will be at the ready.

      Post a Reply
  3. Hi Shane,

    You’re very welcome. :-)

    Now …
    This isn’t a color grading question, per se, but could you explain the issue of decompressing the 5D’s raw files before editing? Jacob Rosenberg touched upon it in the FreshDV interviews, and you mentioned decompressing with CS5, at the top of this article. (And confusion ensued.)

    Thus far, I’ve been importing raw files into After Effects or Premiere Pro; never entertaining the possibility that they could look any better, since they look the same (to my eye, anyway) in AE or PP as they do in Quick Time or straight off the camera. (Which, on a 52″ LCD, is bitchin’!)

    Please, please, please sort out this confusion for me.

    As always, sincerest thanks for your time.

    All the best.

    Steve

    P.S. By the way, it took a while, but I finally saw The Skulls. There are so many amazing shots: I particularly loved the ones of Joshua Jackson, on the rowing machine, flying in and out of focus. Too cool. Great work.

    Post a Reply
    • Steve K, hi man, I had Jacob Rosenberg head of Bandito Post answer your questions. Check it out above. Thank you so much for all of your kind words and support. I am glad you like “Skulls,” that was my first studio picture. I loved shooting the scullers, they were amazing.

      Post a Reply
  4. Hello Shane,

    I would also love to know what is the decompression technique you have utilized using CS5. Which codec did you convert the native h264 5d files into?
    Or are you referring to CS5′s new ability to play the native files relatively well without rendering/transcoding?

    Also, I’m really curious about what it is you meant by the “flat picture styles” actually being a huge mistake. You also mentioned that the in-camera sharpening and other features were actually decent as well? Or was it the other way round. I’m just wondering if you could elaborate on that, and shed a bit of light on a safe, standard picture style you guys at HV use most often.

    One other question; what are you guys using for remote monitoring? Is HV using the IDX Camwave?

    Always looking forward to your updates! Wish I could make it down to the bootcamp…

    Cheers,
    Cedric

    Post a Reply
    • Cedric Yu, I had Jacob Rosenberg head of Bandito post answer your questions above. Thank you so much for the support and I want to see you and Steve K at my bootcamp. HOOYA!!!

      Post a Reply
  5. Hi Shane, again a million thanks of sharing real life examples of productions.
    Am a big fan of your blog.

    Post a Reply
  6. I would also like to know about this decompression technique.

    I also second Cedric Yu’s question about remote monitoring. Specifically, how do you setup a video village when using the 5D?

    Post a Reply
    • Teddy Smith, Jacob Rosenberg the head of Bandito Post answered both of your questions above, on the monitor for video village I have a very low tech, but exceptionally good for the cinematographer and the client. I have two HP 24″ Dream color monitors with a HDMI Splitter and repeater. I feed HDMI out of the camera to the splitter and then one lead goes to my monitor that I mount on the dolly or next to my sticks and then the other lead goes to the client in video village. If I am doing handheld I go about it two ways. I feed them Standard Def from my on-board 6.5″ Marshall monitor or I shoot it without them seeing it or I operate looking through my Zacuto Z-FInder and then I go over to the Dream color monitor hook in and show them playback. I warn all the clients and agency that this is how we have to roll to be able to provide the price point of the spot and the speed that is required and they are loving it.

      Post a Reply
  7. Shane asked me to chime in to this discussion, so I will jump in.

    These spots were cut with Media Composer 4, so at Bandito, we imported all of the RAW MOV files into into MC4. The media is auto-converted to Avid MXF media and then we send the Bins and Avid Media over to the cutter. All of the original native MOV files remained on our servers at Bandito Brothers while the spots were edited by Bruce Hermann at Lost Planet.

    When the spots were complete, we received the Avid Bins from LP and we created EDLs from the Avid Projects. Those EDLs are imported into CS5 and then we link each of the offline shots in the spots to the Native MOV file on our servers. In very short order the cut is conformed in its native format. Once the spot is conformed in PP CS5, we export a flat file which is used for coloring in Speedgrade.

    That is the essence of the conform process. In certain instances we have converted the Native MOV files into CineForm AVI files (in the case of Twixtor). Recently we have come to find that conversion to ProRes yields a contrast shift and overall darkening of the image (clearly visible in a waveform monitor), so if we do convert to another intermediary format, CineForm is the choice.

    In regards to color space and quality, as we have conformed in CS4 and CS4 and looked at files in FCP, Quicktime Player and Avid, we feel that CS5 is the most color accurate piece of software when opening these files. We have not experienced any gamma shifts or color shifts going out of Premiere Pro CS5 into DPX or CineForm (which serves as our mastering/export formats to feed our color system).

