Video about the SL shot entirely with the SL

[dfarkas]

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Very helpful, and I will be interested in hearing more.  However, $50/month ($600/year) still strikes me as expensive software that I wouldn't use enough to justify the expense.  Currently I spend $69 or $99 every few years for a CaptureOne major upgrade and have purchased FinalCutPro licenses twice in 15 years.  Could you tell us more about LUTs -- that's not something I have used in the still photography workflow.  (In our family, the video is done by my son.)  And do you attach the audio receiver and the HDMI recording monitor to the camera or both to an external frame?

 

scott

 

Everyone's needs are different, I suppose. I regularly use Lightroom, Photoshop, Premiere, After Effects, Audition, Illustrator, Media Encoder, and Acrobat Pro. $50 a month for all these programs that used to cost $500-700 apiece is a flat-out bargain. And, updates are included and pushed down to me as they come. I always have the latest versions.  

 

I've attached a photo of my basic SL rig. Currently, I just have a metal handle that attaches in the hot shoe of the SL, with lots of mounting holes. The PIX-E5H video recorder is attached to the handle with a short flex arm. The PIX-LR audio XLR adapter is directly attached to the bottom of the PIX-E (it is an add-on piece). You can't really see the Sennheiser wireless XLR plug-on receiver because it is mounted in the front and is really small with no wires. The camera is then connected to the PIX-E with a standard HDMI cable (albeit a coiled one). 

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[Jeff S]

 Could you tell us more about LUTs -- that's not something I have used in the still photography workflow. 

 

http://theartofphotography.tv/episodes/use-luts-video-editing/

 

Jeff

[xdharmax]

Hello david farkas, i'm new with SL, i planing to use SL for taking some footage, i want to asku you about recording internally into SD card, what is the best setting for taking video with my SL, 

i found that when i shot with 24-90, setting it in apsc mode, shot  is more smooth, thanks before

[hmathias]

I didn't comment earlier to this excellent article and thread, because it's quite old and I didn't know if anyone was currently following it. I do have a couple of comments:

 

1. Most 35mm PL film lenses cover the Academy Aperture which is a larger image circle than Super 35. Lenses designed specifically for digital cinema or HDTV may not cover any image circle larger than the Super 35 format, because that is the format currently in use by most digital cinema cameras. This  image coverage circle is true regardless of the focal length of the prime lens. We do not use "fisheye" type WA lenses in film. Also most film lenses are accurately footage calibrated and can be focused by measured distance alone. 

 

2. Regardless of future firmware updates, auto-focusing by servo or linear stepping motor focused lenses will probably never be a good choice for moving pictures. The faster the lens acquires focus (great for stills) the more "abrupt" the focus pull is for motion pictures. This precisely why we use a "focus-pullers" hand on the follow focus knob, to use a person's judgement in deciding on the speed of the focus pull. Also a servo often "hunts" — goes past the best focus returns and stops — this is not an issue in stills, but it is in film. An audience doesn't want to see the camera searching to find focus.

[Agron Dragaj]

 

Hey guys. Thought this might be of interest.

 

I've been trying to dive right into video production using the Leica SL, so figured the best way to do that would be to produce a project from start to finish. In this case, we made a video comparing the merits of shooting with M lenses vs the 24-90 on an SL in an urban setting. Here is the finished result:

 

 

Be sure to watch in 4K at full screen (click the full screen icon in the bottom right corner). 

 

 

Tech notes:

 

Video shot in 4K DCI (4096x2160) at 24p on Leica SL (Typ 601) in L-Log and recorded to Video Devices PIX-E5H over HDMI in Apple ProRes 422. 

 

Lenses used: 

• Leica Summilux-TL 35mm f/1.4 ASPH 
• Leica Super-Vario-Elmar-T 11-23mm f/3.5-4.5 ASPH 

 

Editing and color grading in Adobe Premiere Pro CC 2015.4, with custom L-Log LUT creation in Davinci Resolve 12.5 using Datacolor SpyderChecker. 

 

Sound recorded using Sennheiser AVX ME2 and Video Devices PIX-LR. No post production was performed on vocal audio. 

 

Mostly shot handheld. Unfortunately, the 3D gimbal I purchased for the shoot arrived DOA and a replacement took a few weeks to get. So, the walking shots are a bit on the shaky side.

 

 

Let me know what you think and if you have any questions on best practices for getting the most out of the Leica SL for video.

 

 

What is the native ISO for L-log with Leica SL. 

[New Fish]

ISO 400 is native, the camera struggles above this, I heard of banding issues at ISO 200 but I think this was fixed in 2.1 firmware, I have had no issues below 400.

I don't know why the censor needs so much light as it's very good when taking stills.

