Trailer:

I also used a 5D Mark III with Magic Lantern for some Glidecam shots.

Here is a NoFilmSchool BTS write-up from many moons ago (when it was called SLEEPWALKERS): http://nofilmschool.com/2013/12/ryan-lightbourn-shot-feature-on-red-scarlet-bmpcc-5d-mark-iii

YouTube: www.youtube.com/petroltheseries

http://songwriter.revimage.com/channels/JoannaStClaire

If the music video wins for Joanna, it means a chance to work with Don Was (one of the most prolific and acclaimed producers out there) and money to help create additional music. She spent years on the album this video comes from and is an incredibly warm and talented person, so your help would be really appreciated by both of us.

Now here's some more text for everyone else about a project I worked on at various points from 2007 to last week. :)

Quick intro: I'm Per Lichtman, the guy that found the audio settings values now used in the majority of modern GH2 hacked settings, thanks to @Vitaliy_Kiselev making it possible to test and modify them. I've also participated in a lot settings comparison tests and talked way too much over the years. :)

Last year I directed a music video for a song I also worked heavily on the music side with. It was called "Listen to the Sound" by Joanna St. Claire and it finally got put up at http://songwriter.revimage.com/channels/JoannaStClaire in conjunction with a contest Joanna St. Claire recently entered. I wanted to help her out in the contest and share some of my experiences with the GH2 community at the same time.

The video is shot using a mixture of GH2 with the Driftwood Canis Majoris Night settings, as well as a RED Scarlet and Cooke lens courtesy of OnTheMarkMedia.net. There are also one or two shots with a Canon HV30.

The grading was done by Dimitrios Papagiannis ( @Bueller) in DaVinci Resolve using the Cineform codec as a digital intermediate. Ashley Nunn and Karla Usagi provided additional support carrying things as well as behind the scenes photography for one or two of the days. In other words, shooting often consisted of just me and the artist.

The shoot was done entirely using natural light, without reflectors or any other aids, on an extremely tight schedule and filmed almost entirely around sunset over the course of multiple days. The shots featuring water were done in a region where there is not normally a body of water: it was there for the first time in about a decade due to unusually high level of precipitation. The lake evaporated in a matter of weeks.

The lenses used on the GH2 were a Rokkor Minolta-mount 58mm f/1.4 and a Tokina 28mm Minolta-mount f/2.8. Various Tiffen contrast filters were used at certain point on the GH2. To the best of my memory, no filters were used on the Cooke lens for the Scarlet.

I will be posting more information (such as which shots are which) depending on what the interest level warrants.

The re-mastered album that the video goes with is "Stream HD Master", which we recently released in full-fidelity 96 KHz at 24-bit depth dynamic range. You can find it at https://joannastclaire.bandcamp.com/

It's been one of my favorite musical experiences so far. It also one of the ones were I've worn the most hats (recording engineer, mixing engineer, mastering engineer, creative consultant, album cover photographer, music video director, editor, etc.) that I can think of so far. :)

Currently we are using Apocalypse Now 444, soft matrix.

No specs on Nauticam housing but just some photos and a nice video of setup and using. It cost about 10k euro :)

These cameras all have (or are slated to have soon) RAW recording capability in some form.

Max Horizontal Resolution

• BMCC: 2.4K
• Arri Alexa: 2.88K max horizontal resolution.
• Sony FS-700: 4K expandable with 1.92K at release.
• Sony F55: 4K max horizontal resolution (4096x2160).
• Canon C500: 4K max horizontal resolution (4096x2960 RAW max).
• Sony F65: Greater than 4K.*
• Red One/Red One MX: 4.5K max horizontal resolution.
• Red Scarlet: 5K max horizontal resolution (but 4K max horizontal resolution at 24/25/30P).
• Red Epic: 5K max horizontal resolution.
• Red Dragon: 6K max horizontal resolution. Unreleased.

*As for the Sony F65, I don't want to get into that can of worms. With it's 20MP sensor, let's just say "easily 4K, probably more in the future" but not get too far into it other than to say that the current recording format is 4K.

Cameras with Global Shutter

• Sony F55

Max Framerates at 4K and Highest Resolution (with the color depth recorded)

• BMCC: Cannot do 4K. Max 30P 12-bit log at 2.5K.
• Arri Alexa: Cannot do 4K. Max 60P 12-bit log at 2.88K in 16x9 mode.
• Red One MX: 30P 12-bit at both 4.5K and 4K.
• Canon C500: 60P 10-bit at 4K.
• Sony FS-700: Upcoming 60P at unspecified RAW bit-depth in 4K.
• Sony F55: 60P 16-bit linear 4K.
• Sony F65: 120P 16-bit linear 4K.
• CMV12000: 90P 12-bit or 150P 10-bit at 4K.
• Red Scarlet: 30P 16-bit at 4K. 12P at 5K.
• Red Epic: 150P 16-bit at 4K. 120P 16-bit at 5K.
• Red Dragon: Unknown 4K (expected to meet or exceed Red Epic at all framerates but guaranteed 120P at 5K). At least 85P 16-bit at 6K. Unreleased.

Native DR

• Sony FS-700: Untested in RAW.
• Red One (not MX): 11.3 stops official.
• Canon C500: 12 stops official. (Though the highlight roll-off has been garnering praise)
• BMCC: 13 stops official.
• Red MX (as used in MX/Scarlet/Epic): 13.5 official. (Some sources measured at under 12 but I'm not invested in one measurement over the other).
• Arri Alexa: 14 stops official.
• Sony F55: 14 stops official.
• Sony F65: 14 stops official.
• Red Dragon: Over 15 stops official. Unreleased.

And of course, the Red Scarlet, Epic (and upcoming Dragon) support the HDRx mode that some people like and others do not, which is officially specified as increasing dynamic range to 18 stops (with a lot of caveats to go along with it).