    Hope that answers some questions.

    Jacob

    Post a Reply
    • Jacob Rosenberg, thank you so much for helping out. You rock!!

      Post a Reply
  8. Shane,
    The spot looks fantastic. I’m putting together a budget for feature to be shot with these little cameras and was wondering how you’d finish; output to film, tape, other media? Additionally, can you recommend some post houses that can fulfill my color correction and output needs so I can give them a call for pricing?

    As always, thank you,
    John

    Post a Reply
    • John David Wynne, thank you so much, I have done both. Output to film looks amazing and adds that grain, as well as doing it all digital and adding grain with Cinnafilm. They are this amazing company that does specific looks for the 5D, and I have to say. They are knocking it out. For a DI house I have 3 recommends all in a budget order, most expensive to very affordable . Top dollar will be Dave Cole at Laser Pacific, incredible room, and an amazing eye. Second choice would be RAW works, Neil Smith runs the place and understands this platform very well, his colorist are top notch. Third would be Bandito Post, Andrew who colored all of my stuff that you have been seeing on the web, including “Last 3 Minutes.” I hope that helps and you are very welcome.

      Post a Reply
  9. Shane,

    Your Case Tractor spot looks great!

    We just finished principle photography on our feature “Absentia” using the 5D2. It was my first time working as a DP. We are now in post and doing pick-ups when needed. The editor already has 1/3 of the film cut and the composer is working on the score. We are currently looking for someone to do color grading and sound design. Any recommendations would be awesome, we are trying to get this thing looking as good as possible before sending it to our contacts at the studios. You can see our sizzle reel from the first week on Youtube http://www.youtube.com/watch?v=Gn33BvdvS-o

    Rustin

    Post a Reply
    • Rustin Cerveny, I would contact Andrew at Bandito Brothers 310-559-5404. He will rock it out for you. He understands the platform so well and doesn’t expose its weakness.

      Post a Reply
  10. Dear Shane,

    As a filmmaker just starting out, I wanted to thank you for your generosity with this blog. I check it daily and find it full of great advice and truly practical tips. I’ve made a few short films in HD and have just made the jump to DSLR filmmaking. Your breakdown for the Case combine spot was immensely helpful and the finished product looks amazing. Congratulations to you and your team for rocking out this brave new world and being the avant-garde for those of us trying to figure out how it all works.

    All the Best from France,
    Rish

    Post a Reply
    • Ambarish, thank you so much for your kind words and commitment it forwarding this revolution. I want to extend an invite to our Bootcamp. So many people are coming from around the globe and you would be an amazing addition to the class.

      Post a Reply
  11. The spot turned out great. I watched the first version and thought “that voice sounds familiar” thinking that you were going to do the voiceover. Ha.

    Your response to Teddy Smith of the HD monitors was good to read. I did my first film ever, only having a rented 5DM2, my friends Canon Lenses and 24 hours to write, shoot, edit, and score a film. I didn’t have any viewfinder so I borrowed a 24″ LCD tv and used it to monitor and get focus ( the 85 1.2L lens required it, oh boy ). I thought that approach worked great for what little equipment I had, so it was good to read that I am not just nuts hauling around a TV.

    BTW, I won 3rd place, which was cool, but winning best cinematography made me happier than winning any place. I entered the film race because of my love for film and watching “The Last 3 Minutes” and being inspired by what can be done. Your work inspires, and your blog enlightens.

    Mel

    Post a Reply
    • Mel Haynes Jr, Thank you again for your kind words and support. I try to keep it simple and intimate with the actors, not in some sweaty black tent. Congrats on best cinematography. That rocks!! Po Chan would love to hear how her film is inspiring all of you. I can tell you that when I showed this to the studio exec’s on the 60′ screen at the Mann’s Chinese all there jaws were on the floor. I see the bootcamp in your future, what say you!!

      Post a Reply
  12. Hey Shane, The Case Tractor spot looks awesome, nice work! On a separate note, I’m curious if you’ve ever had an issue with any of the 5D’s you’ve ever worked with having a drop frame issue? I’ve never noticed it before, but my 5D recently had some drop frames on a shoot. And I’m pretty sure it’s not a CF card issue i’m using Lexar 300X maybe I should switch to 600X? Any input is greatly appreciated! Thank you.

    Steve M.

