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Showing content with the highest reputation since 03/21/19 in all areas

  1. 6 points
    There are no easy answers here, but if you consider that sometimes movies are an art form, not just a product for mass consumption, then not every choice has to be determined by what the audience cares about or notices -- sometimes it is enough for the artist to care about something and then hope there is a receptive audience for their particular vision. I don't think when David Lynch or Andrei Tarkovsky made a movie, they spent much of their time wondering what clients and consumers were asking for. It goes way beyond choice of shooting format, after all if you build a set and sew costumes, you have to make decisions on color schemes, textures, etc. that go way beyond a typical viewer's ability to care or notice. I think to some extent, audiences don't care because they don't have to, they expect the filmmakers to care. The skills needed to make any complex product are beyond the average consumer, but the consumer hopes that someone cares about the details. So if you hire artists to make something, anything, then one shouldn't be surprised that these artists have certain tastes for how things are done. And some artists are sensitive to the origination medium. I mean, would anyone be surprised if painters had opinions about working in oils versus acrylics, or sculptors working in marble versus wood?
  2. 4 points
    Even greatly manipulated digital footage does NOT look like film, it just doesn't. There are extremely rare films shot on film that are so squeaky clean that they possibly could be misconstrued for digital, but honestly, I can't think of any off the top of my head. Film is obviously not just grain, it's the way faces, colors are rendered, it's the life in the frame. Prashantt talks about Benoit Debie, Debie himself said on The Beach Bum that he CANNOT achieve the colors he wants to achieve with anything else but film. There are so many films that would gain something if shot on film, so many films that need the grit, but are too goddam squeaky clean and it works against the film, I'm sorry but it does. It made me smile when Rodrigo Prieto said in a video that he thought Sicario should have been shot on film because it needed that grit, Sicario is gorgeously shot but I agree. Linus Sandgren has professed his love for film, and continues to do so every single time and is adamant he can do so many things with film that he can't with digital, and many others say the same thing. Deakins not seeing the difference anymore is his problem really, but hey, as much as his work with the Alexa is gorgeous, I still think it doesn't come close to his best work on film (independent of the fact that every movie is different) and something is missing. That's just my two cents. We fundamentally disagree here, there IS a magical quality to film, and if you're not willing to take the word of tons of highly respected directors and DPs on this, I don't know what to tell you. I tell you what I see, story is story sure, shooting on film doesn"t mean you're going to make a good movie, only a clown would think this. But it MATTERS, do you understand? I always see the difference and I've spent years training my eye for it, scrutinizing footage, sometimes up close, and it's also what the format evokes, and I said what film evokes for me. Also, keep in mind that I see most films on a 90 inch plus screen with a great JVC videoprojector, I'm lucky enough to do so. Now, if you're watching something on a TV and you're sitting far away, or same in the movie theater, you're obviously not going to see the grain or the texture of film much, unless it's super 16 or it was push processed, that's common sense. Even then, you still have all the advantages and qualities of film, but I don't see the point of sitting far away, I want to see and FEEL the texture of the film. And here we go into another film vs digital "debate" despite my best intentions. Sorry OP.
  3. 4 points
    you can offer them small shiny objects .. like Rolex watches.. alternatively large wads of cash.. don't get too close and never put all your trust in them..
  4. 3 points
    https://www.indiewire.com/2019/04/the-beach-bum-cinematographer-benoit-debie-master-color-1202055726/ I don't know what the budget of this film - The Beach Bum but Benoit Debie has shot it on 35 with lots of in camera effects (varicolor polariser) and spent only 4 days in a grading suite.
  5. 3 points
    I don't think many DPs like the digital look overall, so many articles in AC or British Cinematographer or whatever you can find where anamorphic lenses are super in demand for digital shows to break the image apart a little, or grain is added in post or the ASA setting is pushed in order to get some kind of texture. And digital just isn't special, that's the thing, so many things shot on the Alexa or Red and it just becomes this shapeless, homogenized blob, nothing or very few things stand out. And those who shoot on film stand out and it is special. But the labs coming back is just a great thing, and more and more things (still a tiny number) films, indie films and TV shows are being shot on film these days.
