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I can't say I disagree with you, on the opposite. I just try to be as neutral as possible. Placing my opinion out of the equation. It doesn't depend on my wish a lot of stuff. AI is only another small portion of it I become used to since ever. This doesn't mean any endorsement. Let alone for copyright purposes. AI will only bring challenges for the subject matter. We can't do anything but face it. Why should we leave the idea to safeguard legit copyright? Of course, not! This presence even increases the need to protect it more than ever. Who knows bringing more chances of copyright infringement for getting a fair compensation from? : P Strictly seen from a profit POV... So, what can seem bitter, may end upside down -- I will say it again, in good hands. The same for the toolkit. I am against guns in wrong hands -- I take the example though. They can save a lot of different and crucial or critical aspects with positive handling, no less. Even useful/helpful at times. It's not the instrument but the hand behind to pull the trigger... A lot of people here are used to infer action cameras are plain crap... I'd rather take any capture device as promising cinematic experience. Well, not all of them : D but the last upgrade for sure when not old rigs! I think that's what a 8mm/16mm background or analogue video or old DV formats have brought up to here before the digital REDvolution. A bit like almost everything in life (not all the time for anything or anyone whatsoever, anyways, the orange man is the fine example... when zero tolerance applies or is called for ; ) I usually tend to reject the standpoint to see it as B&W : ) I guess this won’t apply to everyone in this industry or business, or to all people interested in the various crafts and trades involved. But as a film producer and filmmaker, reading what Clayton Jacobson wrote about his experience* with a mix of Midjourney, Photoshop, and Runway (Gen-4), I can only fully empathise with and feel committed to his thoughts and approach to that bloody toolset: «Another dance with the devil. An Ai test this time playing with emotion and screen direction. Testing how close i can get Ai to adhere to direction of performance. Ain’t nowhere near as satisfying as directing real actors and being surprised and delighted with their invention on set. But I can see this being useful for possible background or crowd scenes behind an actual live performance or near impossible action or dangerous scenes where you wouldn’t want a real actor to be placed in danger. Integrating these techniques with trad film making will be a game changer rather than the all or nothing approach. For the record these tests aren’t just prompts there is a lot of set up and shifting between different platforms to get something even remotely usable. But I won’t lie as a creative - having an idea and seeing a result in hours rather than years is exciting. The average feature film takes 8-15 years to go from idea to audience let that sink in. After Kenny was released I spent 15 years trying to get the gatekeepers interested in my next project and it never happened. The industry is built to say NO 99% of the time AI says yes to me Constantly. For now I’m enjoying the freedom and sandbox joy of it all. A few interesting projects in the pipeline…» source * That aforementioned link posted above came from a partner in crime with me since 1998 and with three feature movies already distributed worldwide in our back... (EAG :- )

They finally put up the new video about the Eve cameras. I didn't watch yet, but I expect most of the content will be similar to before.

I don’t really agree with “if you can’t beat them, join them” attitude to stuff like this. Being a right wing imbecile is very much on the rise but it doesn’t mean we should just fall into line with it. AI should be used for taking away mundanity like doing the dishes and laundry from our lives to free us up to do the fun and creative stuff not steal that from us. I’ve got admiration for whoever’s work was used to “train” this but only contempt for those who are facilitating and grifting on the blatant theft of original work. Do you not see that these tools that you are espousing will only make that situation immeasurably worse ? This will literally give these people the ability to say “yeah just make that last one again with a slight variation and set in a different location” and churn this shit out even faster and with waaayyyy more profitability than they do now ?

Does this mean that those specialist art films his wife made back in the old country will now have a 100% tariff ?

It's absolutely unhinged isn't it?

In his world view globalism is good if it lets him have access to foreign real estate market, otherwise its evil.

Do you think it applies to ad revenue collected from YouTube videos shot in another country? What about ad revenue from ads shot in other countries? Does Google pay the tariff on their ads, or does the advertiser pay it when they sell a product? Do you think it's about what is in the shot, or camera placement? Ie if I stand on the US side and film something across the border, is it a US shot or not? What if I place a giant mirror across the border and film it, giving the exact perspective of the camera being placed on the other side? Well Canada is the 51st state, so no tax. Obviously.

That guy either lives in another world and time, or he makes us all feel like we do.