    Post a Reply
    • Steve M., Thank you so much for those kind words. I only use the SansDisk Extreme CF cards that are 60mb/sec. I have had drop frame issues before. I had two on Last 3 Minutes and had to use another take. Not sure. Never had them on “Act OF Valor” at 30p, I wonder if it is a 24p thing. Do you have the latest firmware update?

      Post a Reply
  13. Shane, yes I do have the 2.0.7 firmware and I have heard of others having the same issue. Having to use that other take is what bothers me, as you don’t know that your perfect take has a drop frame till you’re back in post, oh what an imperfect world!! I shot this last footage at 30p so I personally don’t think it’s a 24p thing. I also, at one time, had a t1i and it had the same issue, so I’m thinking this is a DSLR anomaly. Any chance of you chiming in on Canon on this issue? They’ll listen to you!

    Steve M.

    Post a Reply
  14. Shane,

    Just adding my two cents on the drop-frame issue for a second:
    Steve M (and Shane), can you recall at which ISO(s) you were shooting? I’ve only had it happen at ISO 1600 and up.
    Whether or not it’s relevent, I was shooting at 24p.

    Big thanks to Jacob Rosenberg for walking us through your intermediate process. That said, my initial question may have been poorly worded, but what I was ultimately asking was whether the raw 5D files MUST be converted (via CineForm or other process) before importing/editing in Premiere Pro or After Effects, for optimal results.

    As always, thank you for your time and dedication.

    All the best, my friend!

    Steve K

    Post a Reply
    • Steve K, I have had drop frames at 640 ISO at 24P. I Feel it is a shutter anomaly. Yes, you have to convert those files, whether it be ProRes, Cineform or Adobe CS5. Thank you so much and you are welcome.

      Post a Reply
  15. Hey Shane,
    I too have had the drop frame issue. I had it once on a 7D and on a 5D several times. I sent the 5D to Canon and they replaced the sensor and the board, which seemed to help. The CPS people are excellent. However, when I spoke to Canon rep in charge of video DSLR market, he gave a a Toyota response, basically according to him, it was impossible, it must be the card. Humm, maybe I should adjust my floor matts. The camera was being used at 30p, ASA 320. We use Lexar 16 gig 600mps cards.

    Thanks for the hugely informative post and for Jacobs walk through of the post flow.

    Depending on my shoot schedule, I am on hold for a commercial that week, I would love to join you at Boot Camp. Sounds like a great time.

    David

    Post a Reply
  16. @Steve K & Shane, My drop frames came at 4000 ISO, I’ve had this drop frame issue at much lower ISO’s on a T1i.
    But not to worry, Shane is going to iron this all out with Canon, right Shane?!! I guess one thing has to be remembered and that is this camera was never meant to do what it’s doing, Last Three Minutes, Case Tractor, as well as others that have produced some spectacular work with this camera. I guess a few drop frames here and there is part of the deal, for now.

    Post a Reply
    • Steve M., that is exactly right, but I am meeting with all of them in NYC in Sept. so keep your fingers crossed.

      Post a Reply
  17. Hear, hear!!
    … then, Shane will get them to fix the 8-bit compressed color space, vertical banding, and rolling shutter skew (my pet peeve) — and then we shall conquer the world!!! (MOUHOUHOUHAHAHAAAAA!!!)

    But seriously, folks …
    Shane, I’m still slightly perplexed about the conversion thing: when you say “Adobe CS5,” which specific program are you referring to?
    Sorry to be such a newb/pain. :-)

    Thanx!

    Have a great one, y’all.

    Steve K

    Post a Reply
    • Steve K, Adobe’s Premiere editing system, there edit suite software has this CS5 decompressor that opens up more info. than ProRes or Cineform.

      Post a Reply
  18. That’s funny!! We can call it SHANEVISION, yes, I can finally see the light! Sorry, getting carried away. Honestly, I’ve read on the internet that many 5D owners are having the same anomaly, so my thinking is Canon, at some point, will address that issue.

    Post a Reply
  19. Shane,

    I’ll definitely check this out.

    Danke schön, mein Freund.
    (Don’t ask … I’m feeling loopy … too much sun.)
    :-)

    Have a great day.

    Cheers!

    Steve K

    Post a Reply
  20. Shane, that is great news! I will definitely keep my fingers crossed and thank you for being the Canon 5D ambassador, if you will, it is greatly appreciated.

    Steve M.

    Post a Reply
  21. Yes, ditto.

    We’re all behind you, Shane. Go git ‘em! :-)

    Heartfelt gratitude,

    Steve K

    Post a Reply
  22. I see that there is no rolling shutter problem. Anyone have any experience with that?