  6. 2 points
    A 50mm lens is a 50mm lens, regardless of the format it is designed for. You could put that Signature prime on any format from Super 8 to Full Frame. Its focal length does not change. What does change is the Field of View. On Super 8, a 50mm is a long telephoto lens, on s35, it's standard, and on FF it's slightly wide angle. Try drawing a circle. That's the lens image circle.The lens's image circle is everything the lens "sees". Now draw a FF sized box inside the circle. That is everything the FF sensor "sees". If you then draw a s16 sized box inside the circle, you can see that it "sees" less of the circle than the FF box, and therefore has a narrower Field of View. A super 8mm sized box would see even less. The field of view changes with each sensor size, even though the focal length of the lens stays exactly the same.
  7. 2 points
    Active 3D was the way to go, but it cost the theaters too much money. So they've all switched to polarizing OR the way less costly Anaglyph 3D. It's amazing when you go to an IMAX screening and they hand you polarizing glasses. I'm paying $22 dollars to watch the same technology I can get at home? Thanks guys, but no thanks. The problem is that people still spend a premium for those "limax" screenings and it kills me. AMC Burbank does not have an IMAX screen, they have a normal theater that has a big screen, with a very low-end build out. The only IMAX theater left that area is City Walk and they put in a metal screen years ago for digital 3D stuff and it ruins the image. Thanks IMAX. 😞
  8. 2 points
    There are also many cinemas that leave the polarizing filters on the projector (for 3D) even when screening 2D and this results in a quite dim image. I've asked the theater manager about this and they said that there was nothing that they could do about it. AMC Burbank, I'm talking about you!
  9. 2 points
    Few things... We don't need to see her being interviewed, that's a waste of time. The shot wasn't interesting and because english is her 2nd language, it's not helping the ad to have her talk slow. The echo also makes it seem very unprofessional. In this case, I would have her do the VO work in a quiet room. Get her to amp up her presentation so it's exciting and cut together best sentences into a cohesive narrative first. Once you have that, then you can go out and shoot what she's talking about. In terms of the B-Roll, for commercial, I would have shot stuff that was more active. You need around 4 - 6 setup's to achieve what you're going after. Show her outside doing multiple active things, jogging, maybe helping someone with directions, running up some stairs, few shots of the sun going through the trees, you kinda get the idea. Since she's talking about skin care, sun and brightness are critical. In terms of the product shots, the final shot is fine, but the bathroom scene was too dark to work. It needed a lot more light to give it some pop, it needed several beauty shots of not just the container, but also her applying, with excellent bright lighting and motion. I think the one thing lacking in the entire piece is motion, the camera should always be moving. Most people just use a slider for that sorta thing because it gives such nice subtle motion to every shot. A gimbal or steadicam would also help quite a bit. Over-all it felt under-developed, something put together in a hurry, rather then something that was planned out in advance. With commercials, quick cuts, fast pace, clean narration and a bright/crisp image are the most important things. You want to wow your would-be customers and sadly this didn't wow me.
  10. 2 points
    The close-up of her feet down the stairs leads nowhere. Instead try to execute a swing movement or a fast follow pam from tripod with a light wide angle lens. The apple purchase also leads to nothing. It can be understood that apples are something natural but that is not new. Basically in spring when trees begin to blossom all apples are a few months old. If one wants to point out freshness, apples are harvested in fall. A cultural lapse. Maybe a little more effort with her hair that could be pinned up outdoors. Decide on lighting, the interiors need more snap. Lots of light for cosmetics! Personally, I should not show the character straight from above lying on a bed but under two angles, sideways and in height, cuddled up to somebody (out of focus). I watched it twice, without sound.
  11. 2 points
    Yeah the grade could use a little more punch and when the interview audio comes in it immediately destroys the professional vibe you opened with. Also getting more angles of coverage for the main interview would really flesh things out, maybe even have the camera handheld on that portion too. This goes in and out between TV quality and youtube vlogger's student film. I don't believe you're clueless to this, I think the director just settled in the wrong areas. Let me know if you need an audio guy, I'm in the area.
  12. 2 points
    A couple of things, only since you've asked.... The color correction is a bit flat and low contrast. I guess that helps smooth the skin, but... it certainly doesn't catch the eye of the viewer. The sound quality is poor. Bad echo in the room. It would be worth rerecording the narration in a proper audio studio or just a better environment. The audio quality gives the entire spot the impression of "amateur" filmmaking. Lastly, the editing. Each shot seems to be on screen just a beat or two too long. Once we've gotten the idea, it's time to move on to the next shot. The spot is not "bad", but I think these suggestions could make it work a bit better.
