Absolutely superb. Might I add, rather splendid reminder for gear heads that it isn't the camera which works the magic, but the creator behind it. Honestly mate, this is brilliant. Admittedly, I use a pair of C300 mark III bodies myself, but I would feel quite comfortable using a C100 (mark I or two, either) or the EOS M. Always better to invest in, and focus on, the things that actually _do_ add production value; lighting, good talent (actors for narrative or a compelling story for documentary), sound, and so on.
thanks!! investing in lights and in a decent camera is the best we can do. Then framing, storytelling, good color grading and a good taste are the basics to get profesional results
@@russo-filmmaking Ovviamente Da vinci è più professionale ed ha più funzioni, ma hai mai provato a fare color direttamente con MLV sui file MLraw? di default preferisco un po i colori che tiro fuori da MLV, a parità di lavoro. forse meno cinematografico il look, ma più "orginale", diciamo così. ma c'è da dire che io conosco solo le basi della color, non sono esperto.
this is really next level. I'm impressed! The skills you use to make this camera shine really encourage me to learn more. How many seconds are you getting with the 5k 1440x1836 mode? Could you do a video comparing the resolution quality between 1080 mode for continuous shooting and a high resolution that limits record time? It would be great to see if the lower record time is worth it especially when doing narrative work and you need to keep the camera rolling to get the take you need
Thanks!! With 5k 1440x1836 14 bit I can get continuos recording if I'm in good conditions of light ( I mean if the highlights are not excessively high), and compared to the 5k with higher resolutions or 2.8k for example....5K 1440x1846 let you have fluid real time live view. If I have to film in a sunlight scenery with a lot of light, in this case to get continuos recording I use 12bit. I prefer 5k over 1080 for only one reason, I don't want to have any bad surprise of aliasing or moire when I transfer the footage from the camera to my laptop. It happened in the past and I really don't like it. Moreover I think that 5k has a little less noise in the shadow. Regarding clarity and quality of the image, If you work well the clips in Davinci and then upscale them correcly in 4k, both modes 1080 and 5K have an excellent quality. If you check my video on the comparison between the canon eos M and the Black magic 4K, you can see how it's very hard to differentiate the two cameras after processing the EOS M images in Davinci
Suprisingly that the best tutorial I sought after for davinci resolve is from the place I least expected, your tutorial cover plenty aspect of color grading that other didn't talk about. Thank you for making the tutorial!!
thanks!! yes I can do another video on the technics I used in Davinci for the visual effects of this video. Nothing crazy, a process very easy but effective
Would you consider taking notes of more pictures that you could emulate in terms of coloration and recreation? I would absolutely love to see you do two videos; one recreating the look from the tv series, 'LOST' and the other being 'The Walking Dead.' Another would of course be Game of Thrones. This would be super helpful. Much appreciated. Keep them rolling, brother,.
Thanks!! Yes, I think to make more episodes on emulating the cinematographic look of known movies. A part from the lighting work and the color grading I have to take in count locations and furniture. What I can emulate depends a lot of these last two variables
I only dreamed of recreating this image back in 2011 because of the 20-30k camera price range, and now it’s possible with a 250$ cam. Incredible. Can I ask what build of ML you used?
In the new magic lantern crop mood, the way you select anamorphic modes is different from the Danne build ( the previous magic lantern build): now you have to select 1x3 in the crop mood tab, and set bit depth and resolution. There are several resolutions options 5.2K, 4.8k, 4.4k, 4.2k and more. Check my video on crop mood where I explain step by step how to configure the main mods with the latest magic lantern crop mood ruclips.net/video/EPFWQwXLr4A/видео.html
EOS M, no other numbers after M. Only Canon EOS M. For take advantage of the Magic lantern Crop Mood build, the best cameras are: canon EOS M, canon 650D and canon 700D
Well, not the same with relation to the field of view, but yes when you get the footage you have to desqueeze it like when you shoot with anamophic lenses.
Thanks for the video, but could you explain something? You set the 14-bit video file to Rec709 at the output, in the first node you take Rec709 input, and then you work with colors, etc. But Rec709 has very limited colors, why is that? It would be more logical to work in a more expanded color space and convert everything to Rec709 at the very end, wouldn't it? where is my mistake ?