    Post a Reply
  23. Tony,

    No rolling shutter problem? As previously stated (8 posts up), it’s my pet peeve. I’ve only had one “roll bar” incident, but skewing (or jello) is evident in any moving shot — and so annoying — obviously, the more movement there is, the worse the skew.

    Personally, more than any other, I look forward to Canon resolving this particular issue. I s’pose it’s all down to processor speed — how hard can that be to fix? :-)

    What about you?

    Have a great day, everyone.

    Steve K

    Post a Reply
  24. Thanks for sharing the breakdown, Shane & co. Great stuff. A question on grading: I don’t see huge color departures from the original footage; apart from the shot with the actor where you had a power window (presumably a tracker locked on his face to lighten it a bit, & on the screen), did you have to use a lot of secondaries elsewhere in the project?

    With Colorista II out now, I’m not seeing a whole lot that I couldn’t do in Color.app before. I really, really hate rendering out clips (or as in your case, an entire flat file!) and “baking” the color in them. The kind of editing I do (corp. spots) calls for a lot of re-editing. Most of my spots also go to DVD, projection and web (some broadcast in various markets worldwide), as opposed to theaters and HDTV.

    My question is, when we’re talking about building looks, at what point to do you call in those (talented and spendy) pro color graders?

    Post a Reply
    • Allan White, you are very welcome and thank you for your kind words. Yes we used some secondaries to bring out the golden quality in the wheat and take the red out of the sky The color grader is brought in right at the end of the project. You get the image as close as you can and then bring him or her in to finesse. To stretch this cameras latitude it is absolutely essential to use power windows and some secondary control.

      Post a Reply
  25. Hi Shane

    Thanks for sharing this case study. I am going to mail a link to my son who is just starting out on the filmmaking path. Seen in isolation, the “out-of-the-box” shots looks pretty good and yet even the fairly subtle changes you made transform it something so much richer. Are you still using the picture settings you showed us in December?

    Is that your good self on the “before” voice-over as I think I prefer it? It seems more genuine to the English ear.

    Post a Reply
    • Andrew Howe, you are so welcome, the picture styles are the ones I designed for “The Last 3 Minutes.” Yes that is my voice in the before color correction. Thank you again for your kind words

      Post a Reply
    • Yurij, Nicely done, I love the shot of the combine blasting through frame. I love the silhouette of the shirtless farmers and the combine in the distance that reveals the sun flare. Awesome!!! What lens did you use on that?

      Post a Reply
  26. I`m glad that you like it, i used old Jupiter 37A(135,3.5), he gives a very soft image on the sun

    Post a Reply
  27. Hi Shane,

    I am now on PP CS5, wow love the workflow. I have been A FCP user for a long time, the flow with the DSLR footage is great.

    I just shot this 3 min test, with one 7D, Zeiss ZE 50mm and Zeiss 18MM, all hand held (just the camera) no other gear or even a tripod. Love working with the new gear!!

    http://vimeo.com/13770501

    Post a Reply
    • Jay Galvan, CS5 is the way to go. I have been talking to the guys over at Adobe, they are just getting warmed up. I know it is so fast and immediate.

      Post a Reply
  28. Incredibly rich and punchy in that final edit. Marvelous work… as usual. Hope all is well.

    BTW: I’ve been seeing your NAVY video work in the TV spots this week on ESPN. NAVY has sponsored some stuff for the XGAMES, so they’ve been running quite frequent. Well you probably know all this, but it was super cool to see it and then go “HEY I KNOW THE GUY WHO MADE THAT!” lol.

    RomanM

    Post a Reply
  29. Hey Shane, i noticed you recently mounted a few 5ds to a crop dusters landing gears. I am DPing a job for farmers insurance in the coming weeks and the agency today decided they want ariels. Could you go over the rigging and grip equipment used to mount these cameras securely? Thanks in advance!

    -drew

    Post a Reply
    • Andrew Wehde, you should contact my Elite Team member David Knudson at gripsideinc@earthlink.net. He can go over all that stuff with you. We definitely needed vibro isolation. So you can talk with him about that. There was someone on the case blog that had made a vibro isolator for the Cessna. Go back to that blog and check it out. For camera gear you will need lenses that you can control the exposure on the big wheel on the back. So it is either Canon or Zeiss ZE. Have a Marshall monitor inside the cockpit so that you can somewhat judge exposure and you will be set. If the Cessna is vibrating like ours was you will have to extract every other frame and then twixtor it to frame blend or the shot will look all out of focus. You are welcome. I hope this helps.