  13. 2 points
    I drew roughly what a Standard (Normal) 1.78 : 1 area would be inside Super-35 1.78, whether 3-perf or 4-perf Super. I also drew what a projector showing the movie in 1.85 would crop from 1.78, as you can see, the formats are very close in shape:
  14. 2 points
    Again, in 2018 Kodak had it's best year since they filed for bankruptcy and people are looking to differentiate their products from everyone elses. So MORE people are shooting film, especially super 16, that has an entirely different look than digital. Nobody cares about what television doc's, corporate or industrial films are shot with, could be a camcorder as long as it tells the story. Television has such a fast timeline, unless you're shooting in a media city, it's hard to make film work. However, many TV shows have in recent years Westworld being one of them. Where it's true many long-term shows switched to digital for their 2018 season, a lot of that is just less viewership and budget reductions. Television is dying, so I wouldn't expect them to shoot film anymore, or do I feel something being watched once, has any value on being shot on film. Red is falling off the popularity chart. I know they worked out a deal with Panavision to make a special kit for TV, but nobody cares. The Alexa dominates the digital market, whether it's the Amira on doc's or Alexa Mini on TV, Music video's, commercials or features, the Arri's are more stable, have better overall integrated support and don't require dozens of add-on's to work. Where I do like Red Code as a codec, Pro Res from the Alexa's work much better for post production. Yea there are some Red die hard's, Soderbergh and Fincher to name two. However, those guys are all about experimenting with new stuff, they could care less about tradition. In my eyes, the only reason why Red has been popular at all is due to the over-sampling imager. Being able to shoot 6k raw for a 4k finish, has been great but now that Alexa has higher resolution solutions. Arri will enter into the 8k market soon and when they do, if they "sell" the cameras instead of simply only rent them, I think Red will be done. The color science on the Alexa is far better and they've proven to build a better more stable package over the years. Right now, the only people who use Red's are devotee's and people who own them. Sounds just like the people who shoot film to me! lol
  15. 2 points
  16. 2 points
    Go tell that to Spielberg, Nolan, Scorsese, Tarantino, PT Anderson, Snyder, Chazelle, JJ Abrams, Ponsoldt, Coen Brothers, Scott Cooper, Adam McKay, and so many others. This is ridiculous. It MATTERS, who cares if audiences know the difference (but they'll feel it), it's your intention, you, the filmmaker, and the DP, you want your film to look and feel a certain way. You might not miss it but plenty LOVE it because it looks and feels better, there is emotion with film, something happens, it's a quicker way to empathy than digital is imo, plenty will tell you the same, it can't be rationalized, it just is. It also looks more interesting and stands out. All my favorite films are shot on film, all of them, it's not a coincidence, it's not an internal trick, it just makes me feel in a way digital doesn't, independent of the emotion of the movie itself. Go ahead and call those master directors, or DPs like Linus Sandgren, or Masanobu Takayanagi, or Rodrigo Prieto and so many others that they're "tech hipsters". If you truly can't see the difference, I don't know what to tell you, it's blatant, it's obvious.
  17. 2 points
    Love it. This is “Taxi Driver” all of the way and not the typical comic book movie. The marketing will be critical for the box office success of this picture since it’s not a “Batman”. Beautifully lit, shot and directed. G
  18. 2 points
    Do the same thing everyone else does = death too. Where I do think young filmmakers should be making content and not worrying about what's used to make that content, there is a certain satisfaction and look that film delivers, which digital has yet to achieve. Having the knowledge of what it's like to shoot film, it critical in my book. It's not like today's young filmmakers had ANY experiences with film at all, 99.5% of them probably never touched film before they made the leap TO film. Most will buy a still camera, but a few will buy movie cameras and it's that passion for the past, which will lead them to become great filmmakers in the future. Having the knowledge to shoot good film translates extremely will into the digital world and will make you a more efficient filmmaker.
  19. 2 points
    I think point 3. was a major factor everywhere. It was the experienced DPs and directors who'd known too many sleepless nights on location worrying about the day's footage getting lost or damaged in transit, or whatever, or obsessing over whether that particular shot worked out and will they have to shoot it again. When digital came along it was an easier life for these very experienced people. And yes, some people prefer the look of digital: that clean, clinical, plastic, glassy, metallic perfection. They want a world that is like that. It's their aesthetic preference. Go to their homes and see what art is on their walls.