I explain deeply the reason why I use rec709 as input color space in this video ruclips.net/video/XkRvU2FpAI0/видео.html (you can also use P3-D60, or Blackmagic the result is exactly the same, ) please watch it: It's very interesting and clarify a lot of doubts on how to color the cDNG files coming from the EOS M in Davinci resolve.
Thanks for your comment. Absolutely you do not lose the benefit of filming in RAW, you will preserve all the quality of RAW. In fact in the video you can see how I push the color correction without breaking the colors or loosing quality. The first node is only to give a good starting point to the CNDG coming from the canon eos M. I tried various options P3 D60 with Linear, BlackMagic Design, Srgb etc ... Comparing the various options, which are all enought good, the best starting point for me and my workflow is to use as input color space REC-709 and gamma REC-709. This first step is only necessary for DaVinci to interpret the image. You can use any color space and gamma as input for your CDNG file that gives you a good image, as close as possible to the image you see in camera. You can experiment and make a comparison between all the options available. At the end the most importan thing is that you will work that image in a great color space and gamma which is Davinci Wide Gamut and Davinci Intermediate. The problem of not taking advantage of the RAW format would be if you worked the image in a Rec-709 space; But it not the case
@@russo-filmmaking i thought that by setting the input space as rec709 that's like cutting off all the extra data that doesn't fit into the rec709 space and then setting output as dwg it is then just stretching the smaller space to a wider one - so doing what it would do if the footage was rec709 in the first place. But you are saying resolve doesn't do this, it doesn't cut it down to the space you set as the input space, but I'm now confused as to what it does then. I understand that setting the input space is saying to resolve how it should interpret the footage, but what does that actually do in the background for raw footage where all the input space options are smaller than the raw footage's color space?
@@WisperedShouts resolve doesn't cut any data, raw is raw. The EOS M Raw doesn't have a specific color space or gamma, because it's raw so you have to set it for yourself in davinci. I set rec709 for my workflow because it's the way in which the image look very closed to the image that I see in the camera and it means in little words the good starting point that we are looking for. When you set the input color space and gamma you don't change the data contained in your raw material, only chance the way in which your monitor displays the image. In my workflow I twist hue, luminance, colors etc... in my working space which is Davinci Intermediate, not rec 709
I think there is a lot of confusion on this issue, I will try to make a specific video dealing with this theme and comparing all the available options in order to work with the canon eos M
@@russo-filmmaking Please do my friend - that would be super helpful for my simple confused mind :)) By the way - this video is outstanding work!!! and very inspiring to try something similar. Thanks.
VERY NICE JOB #KEEPFILMING
thanks!!
This is AMAZING!
Simply amazing! Great look! Thank you for your time explaining the grading so simply.
Thanks!! I'm glad you liked the video
Absolutely superb. Might I add, rather splendid reminder for gear heads that it isn't the camera which works the magic, but the creator behind it.
Honestly mate, this is brilliant. Admittedly, I use a pair of C300 mark III bodies myself, but I would feel quite comfortable using a C100 (mark I or two, either) or the EOS M. Always better to invest in, and focus on, the things that actually _do_ add production value; lighting, good talent (actors for narrative or a compelling story for documentary), sound, and so on.
thanks!! investing in lights and in a decent camera is the best we can do. Then framing, storytelling, good color grading and a good taste are the basics to get profesional results
👏🏻 nice!
Thank you!
Great video and loved the tutorial 🙌🏾🙌🏾
Thanks man!! I'm glad you liked it 🙏🏼
The fact that you makes this with a Canon EOS M is epic, you are already a legend.
oh!! thank you!! 🙏🏻
Well Done. tnx for this tutorial
Thank you to take your time to see the video
ottimo risultato
mi fa piacere che il video sia stato di tuo interesse. Grazie!!
@@russo-filmmaking Ovviamente Da vinci è più professionale ed ha più funzioni, ma hai mai provato a fare color direttamente con MLV sui file MLraw? di default preferisco un po i colori che tiro fuori da MLV, a parità di lavoro. forse meno cinematografico il look, ma più "orginale", diciamo così. ma c'è da dire che io conosco solo le basi della color, non sono esperto.
Wow just wow
Thank you!!
Love your videos
Thanks!!
It’s so easy to understand! Congratulations!
Thanks
After this tutorial I added notifications to your channel subscription. This is great.
thank you!!