      Post a Reply
  30. quote from 1st post by Roman M France says:

    “BTW: I’ve been seeing your NAVY video work in the TV spots this week on ESPN. NAVY has sponsored some stuff for the XGAMES, so they’ve been running quite frequent.”

    Yes..I also saw those Navy Seal ads during the XGames and wondered why
    they looked so very soft. Wondered if there was a broadcast/tape problem
    since the same clips looked tack sharp online here on the website.

    Post a Reply
  31. Hi Shane, thanks again for the wonderfully informative blog. One thing that I haven’t seen yet (and maybe I just missed it?) is information about shooting the 5D or 7D for a film finish. Have you or anyone you know done this? How does the H264 compression that comes out of the cameras hold up once its been transferred to film? Are there any special steps in post production that you would recommend to achieve the best possible image for a film print? Please help!

    And thanks again! You make Emerson College proud!

    Alex

    Post a Reply
    • Alex Disenhof, The codec holds up brilliantly. I have been conforming all my files to Adobe CS5 and then color correcting from there. We have done several film out tests for “Act of Valor” and “The Last 3 MInutes.” They have dropped jaws. Big thing to understand is that you cannot put a standard LUT for film on this codec. It falls apart. You have to go with the CS5 files and work from there.

      Post a Reply
  32. Hi Shane, thanks for the response. Do you go with the new Adobe CS5 because it means you can avoid transcoding the footage to something like ProRes for Final Cut Pro? Is there an advantage to this besides saving time, when considering a film out? Because you aren’t applying a standard film LUT to this codec, do you do your color correction in After Effects instead after shooting with whatever settings you dialed in in the camera?

    Thanks again,
    Alex

    Post a Reply
    • Alex Disenhof, CS5 gives you a 10 BIT converted color space that you have to transcode if you are going to put it into a Davinci:Resolve or a Luster, or a Pablo, unless you have a pipeline that we had on the Bootcamp where we send it in via HDSDI and there were not any files that needed to be transcoded. Putting any film LUT on this footage is the biggest disservice you can do to the 5D. You have to work off of the CS5 file that goes in natively to Premiere Pro and then work from this base. I take everything that I have shot, getting it as close as possible and then color correct with a high end color corrector. I do not use after affects.

      Post a Reply
  33. Hey Shane, loved this work and the explanation behind it.
    In the written commentary, you mentioned “power window” several times.
    What exactly is that?

    Thanks :-)
    -KahL

    Post a Reply
    • Kahleem, Power windows are sphere shapes that you can mold into any shape let’s say I put a circle around the monitor in the combine, we then change the circle to a square around the monitor and then we were able to pull more information out of the blacks just in that window as well as color,and not effect the rest of the image. This tool I find is absolutely essential for this 5D platform.

      Post a Reply
  34. Oh I see, it’s essentially similar to a few processes in Photoshop. Very nice.
    I used Premiere CS5. Would the same workflow be available there?

    Post a Reply
    • Kahl, yes there is a nice little color corrector in CS5.

      Post a Reply
  35. It’s so inspiring to see a professional who is willing to take time out to do a write up like this to teach others. Thank you so much, Shane. Your efforts are deeply appreciated.

    Post a Reply
  36. Hi Shane, I love your breakdown on your Case Combine TVC.

    I teach PremierePro in college but when I’m editing corporate films, I use Edius.

    With regards to the power windows, I find using GrassValley’s Edius extremely helpful. Its got a FreeShape Mask that let’s you create any shape mask like the bezier curves in AE. I’ve been editing Hdslr footage raw with Edius without any transcoding.

    The footage plays back so smoothly on even slower computers. Just wondering about this since most folks prefer FCP or PremierePro… What are your thoughts? Are there any issues with Edius that I didn’t know about?

    Post a Reply
  37. Some people say Premiere pro cs5 doesn’t give you 10-bit color space footage..Footage has to be converted cineform or prores..Is that true?
    Thank you

    Post a Reply
  38. Hi Shane,

    can you give me a light? I’m buynig some lenses to use in my small projects with my 5D. I have a set of Carl Zeiss Contax/Yashica AE and Zeiss Zebra M42/P6. I Have a Jupiter 9 wich I really would like to use in some projects cause his look is really nice, but I’m having some problems finding more lenses to complete the kit since theres only 85, 135 and 200mm. Since you are so experienced in HDSLRs shooting I would like to know if you can me advise me with some other russian brands with that “Jupiter” look. Hope dont be a stupid question. Best regard. Thank you

    Post a Reply

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