Ivan Johnson

World's Best FPV Drone Shot? (Extreme Mountain Biking) Would like to hear some suggestions from people who have worked with similar footage. This was shot on a hacked GoPro camera attached to the FPV drone, the same workflow was used on the film Hardcore Henry (A colleague of mine was on the production crew and even told a story of how the camera was lost in a wheat field, so GoPro execs made the crew sift through kilometers of grass in order to find it, as no one else could get their hands on the modified camera (trade secret = $$$)) The footage is more than likely recorded in DNG RAW format with a very high bitrate. What would have been the grading workflow, apart from choosing the right gamma and color space in order to achieve that soft, analogue finishing touch? The picture completely lacks any kind of "plastic" digital look you would get from a consumer drone or XDCAM class camera. In fact it even holds up extremely well against CineAlta Venice footage shot from inside the fighter jets for Top Gun Maverick. This was definitely achieved by the colorist as the GoPro camera is technologically inferior to the likes of Venice.

What are your thoughts regarding the workflow and any (if at all) specific LUTs used on this documentary? https://www.youtube.com/watch?v=NPloUxLWfB8 To me it looks like RAW footage shot on a EOS or RED, converted into Rec709 with some kind of brilliant finishing LUT to seal the deal. However, this is just an assumption based on previous experience.

Simple really, the sensor and the RED “look” you get compared to the Pocket. Creators will pay $4k more.

That's a great observation, it does make more sense as a dispensable piece of equipment. I have a different theory however, and I'll make it short as to not stray off topic. The Komodo has an SDI output, can support V-mount, shoots 120fps at 2k resolution and has in camera proxies. It meets all the minimum requirements of an A camera. This is a just theory, but it looks like RED sees more potential revenue in the independent creator market than the professional cinema trade, and they may take their future line of products in the direction of the Youtuber/independent content maker. Creators always looks for a way to step up their content and this has no doubt caused a rush among the people who can afford one. The independent market is growing rapidly and already may well be more attractive to tech manufacturers, even just comparing the amount of equipment sold (to rental houses vs creators who prefer to use their own tech). We are in the middle of a big shift in the entertainment industry and big tech giants may just be able to see farther into the coming future.

Hi folks, if you could sign this petition it would make my day and I’m sure many others would feel the same. Let’s get ProRes Raw into Resolve and put an end to these silly corporate wars. Cheers! http://chng.it/CQgmzCHY4v

Really only one question.. What’s the catch? Why has RED gifted us this run’n gun option? Why does red still sell the more expensive Monstro, Gemini and Dragon cameras? Why do DP's continueusing their more expensive cameras if the Komodo has the same great sensor, high data rates and 16 stops of latitude? Can a few extra SDI outputs really be worth that much? What do you guys think?