Frank Glencairn

Nothing wrong with motion per se - it just needs to be motivated by the scene. Regarding the "zeitgeist" - those unmotivated MTV moves look rather outdated to me - waving the camera around for no reason also screams early 2000s to me like nothing else. just my ct 2 - your mileage may vary.

Since a lot of folks are running into relinking/offline media problems while on a collaborative/remote job, here is some heads up. Once you wrapped your head around the concept of a shared folder - in this example Episode 12, than it's quite easy. A shared folder is a folder that contains the exactly same file structure, with all your clips, audio, SFX, VFX andwhatnot you need for your project. It needs to be exactly the same on both Local Paths Work in Path Mapping. Imagine a scenario where Editor A and Colorist B are collaborating on a project. Editor A, using a Mac, is in Los Angeles while Colorist B, on a PC, is in Bangkok. Both are sharing media through a cloud service, but their local file paths to that shared cloud folder are different.For example: Editor A's path on their Mac is /Users/editor/cloudfolder/Episode 12 Colorist B's path on their Windows PC is D:\Projects\Episodes\cloudfolder\Episode 12. Without Path Mapping, this difference in file paths would require constant re-linking of files, making collaboration difficult. That's exactly the problem most folks run into, when thy try this the first time (including me). Local Paths come into play by allowing each user to specify their own local path to the shared folder Episode 12. DaVinci Resolve then handles the translation of these paths, ensuring that the media links work seamlessly for both users. In the example above, both Editor A and Colorist B would define "Episode 12" as the shared location. Then:Editor A would set their Local Path as /Users/editor/cloudfolder/Episode 12 Colorist B would set their Local Path as D:\Projects\Episodes\cloudfolder\Episode 12 As long as all the media used in the project is within the shared "Episode 12" folder, DaVinci Resolve, using the defined Local Paths, will automatically translate the file paths, eliminating the need for re-linking media. Setting Up Local Paths Access the Path Mapping panel in the Project Settings. In the Project Media Locations section, use the "Add" button to specify the shared folder. Use the "Browse" button next to the "Local Path" field to navigate and set the path to that shared folder on your specific system. By setting up Local Paths, DaVinci Resolve streamlines collaborative workflows, ensuring that users can work with shared media seamlessly, regardless of their physical location or operating system.

For me, any camera movement is motivated by the drama of the scene - some scenes call for a dolly in, or some other move, others benefit form no movement at all (and those are usually very strong), but I never move cameras around just because I can.

....and than have halve of the resolution thrown out of the window by a crappy deinterlacer cause our posh modern TVs can't deal with interlaced. It's a mess.

DaVinci is pretty picky regarding the hardware - look at the specs on the Blackmagic site. The "static" may be caused by an old version of you OS - you need to update, if this is the case (both Resolve and OS) DNGs are greenish, because they consist from 50% green pixels but only 25% red and 25% blue. You need a LUT to get this to REC 709. Alternative workflow is CineformRaw. You get the speed and file size of ProRes, but better quality and you keep all the raw options. I wrote this article for BMC CinemaDNGs, but basically it covers all DNGs: http://frankglencairn.wordpress.com/2012/10/07/post-workflow-for-the-blackmagic-cinema-camera/

Wait for the MFT version and you can adopt about any lens on the planet (unless it is covering the sensor of course). You can use 16mm glass, but have to crop out the vignetting from the 2.5k material, which leaves you with 1920x1080.

Besides all technical stuff, I was also disappointed from it as a movie. Maybe because the Hobbit is a childrens book, but I found it too slapstickish (regarding directing and acting) to grab me. LOTR was deep, dark, mystic epic, but those 3 camping trolls where just like the Three Stooges and the dwarfs and goblins like from the Muppet show (I was just waiting for a tap dance number), let alone that guy with the bunny sled. Jackson lost me for the next two. And it's not because of 24/48 3D or not. So for the moment, my preferred Hobbit frame rate is zero fps.

There are some Chinese companies making them. Like the C-stands of DigitalJuice. Just browse ebay and you gonna find of cheapish copies (still expensive for what they are though).

Did a little lowlight comparison: And here are some original files to play with: http://www.filedropper.com/voodoo Frank

I have the flag kit from DigitalJuice, which is identical - just an other label on them - and I really like them. I would prefer to have that stud that goes into the gobo head, in the middle of the flag instead on the side though, but no deal breaker. Frank

He is always an inspiration for me. Thanks for sharing Stephen. frank

Brazil of course - the mother of all steampunk films. http://www.youtube.com/watch?v=IGRdTCO6VzQ&feature=related

I own a mint set of Pentacon Six primes and I just love them. They are elegant, organic and buttersharp. Here is an article I wrote on them quite a while ago: http://frankglencairn.wordpress.com/2010/04/01/vintage-zeiss-glass-on-modern-cameras/ Frank

Can't wait to give it a testride, great job Sebastian. Frank

It was a baby bunny - the poor camera guy is now hated by the whole nation.

LOL, I already did that without the need of a Kickstarter - just me and the FS100/700. Frank

Just talked to Dedo Weigert from Dodolights - long conversation about LEDs and that most of them don´t play nice with skin tones, despite the CRI. Dodo makes some nice LED lights, but they still think LED can´t hold a candle (pun intended) to tungsten. Frank

Nothing wrong, AE doesn´t play realtime, until you make a RAM preview. Frank

Sadly they don´t really work if you speak German.

It´s doable. I shot some really nice stuff with a HVX200 and 4 lights many moons ago, but you really need experience.

The problem is, with traditional film - shot at 24 frames - they show you every frame twice or even 3 times in a theater, tricking the brain into seeing smooth motion. Digital projectors actually show 24 frames, which can lead to juddery motion, especially in high contrast areas. But just shooting 48p instead doesn´t work for the brain ether - it gives you that uber realistic soap opera look. Frank

As I said, I had the camera for a few days, now here is what I shot: Frank

Don´t want to play the wise guy here, but buying a camera just before NAB is always a bad idea. Even if there is nothing new or within your budget, chances are, that the prices on last years gear is going down after NAB. The 4k update comes from Sony, no way around that. If an other company can come up with a recorder, depends on the protocol they use. 4k raw over 3G-SDI is not trivial to implement.

Here is my "First Hands-On" review on the SONY FS700 http://frankglencairn.wordpress.com/2012/04/05/first-hands-on-review-of-the-sony-fs700/

I had a few days to play with the FS700 - gonna write a review on my blog and let you guys know what I think. The slow-mo is a burst mode that writes to a buffer. The buffer than dumps the data - in full HD quality - to the card or external recorder. It does not 4k in the moment, that comes with a future update. But the 11+ megapixel sensor downsamples the image to HD. So it´s massive oversampling going on. The details, sharpness and overall quality is impressive. My FS100 looks somehow SDish now ;-) Frank