  20. 2 points
    At the beginning of last year, just before the prices shot up, I bought an Arricam LT and an Arriflex 235, both 3perf. I decided to shoot a short film to test the cameras. The idea had to be simple, a couple of actors and one location. We shot on Vision 3 200T using Master Primes. Every single shot was storyboarded, we didn't shoot one foot of coverage. Happy to report that the cameras are working...I'd like to share the result.
  21. 2 points
    Watch movies, look at the works of great painters and develop artistic vision. Don't worry so much about what camera or what lens or the other technical stuff, it will come if the passion is there and vision is clear. Conrad Hall once asked an assistant to get him a certain lens and the assistant came back proudly with another lens that he thought was better. He explained to Conrad that it was a better lens and would produce a better image. Conrad didn't use it of course and didn't want the "better" image. He wanted the lens he wanted for a reason. It's what the artists wants to accomplish. If you have the vision and the passion to follow through the tools will be found to make what you imagine. Learn to use your imagination. That is the most important tool any great Cinematographer or artist of any salt has. Without it all the tools and technical know how is not worth a great deal.
  22. 1 point
    Todays office .. could be worse..
  23. 1 point
    You need to check the gate a lot more often than between each roll. It’s very easy to get tiny flakes of emulsion building up in the gate, even after rolling even just a few feet of film. Also, checking the gate after removing a magazine is pretty much pointless, as any dirt or emulsion that was in the gate may well have fallen out when the pressure plate was removed. Always check the gate from the lens side by removing lens and inching the shutter out of the way. If you’re using a longish zoom, you can check through the lens by zooming all the way in, focusing at infinity, and then shining a flashlight through the lens at the gate.
  24. 1 point
    Super 16mm is 1.67:1 aspect ratio, so unless you're going to deliver in 1.78:1 (standard HD aspect ratio) with black bars on the side, you're going to need to crop the image no matter what. I always crop my 16mm footage, it's just par for the course since it's not a native aspect ratio. I edit my show and then apply a zoom effect to all shots which is like 1.080 on DaVinci, so not much. That alone will help crop that bowl of dust out. The scratches and dust particles are a different story. You need the paid version of resolve to do scratch and hair removal, but it can do it. This is why cleanliness is the key to shooting on film. Camera gates need to be cleaned after every roll of film, no matter what. I shoot documentaries mostly, so I'm very quickly changing loads, but I always have time to get my container of air out and spray the gate really good before swapping rolls. At the end of each days shoot, I clean the gate really good.
  25. 1 point
    The best I can offer; clean all contact points, on the camera where the magazine makes electrical contact. all points in the magazine and on the motor. If possible, run test wires to the motor with the 8.4 volt battery to see if the motor runs. There is a wire inside the camera that could be broken. The torque motor brushes may be too dirty. The torque motor could be a 12V motor and is not getting enough volts or amps. Did the torque motor work in the past or is it new. Less likely is very dirty bearings in the magazine which could prevent the magazine from working. More information would be good.
  26. 1 point
    Yeah! Thank you, perfect answer! Though there may be some censorship problems in mainland China in terms of postage, for disks and hard drives are forbidden to be sent now, especially in Beijing. I also found the digitizing package on Kodak official website. Expensive, but might be a reliable solution. thanks again!
  27. 1 point
    In the end I did buy a 25mm Zeiss CP.3. I left my house to walk around Camden Town, just to see how easy it would be . Just me, the Arriflex 235 and the CP.3 with an LMB-25 and a camera bag. Great little lens. I look forward to the summer.
  28. 1 point
    how about editing with internal proxies or alternatively making separate offline material versions with burn in LUT and even some grading if you want? I normally do the offline versions with Resolve so that the editor's life is much easier and there is already LUT etc applied. Another reason is that it is mostly RAW footage and would natively play back maybe 5fps in normal edit and some of the material not even compatible with the edit software so would be nonsense to try to use the originals for editing
  29. 1 point
    I bow to the Sony gods in their temple of pixel harmony ..