Thank you for your videos I Like them very much!
Thank you so much for watching!!
Wow! You are amazing talented!
Thanks for your words!! I'm glad you liked it
This kind of content is gold. Thank you for uploading this!
Thanks!!
this is really next level. I'm impressed! The skills you use to make this camera shine really encourage me to learn more. How many seconds are you getting with the 5k 1440x1836 mode? Could you do a video comparing the resolution quality between 1080 mode for continuous shooting and a high resolution that limits record time? It would be great to see if the lower record time is worth it especially when doing narrative work and you need to keep the camera rolling to get the take you need
Thanks!! With 5k 1440x1836 14 bit I can get continuos recording if I'm in good conditions of light ( I mean if the highlights are not excessively high), and compared to the 5k with higher resolutions or 2.8k for example....5K 1440x1846 let you have fluid real time live view. If I have to film in a sunlight scenery with a lot of light, in this case to get continuos recording I use 12bit. I prefer 5k over 1080 for only one reason, I don't want to have any bad surprise of aliasing or moire when I transfer the footage from the camera to my laptop. It happened in the past and I really don't like it. Moreover I think that 5k has a little less noise in the shadow. Regarding clarity and quality of the image, If you work well the clips in Davinci and then upscale them correcly in 4k, both modes 1080 and 5K have an excellent quality. If you check my video on the comparison between the canon eos M and the Black magic 4K, you can see how it's very hard to differentiate the two cameras after processing the EOS M images in Davinci
Many thanks for comparison shots!!. Now I see…
You are welcome!
Suprisingly that the best tutorial I sought after for davinci resolve is from the place I least expected, your tutorial cover plenty aspect of color grading that other didn't talk about. Thank you for making the tutorial!!
Thank you man!!
Thats really impressive! You should make a course!!!!!!!! I need it!
The EOS M paired to Magic Lantern if well used is impressive for its price and size. Thanks for your words
Phenomenal work! Thanks for the details. I'd love to see how you did the reflections in the car window.
thanks!! yes I can do another video on the technics I used in Davinci for the visual effects of this video. Nothing crazy, a process very easy but effective
You nailed it
Thanks!!
awesome! Nice work sir! God bless!
@@pierrecastillothelifeofpierre thanks you!!
amazing work!
Thanks for watching!!
amazing. thank you for sharing
Thanks!!
Gauranga🎉!!
Amazing Work, I just subscribed!!! Thanks, my Brother ✌🏾
Thanks man !!
@@russo-filmmaking You are very welcome!! My best wishes to you and your family. Your work is fantastic!! 😎🙏🏽
Your tutorials are the best man and this one is next level. Thank you for this!
thanks🙏
Excelente trabajo y manejo de color!
Gracias, me da gusto que el video fuera de tu interés
Amazing job 👍👍
Thanks!!!
Unbelievable, you are an incredible artist! :)
Thank you so much 😀
Would you consider taking notes of more pictures that you could emulate in terms of coloration and recreation? I would absolutely love to see you do two videos; one recreating the look from the tv series, 'LOST' and the other being 'The Walking Dead.' Another would of course be Game of Thrones. This would be super helpful. Much appreciated. Keep them rolling, brother,.
Thanks!! Yes, I think to make more episodes on emulating the cinematographic look of known movies. A part from the lighting work and the color grading I have to take in count locations and furniture. What I can emulate depends a lot of these last two variables
This is amazing
thanks!!
Bro, this is amazing.
Thanks you so much!!
amazing
Thank you !!
welcome@@russo-filmmaking
The negative panels worked great for the reflections, but have you tried a polarizer filter? way easier and should do the trick. Thanks for the video.
Polarizer filter was my first thought..... but I don't have it : ) It's one of my next investment
Belíssimo!
Grazie!!
I only dreamed of recreating this image back in 2011 because of the 20-30k camera price range, and now it’s possible with a 250$ cam. Incredible.
Can I ask what build of ML you used?
Thanks!! I'm using Crop Mood, it's the best Magic Lantern build up now. Check my video on it
Were's the Anamorphic rftp option on the latest lantern magic?
