Produced this 2 minute short to test Sony`s brandnew 4k camera – PMW-F5.
Director / DOP: Amin Oussar, 1st AC / 1st AD: Patrick Grzanna, Make-up: Aleksandra Liniewski, Equipment: NEVEX Cinematography / Tremonia Media GmbH / Spottlight Filmlicht Dortmund, Starring: Theresa Falke, Farid Oussar, Isi Brown, Car: Johannes Suntrup,
Since my associate Karsten Jäger invested his bucks for this amazing camera (some weeks ago), i can´t wait to test this Baby Alexa (Oh yes)! Therefore, i arranged my random founded resources (a car, three models and a street) and decided to stage a short, thriller-like scene. Unfortunately, my zeiss high speed lenses wasn’t available. So I decided to take the (duclos PL-modified) Tokina 11-16 for the wide shot, the sony 85mm PL for the car-through shot – and for the close-ups (my current-honey-lens) – the Jena Pancolar 1,8/50mm.
Because of some critical reactions of testing the camera on this way, i try to explain this “way”:
For me – all these laboratory comparison tests between cameras are still the wrong approach… when i work with cameras ( such as PMW-F3 or red EPIC) i
basically exactly know, how the picture will look like. For example, when my eyes discovers some filmable think, my brain is converting this “reallity” into the look of the current camera. When i´m working on a look, i need this “converting”, because the raw-image of a camera is same like a film stock or a type of paper. When the paper is toned off-white – all the colors will look different. So primary, i wanted to see, how my eyes see´s the reallity and how the camea does.
In my f5-test, my “filmmaker”-brain asked the easy question:
Can i receive the images i want with an “easy” / “general” preparation?
Every one knows the infos about this camera, that facts: Raw, 2000ASA, an ALEXA-like body… but whats about shooting at a working aperture at T2.8 – in the night? Or skin tones in real-environments?
Thats why i shooted 3x different types of skin tones ( a light-skinned girl, a mediterranean-skinned adult and a black-skinned boy) – and - i uploaded a 4k, ungraded version – now every one could get a “feeling”, how the “material” – straight out the camera – looks like…
Secondary – of course – the question every production company will ask: The workflow “in reality”… from arranging the accessories, working @ set to post-workflow… now i know: “Ok, it´s working.
Good Perfect camera. I would like to rent it for big projects…”
Next time, i will upload some RAW-Files – but – they´re really big…
It was quite easy to transfer the MXF-Files into premiere – thanks to RAW Plug-in from Sony! On a Retina 15″ Macbook, you can edit your shots pretty well. At Sony´s RAW-Software, you can change settings like Color Temperature, ISO, etc. – like RED Cine X or Adobe RAW. Grading is another chapter… i tried to correct the colors in premiere, and play around with RGB-Curves.
Some technical informations:
- 10 minutes 4k-Files = 75 GB!
- working aperture was T2.8!
- i worked with PL-lenses and a M42-Mount lens – adapting on nikon-mount. To get the nikon-m42 mount to the camera, i used the MTF Nikon G auf Sony PMW-F3 Adapter, but – the flange-to-sensor distance wasn´t correct… and the lens is working on Nikon APS-C cameras… i will find out, what was the problem…
Maybe, i will upload a “real” RAW-File, next days. But until then, you can download the short in 4k – ungraded – and 16:9.
Please note: This ungraded version is under creative commons license – Attribution.
DOWNLOAD the CLIP (1,12 GB)