  30. 1 point
    Well think of it a different way. Kodak farmed out their still business decades ago to a Chinese company. So the only thing made in Rochester "film" wise, was and is motion picture film. Their R&D business was also loosing quite a bit of money, but again that has nothing to do with motion picture. The bankruptcy was the best thing they could have done because they demolished most of the old buildings and now rent the property and have a lucrative real estate business. You've gotta think, the failure of Kodak was not motion picture film, but not selling their technology sooner. When I say Doc's, I don't mean History channel. I mean feature length doc's in the theaters. I don't mean talking heads and interviews, I mean cinematic filmmaking, which is the style of most modern doc's. Anything going on Television is being shot with broadcast style cameras, using broadcast codec's; Panasonic and Sony make those cameras. For the rest of us, it's the Amira or Alexa, with a sound guy, locked timecode and 12 bit 444 Pro Res deliverables at 3.8k, which is fine. I know two dozen people with Red's and they all rent Alexa's or film cameras to make THEIR products. In fact, the DP using my camera right now HAS an Alexa that he's selling to get out of digital. Yea you heard me right, the guy has an original XT and is selling it so he can buy a 16mm kit and he's using mine to get acquainted before he puts his money out there. More competition for me, but man that's great news for "film" in general as he shoots A LOT of high profile stuff. Owning high-end digital cameras in his and my mind is futile because the technology changes so fast, it's undoubtedly a loosing proposition. You'd have to rent your camera every day of the week to justify buying. If you already have big clients and they're never ending, it's worth the investment, but you aren't making money off it.
  31. 1 point
    I only have the first version of the Canon 70-200mm F2.8 L IS, but it's been bulletproof! The only weak spot is the flare in the back lit subjects. The mark ii has fixed this problem. I haven't shot with the mark iii yet. It's worth the money in peace of mind as well as resell value.
  32. 1 point
    The abundant grain, especially on the Pro Res file, is brilliant. Taxi Driver, The King Of Comedy, some sweet references. I just love everything about the trailer, it's going to be a new obsession 😄 The way the camera moves, the feel, the mood, the look, Joaquin, it's a great cut too. The trailer has been seen 21 million times already on Youtube Greg, this plus the buzz on Twitter and Cinema Con, this is going to set the world on fire.
  33. 1 point
    I never heard of this sport. A bit of text to introduce what is going to be shown might help the viewer.The scenes were put together rather haphazzardly. They don't create a story. The lines of people moving was a bit strange. Are they arriving, or leaving, what are they doing? The music was too epic for what was being shown. The music is more suited to the Battle of Stalingrad than a couple of matches and people moving in lines.
  34. 1 point
    DaVinci Resolve, hands down. It's probably the most powerful, and it's now pretty much entirely free (except for a few advanced features.) It does have a little bit of a learning curve (pun intended) if you're not already familiar with a color grading workflow or node-based workflows, but it's worth it once you have an understanding. If you need something simpler, Adobe's Lumetri panel that is built into Premiere & AE has a good interface that provides a loose guide for workflow, and the newer updates flesh out more of the advanced secondary color correction tools. I use both every day. For quick color correction while cutting, I'll use Lumetri to get it to a baseline just so the client doesn't see flat footage. At the end, everything goes into Resolve to finesse the grade. Occasionally, I even find myself doing a quick grade in Resolve, and then exporting a LUT to throw onto footage in Premiere.
  35. 1 point
    Adobe Premiere Pro. It works very much like Photoshop does for still pics. If you use color correction (brightness, contrast, exposure, gamma, highlights and shadows, saturation, hue, filters, etc.) in Photoshop, it is very similar to the color grading in Premiere Pro. Premiere Pro also has control over the ambient light in the scene, spotlighting, direction and intensity and color of the light.
  36. 1 point
    Looks really interesting. I'm sick to death of all these bloody comic book movies, but this one looks like it could be an interesting take.
  37. 1 point
  38. 1 point
    Interestingly, it also seems like tape storage may be on the rise, though more popular for longterm and offline storage: https://www.datacenterknowledge.com/industry-perspectives/how-tape-storage-changing-game-data-centers https://spectrum.ieee.org/computing/hardware/why-the-future-of-data-storage-is-still-magnetic-tape As someone who's too young to have really worked with LTO tape backups, I'm kind of surprised by the speed performance of tapes: "By 2025, tape transfer rates are predicted to be five times faster than HDDs."
