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By fuzzynormal · Posted
Well, I appreciate the mental exercises you're putting yourself through. The questions are interesting. Still, at the end of the day everyone's process is a bit different. Since arts and crafts are subjective, quantifying how those two things merge is only useful up to a point, imo. And, of course, that point is usually wildly different for all of us doing this stuff. I'd ask, do you really wanna chase what that means? It might always be ephemeral as context changes; slipping out of reach. And shouldn't such meaning remain in the realm of intuition anyway? Then again, maybe not. At least not for everybody. Perhaps being in a space without firm answers isn't interesting to you? Maybe striving for technical contentment at the limits of understanding is the thing you enjoy. That's cool too. Engineering can be artful in it's own way as well. Either way, keep poking around. -
By eatstoomuchjam · Posted
Thanks to a maybe-too-good-to-be-true deal from MPB ($1500 or so off new), I guess I'll have a C80 soon? This puts me in officially "too many cameras" territory and I'm going to force myself to finally sell my E2-S6G for this. We'll also see whether what they describe as "dust on one of the ND filters" that won't impact image quality actually means. They originally said it was an unremovable mark on the sensor protection glass that wouldn't impact image quality - and they revised the description after I asked for a picture of the mark. There's a two-week return window, in case I feel differently after seeing the sensor. Of course, CPS membership should mean I'd get a 10% discount on a repair - so if the price would still be less than the substantial difference vs new, I could just do that. Anyway, any special requests from anybody for tests while I poke at it? Will this inspire me to buy Canon's 24-105/2.8? Could be a great pair for a super minimalist/fast day of shooting setup. -
An additional barrier that my above approach helps me side-step is the disparity between technical resolutions and aesthetic preferences. What I mean by that is that when we talk about resolutions (4K / 1080p / 720p / 576i / 480p etc) there are a bunch of associations with these. No-one is linking these with aesthetic decisions - no-one says they're shooting for the "480p look"! Any discussion of these is typically in the "more is better" context, or at least in the "1080p vs 4K" realm. However, my image analysis indicates that there are quite a lot of images that are deliberately created with an aesthetic that aligns with 720p or lower! Therefore, if I tried to "map" aesthetic preferences to technical resolutions I would be fighting all these connotations I have from these technical resolutions. However, linking these things to film doesn't have nearly the same associations. People don't talk about 16mm as being "crap" whereas they sure do if you're talking about a 720p camera or timeline resolution. The other challenge I have with the "I like that" and "I don't like that" is that I don't really know what that means. If I can look at an image I like and work out it's equivalent to 20mm film (if such a size existed) and I worked out that a camera/lens combo was also around 20mm film equivalent, then I could "link" that camera/lens combo with that aesthetic, or even that reference. Alternatively, if I shot with my GH7 in Prores HQ (which is likely to be around 50mm film equivalent or more) and a lens that is in that ballpark, but I wanted that 20mm film equivalent look, then I'd know to just adjust the Film Look Creator to align to the 20mm film equivalent settings, and I'd have that look. Speaking of using the Film Look Creator to adjust to various sizes of film, it comes with presets for 8mm, 16mm, 35mm and 65mm, but I did some interpolation and came up with the following values for intermediary values, so it can be used for in-between things too. From the initial image analysis I've done so far, lots of stuff shot on desirable vintage cinema lenses is often in those in-between areas, so this isn't just about using the FLC grain panel to emulate film, it's really about using it to emulate the softness of the final image, which is a result of the combination of: - haze / smoke in the scene - filters (such as diffusion filters, haze filters, beauty filters, OLPF filters, etc) - lens sharpness at a given F-stop - sensor resolution in the readout mode it's in - image processing (such as NR, sharpening, etc) - compression - etc. If you're emulating lenses then the edges might also be softer than the middle, so that would be a separate thing, but you can get quite far using a combination of: - Lens correction in the Edit tab - Round power-window to adjust vignette - Round power-window in combination with Tilt-Shift Blur OFX to emulate edge softness -
Yes, they knew 100% what the heck they were doing, as well as the place and technique better suited for that place. As for the TikTok videos having huge impact? Yep. Are they art? No way. "Content" is not art. Never will be. -
By fuzzynormal · Posted
Good write up! I've run the gauntlet as well. My conclusion is that what you wrote above is the thing that'll get me through, so I accept it. And why not?
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