I was thinking of picking up one of these as a b-cam because I’ve seen full kits for less than $3000. Crazy to think they were $40,000 at one point. Haha.
I was curious if the K-X was overkill for real estate and I’m convinced it’s not thanks to your video. I want that dynamic range! You got some beautiful scenes. Thanks for making this video!
Hello. I am currently debating between the 14gm and 1224gm underwater wide angle lens for my Sony full frame camera. Although 1224gm is heavier, I don't think it will make much difference underwater, and some people say that 1224gm has more distortion. What do you think? I'm curious what more you recommend.
Im confused about this workflow. Is the LUT you are using a Correction Lut or a Creative Lut? Correction Luts usually go on first thing. Creative Luts go on at the end.
This was awesome thank you! I only have one question, what if you have the camera LUT to convert it properly, then can you apply a creative LUT on top of that? How would that process work?
Also, how do you export your files? Do you use the pro res option or H264? I get a warning when trying to export from h264 but the apple pro res option makes the file huge!
Can I please ask if you experienced any ghosting or reflection issues, which is common with front lens filters with light at certain angles ? I stopped using front filters because of ghosting and bad reflections when shooting hand held video with movement. If these clip in filters don't suffer from that because they are behind the lens that would be a very significant difference.
Thank you for making this video! I copied your techniques with minor adjustments, and it made a lion fish in my go pro video look that much more gorgeous 😀🙏
@Guillaume Cornet This is a great video! I have a question, what are the last steps to all of this? Once you've color-corrected things and you're ready to export, what do you do exactly?
Just found your channel! Any update to this workflow now in 2023-2024? Also, What denoise plug in do you normally use if or when you need to use? The one built in the Final Cut (The latest version) kept crashing during rendering. Thanks😊
Amazingly done! I have a Ronin S too and was wondering if anybody else uses it to balance heavy telephoto lenses. You nailed it! I can balance relatively well, but I learnt a lot from your video. Thanks and keep posting more.
Why is my footage already looking so saturated and not flat. What am I missing? I know it should be somewhere in the meta data, but can I reset it project wide, to be able to color correct and grade every clip? I badly need to add some mood to the footage and that is barely possible with everything being so saturated already. 🙂
Thank you @@GuillaumeCornetfilms , yes I actually did. And I understand. And I was pretty sure I answered my question myself here, but the answer must have been disppeared somehow. Or maybe I just didn't really post it. I am sorry. I changed the R3D RAW settings (Color Space and Gamma) of my entire library and the clips in the timeline appeared flat as I expected. Now I am still cutting but will add an adjustment layer for the LUT later, and then color correct and grade the clips in the timeline. Got it! Thank you so so so much Guillaume! - Unfortunately I sold my Komodo in the meantime... 🙂
Vidéo clair, précise, et très instructive. Je suis un amateur qui bidouille un peu depuis un peu plus d'un an en discontinu mais depuis quelques temps j'essaye de réellement améliorer le rendu de mes vidéos. Je connaissais un peu tous ces tricks mais je ne pensais pas que l'on pouvait pousser aussi loin la colorimétrie avec tant de minutie. Je n'avais jusque là jamais filmé en dlog/cinedlike etc et je ne comprenais pas pourquoi j'avais des résultats si médiocres à l'étalonnage. Je vais essayer maintenant de tourner en flat et voir si j'arrive à tirer mon épingle du jeu. Merci encore pour cette vidéo, me voilà désormais abonné !
Such a cool insight man! Loved it. Was thinking about that exact same setup with the RS3 Pro and that Digitalfoto Ringgrip since I am still rocking the OG Ronin 1 gimbal and it's starting to die. Cuz of batteries getting very hard to find
I wouldn't recommend the Digitalfoto though, I've got some issues with the power mount that is getting loose. Smallrig or Tilta's could be a better option.
@@GuillaumeCornetfilms reason why i consider this one is the fact that this ring grip lets the gimbal to hang substantially lower compared to the smallrig one. The Tilta one is way too high for my needs. (I am mostly filming lowered cars and getting a nice wheel shot with a Gimbal that high is simply not possible. Looks odd. But thanks for the insight man! Very much appreciated
@@pascalbraendle i agree for the tilta one and that one of the main reasons I didn't go with. Regarding the smallrig one, can it go underslung? I yes, I would even remove the bottom part of the ring, which I know is bigger for this one, this means you could technically touch the ground with the camera
thanks for this particular comparison. well done. To me personally Air2s 5.4k resolution is really making a difference. Althou the colors are SO off compared to M2pro. I always liked M2pro footage MORE compared to air2s. It's just more filmic.. look more pro. and has more details in the shadows (in every clip I ve seen). M2pro for me. Despite lack of 4k60 and 5.4k modes.