  39. 1 point
    the Ninja V is quite handy for a onboard recorder. You will want to have couple of extra NP-F batteries with it at all times, it is pretty power hungry because you will use it as a monitor as well (for example the cheaper style NP-F960 or 970 batteries. the cheapest ones would work but something with decent quality cells like Dynacore is great ) you can purchase one 500GB ssd first and then decide later how much extra storage you actually need. Normal 2.5" ssds can be used in the plastic "caddy" and there is also the special purpose Sony and Angelbird drives which are already externally the right size to fit to the Ninja without a caddy. Remember though that these special drives don't fit to normal SATA hdd docks and you need the proprietary atomos dock to read them on computer whereas with normal sata ssd you could remove it from the plastic caddy and attach it to a normal dock to read the files. Not a problem at all and easy to do but just something to remember when planning your workflow :)
  40. 1 point
    Congrats for the new camera Samuel! I'm sure it will work very well for your purposes. I'm a little sceptic though how practical the C200 update would be if it takes about 2 years to get the money, there will be much better alternatives then. but probably you can find one from the used market for good price :) For us the biggest advantage of the Z6 +atomos combo is the ability to choose the lenses more freely when shooting in low light. For example I just shot some doc material yesterday in a small WW2 bunker where the only light sources were a tiny streak of sunlight coming from a blocked opening in the wall and a little bit of ambience skylight coming from a 10" hole in the ceiling. You can see your way around when your eyes adjust to the darkness... for the camera to get a visually similar view of the scene I boosted it to 12800 ISO with 1/40 shutter speed and still got a decent image for our purposes. The difference to a normal camera was, I was using the kit 24-70 F4 zoom lens the whole time! with most other cameras one would probably choose a F1.4 prime and would had the additional disadvantage of very shallow DOF which would make shooting even more complicated. The Z6 +atomos+zoom lens was much faster to work with in that setup (or almost any setup if comparing the practicality of a zoom to a special purpose high speed prime lens) so it is not that it would not be possible to shoot similar scene with for example the FS7 but it would be highly unpractical for our needs when comparing to the Z6 setup which is maybe 5 times faster to work with because of the lenses when shooting that kind of scene. For other purposes like daytime shooting or high contrast scene I would take the FS7 or other higher dynamic range camera any time. That's why I called the Z6 a 'special purpose camera' , it is excellent for certain type of low light scenes but it is not suitable for all types of shooting and it is not, by my opinion, very practical for daylight high contrast shooting. In low light one can, on the other hand, capture some absolutely magical images with this type of cameras so they are a great addition in the toolbox as long as you have possibility to use other cameras for the very high contrast scenes
  41. 1 point
    MINI version of the Alexa LF More info and detailed PDF report from Jon Fauer's Film and Digital Times: ARRI ALEXA Mini LF – Large Format ... Cheers PS: Hope this it the proper subforum for it. I did a search and couldn't find other post for this news. 🙂
  42. 1 point
    This is a profound truth.
  43. 1 point
    I take everything at face value, unless it's clearly a joke, which I didn't see in Robin's response.
  44. 1 point
  45. 1 point
    It all depends on the technical skills of the crew. And the working style of the cinematographer as well. I would like it if I could tell my gaffer to "light from over there" and place f2.8 over "here" 🙂 But, I've been working a lot over seas where my gaffers are not used to working this way and really don't want to be responsible for all that. So, I need to choose the lighting fixture (each and every one) and say exactly where it will go, but I do take suggestions. I no longer think about lighting ratios, but rather work by eye for consistency. I find that each camera angle needs it's own lighting ratio for all of them to look as if they are the same. And, I'm doing all this even though my gaffer and I don't speak the same language. But, KinoFlow is KinoFlow in just about every language 🙂 As for rigging, this is still the expertise of the gaffers and grips and I generally let them figure out how to make it work, but I do need to be clear about what will be in the movie to keep the rigging out of the frame. But, most of all, I would love it if the Gaffer stays very close to me on set so that I can just whisper to him about adjustments and he can radio those to his crew. I also sometimes have the Gaffer to view the monitor and ask for his opinion and suggestions.
  46. 1 point
    An unsharp mask type plugin may appear to help a little but there's simply no substitute for proper focus. The data is just not there.