In the new magic lantern crop mood, the way you select anamorphic modes is different from the Danne build ( the previous magic lantern build): now you have to select 1x3 in the crop mood tab, and set bit depth and resolution. There are several resolutions options 5.2K, 4.8k, 4.4k, 4.2k and more. Check my video on crop mood where I explain step by step how to configure the main mods with the latest magic lantern crop mood ruclips.net/video/EPFWQwXLr4A/видео.html
@@russo-filmmaking Thanks! I understood. Great video! Keep the good work!
Eos M Wich model? M10 is good for this? Thanks
EOS M, no other numbers after M. Only Canon EOS M. For take advantage of the Magic lantern Crop Mood build, the best cameras are: canon EOS M, canon 650D and canon 700D
thank you very much!
You're welcome!
So anamorphic mode really shots like an anamorphic lens?
Well, not the same with relation to the field of view, but yes when you get the footage you have to desqueeze it like when you shoot with anamophic lenses.
@@russo-filmmakingstudying your work. i have a 5diii and a anamorphic lens on a 58mm helios lens.
Thanks for the video, but could you explain something?
You set the 14-bit video file to Rec709 at the output, in the first node you take Rec709 input, and then you work with colors, etc.
But Rec709 has very limited colors, why is that?
It would be more logical to work in a more expanded color space and convert everything to Rec709 at the very end, wouldn't it?
where is my mistake ?
I explain deeply the reason why I use rec709 as input color space in this video ruclips.net/video/XkRvU2FpAI0/видео.html (you can also use P3-D60, or Blackmagic the result is exactly the same, ) please watch it: It's very interesting and clarify a lot of doubts on how to color the cDNG files coming from the EOS M in Davinci resolve.
@@russo-filmmaking ok, thanx for the answer 👍
😅Okay, now I took can do it😂
yes it's very funny to experiment with this camera
@@russo-filmmaking What's the friend of EOSM IS Lighting!
You are using input as rec 709 so aren't you loosing all the benefits of shooting in raw?
Thanks for your comment. Absolutely you do not lose the benefit of filming in RAW, you will preserve all the quality of RAW. In fact in the video you can see how I push the color correction without breaking the colors or loosing quality. The first node is only to give a good starting point to the CNDG coming from the canon eos M. I tried various options P3 D60 with Linear, BlackMagic Design, Srgb etc ... Comparing the various options, which are all enought good, the best starting point for me and my workflow is to use as input color space REC-709 and gamma REC-709. This first step is only necessary for DaVinci to interpret the image. You can use any color space and gamma as input for your CDNG file that gives you a good image, as close as possible to the image you see in camera. You can experiment and make a comparison between all the options available. At the end the most importan thing is that you will work that image in a great color space and gamma which is Davinci Wide Gamut and Davinci Intermediate. The problem of not taking advantage of the RAW format would be if you worked the image in a Rec-709 space; But it not the case
@@russo-filmmaking i thought that by setting the input space as rec709 that's like cutting off all the extra data that doesn't fit into the rec709 space and then setting output as dwg it is then just stretching the smaller space to a wider one - so doing what it would do if the footage was rec709 in the first place. But you are saying resolve doesn't do this, it doesn't cut it down to the space you set as the input space, but I'm now confused as to what it does then. I understand that setting the input space is saying to resolve how it should interpret the footage, but what does that actually do in the background for raw footage where all the input space options are smaller than the raw footage's color space?
@@WisperedShouts resolve doesn't cut any data, raw is raw. The EOS M Raw doesn't have a specific color space or gamma, because it's raw so you have to set it for yourself in davinci. I set rec709 for my workflow because it's the way in which the image look very closed to the image that I see in the camera and it means in little words the good starting point that we are looking for. When you set the input color space and gamma you don't change the data contained in your raw material, only chance the way in which your monitor displays the image. In my workflow I twist hue, luminance, colors etc... in my working space which is Davinci Intermediate, not rec 709
I think there is a lot of confusion on this issue, I will try to make a specific video dealing with this theme and comparing all the available options in order to work with the canon eos M
@@russo-filmmaking Please do my friend - that would be super helpful for my simple confused mind :)) By the way - this video is outstanding work!!! and very inspiring to try something similar. Thanks.
Forgot your hands
yeah, I understand what you mean. It was a distraction mistake
@@russo-filmmaking you showed that you can do whatever you put your mind into. Cheers 🍻
Amazing
@@karl-marxschweinsteiger1828 thanks!!