So I think our job as cinematographers, we need to listen, and I think we really have to be good at listening. Then, talking with the director, I realized that my ideas were the opposite of what the director wanted. Then, listening and understanding those ideas will then trigger my ideas, trigger me coming up with references and questions, and all the conversation starts then.īut I used to make that mistake when I was starting out when I read something, and then I immediately came up with these very elaborate ideas. I really want to listen to what the director has to say about his ideas and his approach. So before talking with a director, I'm very cautious about coming up with ideas. A script is, you can read it, you can imagine a film based on that script, but the script does not tell you a lot about what that film is really. I try not to come up with ideas at that point because I feel that a script is a very tricky thing. NFS: When you were first reading this script, how did you see this world? What were some of the notes you made while you were reading it, of lighting visuals or challenges that you knew were going to come up?Įrdély: When I read the script for the first couple of times before I talk with the director, I try to really focus on the story and the story only, and the emotionality of the story mainly. Mátyás Erdély sat down with No Film School on Zoom to discuss working in the dead forest in a practical location, his camera and lens package used to create the stunning naturalism in camera, and the one that he believes all cinematographers should know how to do. The results are quietly beautiful as elements of the sci-fi genre slowly start to tear away the naturalism of farm life in Foe. People are relocating off the Earth to find new life while life on Earth suffocates those who remain.Ĭinematographer Mátyás Erdély, known for his work on Son of Saul and Sunset, was tasked with creating a stunning yet desolate world that isolated the cast once he joined the crew late in post-production. Based on the novel of the same name written by Iain Ried, the story is set in 2065 in a desolate world starving for rain. However, Garth Davis's Foe balances delicately rural drama and sci-fi worlds, creating a stellar cinematic vision that explores a relationship in turmoil by the request of a stranger. From the bloody reds of horror to the moody dark interiors of dramas, each genre has a distinct visual look that says, 'This is what you're watching.' There are some visual indicators that movie watchers tend to notice to signify what genre they are watching. This camera will not be sold in the US, however, it will be a European-only model (at least for now): The company has also announced a brand new version of the GH4, called the GH4R, which includes this V-Log internally, and also removes the recording time limit.

V-Log / V-Log L were developed to feature similar characteristic to CineonĪnd here's the install process for V-Log:.Makes color grading easier with improved compatibility between LUMIX GH4 and Panasonic Varicam.Increases dynamic range from 10 stops to 12 stops.LUMIX GH4 function enhancement for film production/professional videographers.Here is the Sony a7S on the left wtih SLog2 and the GH4 with V-Log on the right: You can also see a comparison of V-Log to S-Log from Nick Driftwood. Both V-Log and V-Log L have the same characteristic curve, and LUT (Look Up Table) can be utilized.Įduardo Angel has been using V-Log for a while now, and shows us what it can do in these videos: Taking full advantage of Four Thirds sensor, V-Log L boasts a log characteristic with 12 stops. V-Log / V-Log L were developed to feature similar characteristics to Cineon, which is a characteristic curve for film digitalization. In response to the demand from the film production market, log video recording (V-Log L) is now available for the LUMIX GH4, and offers exceptional flexibility as well as wider dynamic range for color grading in post-production process. Firmware version 2.3 firmware will still be a free update, but the option to use V-Log won't be unlocked until you buy the key from Panasonic (this will be mailed to you, it's not available for download). Essentially if you want the log profile on your camera (which improves dynamic range from 10 to 12 stops), you'll be buying a license that is tied to your camera's serial, so you wouldn't be able to transfer it to other cameras temporarily. Since this took so long to come out, the assumption is that Panasonic spent a lot of resources on making it much more than just a flat picture profile - which is why this isn't free like other upgrades we've gotten from Panasonic.

Unfortunately, if you've been reading the rumors, they were true: it's going to be a paid option, and will cost $100.

Gh4 lut log