  47. 1 point
    It may NOT be that obvious 🙂 I have three Quartz DS-3's (in addition to my newly-acquired Canon DS8 and two copies of Pathe) and all three Soviet cameras shoot excellent footage. The image is stable and, in my tests, didn't exhibit major problems. Note that, so far, I've only shot Fomapan R100 with them and not, say, color material. With the latter, they MAY have problems. Why the remark? Back in the eighties, my Kodak Brownie Movie Camera didn't have any problems with B/W ORWO film (I tend to use ORWO because of its very low price compared to, say, AgfaChrome or Kodak), while the image was seriously jumpy with color footage. I had to increase pressure on the film gate to fix the latter - by just putting some paper behind it. And the opposite was true of my Quarz-5 Std8 camera: it had problems with the B/W film (easily fixable by the same method) without additional pressure, while it worked just fine with color film. This is why the above doesn't guarantee I wouldn't have problems with color film in these three cameras. The lens is reasonably sharp albeit, at least compared to high-quality primes coming with the Leicina 8S, not very contrasty. Feel free to compare my Leicina 8S footage to that of my three Quarz DS-3's to see the difference: DS-3, another DS-3 Leicina (Please read the descriptions of each scan for more info on the four Leicina lens used etc.) Another problem of the DS-3 that its lens "only" starts at 9mm, while the Canon starts at 7.5 and you can get the C-mount 5.5 or 6-80/6-90 for the Pathe for even wider wide end. BTW, it's WAAAY lighter than any of the two other cameras - that's also an advantage.
  48. 1 point
    People also tend to be more biased the more they have watched videos and read other persons reviews about a camera model and the less they have actually used it by themselves. Another thing is that one cannot accurately compare cameras image quality and look based on the footage other people have shot. You need to know the shooting situations extremely well to be able to compare anything and that is very difficult to arrange without actually testing the camera personally with the kind of scenes you are actually going to shoot with it. That is why I didn't offer any Z6 raw material for you to evaluate...I have some here readily available but there is no point sending it because comparing cameras based on unknown footage is absolutely pointless and would not help you in any way. These are highly subjective things which need to be evaluated personally just like comparing lenses based on the "look and mood they create"
  49. 1 point
    bmpcc speed booster probably does not work with the GH series. the GH5s has for example v-log already enabled in factory and dual iso capabilities. the original GH5 is not as versatile due to the older sensor. the price difference is not that much when starting to calculate it further. purchasing a separate recorder (for example atomos) complicates the choices further because the memory card costs and internal bitrates don't matter then that much anymore. The lens mount thing is very challenging because most of the adapters lack full electronic controls (for example there is no EF to NikonZ adapter which enable electronic aperture adjustments even when normal fully muchanical EF to NZ adapters are common and very affordable) which is why it is easiest to switch camera bodies when you have fully mechanical lenses with aperture rings and mechanical focusing. For example Nikon AI-S lenses are pretty versatile, you can use them with almost any camera with adapters so that you never need to purchase new lenses unless needing certain wide angles or PL mount ones. Sadly the metabones ef boosters with full lens control are pretty expensive and it may make economically more sense to sell the EF lenses and purchase completely new lenses than to spend lots of money to the booster to adapt the old ones. The Chinese speed booster copies may be actually pretty OK for normal uses but they don't have electronics and are thus worthless with electronic EF lenses
  50. 1 point
    In filmmaking you'll be working with lots of very, very smart and literate people and one of the ways they bond with each other and communicate their ideas is by talking about plays, novels, and non-fiction. So, you need to get a grounding in that world. If you're a student, go see every play, author, candidate, and filmmaker who appears on campus or in your city no matter who they are or what they're talking about. School is a time to expose yourself to ideas—especially ideas you may disagree with. That's part of becoming an artist: the ability to work with differing points of view simultaneously. Your first goal should be to attend or watch films of at least half of Shakespeare's 37 plays plus some Chekhov, Eugene O'Neill, and Edward Albee (even if it's bad community theater, you need to see these works). In your car always have either a classic novel or current best-seller going. Try and get in a political book once in a while, but never express your political leanings on set—it's OK however, to talk about the cinematic and commercial possibilities of a political book, who owns the rights, and who you might cast in the roles. The only other thing I would recommend is to memorize the f/stops in 1/3 intervals between f/.09 and f/64.
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