I generally turn everything off in Log and under expose a little.

I bought a Blackmagic Cinema Assist 4K in the BF sales and with the new firmware I will be able to load 6 LUTs, if you use Prem Pro CC 2017 it has a few LUTs added, the Arri Amira LUT is very good, maybe this has something to do with the colours being very similar to the SL sensor.

[New Fish]

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Everyone's needs are different, I suppose. I regularly use Lightroom, Photoshop, Premiere, After Effects, Audition, Illustrator, Media Encoder, and Acrobat Pro. $50 a month for all these programs that used to cost $500-700 apiece is a flat-out bargain. And, updates are included and pushed down to me as they come. I always have the latest versions.

 

I've attached a photo of my basic SL rig. Currently, I just have a metal handle that attaches in the hot shoe of the SL, with lots of mounting holes. The PIX-E5H video recorder is attached to the handle with a short flex arm. The PIX-LR audio XLR adapter is directly attached to the bottom of the PIX-E (it is an add-on piece). You can't really see the Sennheiser wireless XLR plug-on receiver because it is mounted in the front and is really small with no wires. The camera is then connected to the PIX-E with a standard HDMI cable (albeit a coiled one).

Is the the Atomos HDMI to HDMI cable ?

[dfarkas]

Is the the Atomos HDMI to HDMI cable ?

 

Yes, it is an Atomos full size HDMI to full size HDMI coiled cable. 

[New Fish]

Thx bud

[Irakly Shanidze]

Hi David, could you share your custom L-Log LUT? I've been using one from Sony. It is very close, yet still just a bit flat.

[dfarkas]

Hi David, could you share your custom L-Log LUT? I've been using one from Sony. It is very close, yet still just a bit flat.

 

I wasn't completely happy with the custom LUT I made for this video. For our next project, I used one of the ARRI ALEXA LUTs that comes with Premiere Pro CC. You can see the results here:

 

[i-Leica]

I wasn't completely happy with the custom LUT I made for this video. For our next project, I used one of the ARRI ALEXA LUTs that comes with Premiere Pro CC. You can see the results here:

 

 

 

Is this video made with SL????

[scott kirkpatrick]

Yes, he says it is in the video or in the comments on the LeicaStore RedDotForum

[scott kirkpatrick]

David, others have reported that the Sony S-Log3 LUT is a bit more gentle then the Arri LUT that you've used.  Have you tried it out?  It should be available as a standard in Premiere and FCP-X.  The Arri is ready to decompress 14 bit data, and the Sony probably really has only 10.

 

scott

[Andrew Gough]

Thanks for sharing your video knowledge. I was looking for footage shot with the 11-23mm, and you helped me to make my decision to buy one.

 

Any hotshoe issues using it to carry the camera?

 

Cheers.

 

Andrew

[Irakly Shanidze]

Cool shirt

 

David, I noticed that you did not use a lens hood with 24-90. No flare problems, no veil? My lens veils quite a bit against the light, so I am trying to figure out whether it is a design flaw, or something is just wrong with my lens.

[Irakly Shanidze]

David, others have reported that the Sony S-Log3 LUT is a bit more gentle then the Arri LUT that you've used.  Have you tried it out?  It should be available as a standard in Premiere and FCP-X.  The Arri is ready to decompress 14 bit data, and the Sony probably really has only 10.

 

scott

 

I support this claim, Sony S-log3 from DaVinci Resolve Studio looks way more realistic, it does not clip highlights like Arri LUT does.

[Irakly Shanidze]

I wasn't completely happy with the custom LUT I made for this video. For our next project, I used one of the ARRI ALEXA LUTs that comes with Premiere Pro CC. You can see the results here:

 

I could see some detail loss in the shadows across the whole video. It is consistent with what I found while trying to use Arri Alexa LUT for grading. Your first video looked better.

[Danny McIvor]

I am about to purchase an SL and the native lenses are really not in the budget, at least not now. I will be shooting a lot of 4K video with the camera and am considering buying some cheaper T lenses-  the Vario Elmar T Zoom 55-135 and the Summilux T 35mm f1.4. I understand the camera crops to 16x9 when in video mode so will the crop factor of these T lenses be the same as when they are used to take still photos? Or does the "video" crop the camera does make the T lens crop redundant?

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[scott kirkpatrick]

The Vario-T lenses are fine lenses for use on the SL.  They cover an APS-C portion of the SL sensor, giving 10 MPx in 3:2 format and 8 MPx when used in 16:9 (reduced in height) 4K video.  The camera automatically performs both crops.  The field of view is only slightly different, as a result of the different proportions.  SL features like autofocus and floating ISO (compensation for the change in aperture with focal length when wide open) will "just work".