There's been some discussion on this here today. The main takeaway is that nobody even understands what it means. How in the fuck can you put a tariff on a film? It doesn't even make sense. And what is a "foreign import?" If I drive across the border to Canada, shoot 3 minutes of footage, and add it to a 90-minute film that was otherwise shot and edited in the US, what's taxed? FWIW, it also would be a torpedo to the Canadian industry - and I suspect the tariffs were partly driven by spite at Canada for voting so strongly against his agenda. Anyway, the major studios are going to hate this. Aside from reducing costs by producing abroad, if other countries retaliate in kind, International returns on films are going to crater - and that's a huge percentage of their profits.

Hi, Any youtubers with good editing advice for fast cut edting. I think I need to step up my editing game to the fast social media age to grab attention fast. I don't like shooting vertical video either, but that seems to be the trend for instagram/tiktok these days. I have not looked into this much really, but their might be some good tips out there for vertical video also that I am unaware off. Thanks!

100% tariffs on American films which aren't all shot in the US. 100% tariffs on all foreign imports and Netflix production. https://www.bbc.co.uk/news/articles/cz01kx3yrmvo https://news.sky.com/story/donald-trump-announces-100-tariff-on-non-us-movies-as-film-industry-dying-13362069 Proper details sketchy but looks bad. But all par for the course when your public votes for a thuggish fascist dictator.

Lucky the colour from the S5ii is not shitty then, or if it is, says more about the user than the camera 😜

Some shots from a few days ago in Insadong. This area was very crowded and I did grab a range of normal shots at street-level, but the ones looking up were of particular interest to me due to the variety of architecture in the area. For reference, this is what most angles at street-level looked like: I have been recording a number of themes while out and about. The first are the 'normal' street scenes taken mostly at ground level. The second is views from the hotel window, which I posted earlier. The third is looking up. The tall buildings here (with its ~25M population in the metro area) are seemingly unending, in variety, size, and number. Some are deeply creative and stylish, some are featureless and faceless and nameless. A good subject to include if trying to capture a sense of the place. Here are a few shots looking up. Like all things here, it's about contrasts, and often the vegetation contrasts beautifully with the buildings so I've leaned into capturing compositions including both. These were all taken on the same day as the above shots.

My first priority was to make the images not look like cheap digital, which I am confident I've achieved with my current workflow. The images I'm getting sure look like film to me, especially seeing how it reacts when dialling the Exposure up and down within the plugin. I think I have more work to do in learning to control the high DR shots, but that's something for when I am back at home and have time to experiment with different techniques. I am still contemplating modifying my custom DCTL that works in L*a*b space to be the front-end that I will use to grade underneath the overall film look. Once I've gotten a handle on the files and how to control them, then I was going to go back to the BMMCC images I took on my last visit here and then try to match the GH7 images to those BMMCC ones. The light here is a bit different to at home, so having footage from the same place to compare is very useful. I feel like up until now I've been struggling with footage that wasn't up to the (very difficult) conditions I shoot in, and now I have equipment that is giving me files that I can make into whatever I like, so the question then becomes what I want them to look like, which is a whole other journey.

As long as colours look shitty enough, everbody seems to be happy.😊 A lot of youtube footage from the current 10bit and raw cameras makes CineD on the Gh4 look like from a grand era of color science. I really loved the colors from your Bmmcc footage and I liked them better than GH7. @kye I've only liked the color from half a hand full of GH6/7 videos, one of them with high production values by Olan Collardy. It seems to me like it's harder for a lot of people to treat log footage shot in natural light, coming from these modern hybrid cameras of the last five years. I like my og bmpcc much better than my Lumix S in that regard, same with stuff available on youtube.

They won't keep the same sensor. Megapixels may be the same but sensor will be faster partially or fully stacked sensor. This seems to be a common theme creeping in the rumors for most mid tier cameras that will appear this year. Nikon was the first with Z6 III, so the partially stacked sensor is available for Panasonic. According to the rumors Canon R6 III will have the same sensor as EOS R3 which is fully stacked. We'll see soon if 24Mpx fully stacked sensor from Sony will appear in a Sony or Panasonic or both cameras. At the moment it is pure speculation.

Incredible piece!

Read that a few times about the S5ii and hoping for a better low light camera. My thoughts to that are 😂 and 🥱

It was a lot more than that with a completely different body. Other than the brand badge and the menu system, they were 2 very different cameras and the new S1Rii is far more like a bigger brother ‘upgrade’ to the S5ii than it is to the OG S1R. This is the thing. Other than a different body style, what will be the difference and will it be enough to matter? Everyone hopes for something groundbreaking such as internal ND, but unless it’s a high end ‘flagship’, that ain’t going to happen. I really would like to see something special but not going to hold my breath… I might be interested in a single unit if it does something extra special my S9 cannot. What would that have to be? Zero crop 4k 60p (ideally 6k 60p) open gate, water resistant and twin card slots in a small/compact package. I prefer using my S9 as my run & gun over my S5ii’s but yesterday got caught in heavy rain and that has me rethinking that slightly!

I'm using an Ulanzi & Coman Zero Y tripod with a Leofoto BV-5 video fluid head. For shoulder mount I have a two-rod shoulder rig that has no brand name. I got it on Craigslist for $40. It's been good. I added a bracket to hold a monitor. I've never used a gimbal but a few years ago I was thinking of one. Now I'm more interested in "imperfect" camera movements. I use the stabilizing in Final Cut for tripod shots where there was some movement (from wind or whatever), I don't tend to stabilize the shoulder mount footage. I just use it as it is and just not use anything that's very shaky. Like tends to happen in all types of art, when "perfection" is easily attainable then imperfection becomes desirable.

I started a poll on which tripod, gimbal, hand held system people are using. i couldn't seem to add one to the thread. Curious as what system people are using in 2025. You may also comment on your choices here, if you'd like to offer an opinion on why. Been looking at a new video head and tripod. However i wonder if perhaps a gimbal might be advantageous. Pretty confident hand held is out for me as i have to stabilize everything in resolve and it seem like an extra step that could be avoided, at a higher cost initially, i guess. Resolve seems to do a pretty good job at stabilizing footage from what i have experimented with, but i think if i can fix it before i import it, i'm well in front and as good as resolve is i am wondering what i am losing in the process. In some ways the less i have to do the more " authentic " i feel the footage is. With the advancement of AI i would like to do as little as possible with it. I understand that alot of programs will have it built in and there's probably not much that can be done about that. I'm also thinking in some ways AI is just a buzz word with a truckload more programming built in. I presume program file sizes are about to grow exponentially to accommodate that. Which in turn will require bigger, faster computers, which hardware manufactures will be only to happy to supply... Thats the cynical side of me creeping out again.. I'm certainly no cinematographer, and whatever standards i have, are low, low enough to walk over without tripping🤔Still i think its important to draw a line in the the sand and say. Yo̶u̶ ̶s̶h̶a̶l̶l̶ ̶n̶o̶t̶ ̶p̶a̶s̶s̶!! er.. This far and no further.

I would suggest that it has enough DR, as would most current high-end cameras. Have you done any tests to work out how much DR you're actually dealing with? I'd suggest it's less than you'd think. It's trendy to complain about how cameras don't have enough DR and to continually call for more, and I have done this in the past as well, however I did it because I actually shoot scenes on a regular basis (backlit sunsets) and I was able to work out how much DR this required in real life (the BMPCC / BMMCC could just do it and the GH5 fell short) so I knew I needed around 11 stops. I would suggest that interview situations, even naturally lit, wouldn't require as much as literally having the sun in the frame, but it's very easy to run a test and find out. I did a latitude test on the GH7 in V-Log Prores and whatever wasn't clipped kept full quality, so with proper colour management was basically perfect.

The only way for them to remedy the Z6iii sensor's flickering is using a better noise reduction. Its too late for a hardware tweak. Meanwhile I hope this rumor of Sony Semi becoming independent entity is true.

I am not sure what the next camera will be. The S1R had a "upgrade" with the S1RII. it had more of a S5 body style. so not as rugged as the original. The original S1 vs S1R only had the sensor as a difference. But then where to put the S1 non R successor without cannibalising the current S5/ S5II market. (if they keep the same form factor) Both camera's are on sale currently making it hard to ask more then 1700. If they keep the same 24 megapixel sensor like in the S5 then whats the point? what feature will make it stand out? Only thing i can think of is an S1S like in sports. fast burst rates, great AF, because Sony limits burst speeds with sigma glass.

Cool, one step closer to completely unburden us, humans, from all those unnecessary skills of ours.