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By eatstoomuchjam · Posted
Nice Storyblocks ad read in the middle of a video where he claims to be retiring, but then says he's just not going to make (as much) camera content as before. And then claims that the brands never paid him for reviews - guess he bought all those fancy Aputure lights himself and reviews calling the Amaran Halo series "UNBEATABLE" had no gear or money changing hands, 'cuz, y'know Amaran Halos are the pinnacle of video lighting technology... (Saw a couple used on set, they were fine - didn't seem bad or anything, but "unbeatable?" Yeaahhhhh Ooooookaaaayyyy) Also, the part where he says that he will now feel free to take gear given to him by camera brands because he's "retiring" from reviews. 🤣🤣🤣 Ohhh, and then he says he will make paid "showcase" videos for brands, but will limit it to short form content. Wow. What a "retirement." -
By Andrew - EOSHD · Posted
"Talking about products I don’t actually care about but that I think will draw more views or earn me a bunch of money. I don’t want a portion of my house to be essentially be a shrine to cameras.” Turns out he didn't give a shit. -
By KnightsFan · Posted
Looks cool, but I'm surprised that I can't find any info on frame rates or anything. As the first reply says, if it's the typical IMX410 then it's not interesting to me. I do love that it uses a generic battery and interchangeable lens mount. -
By eatstoomuchjam · Posted
Nice try, GoPro, but $699.99 is not as "less than $700" as I meant. So it is in "I'm gonna wait for this to be in the hands of real people" and not "Why the heck not put in a preorder?" territory. https://www.bhphotovideo.com/c/product/1964095-REG/gopro_mission_1_pro_ils.html -
By fuzzynormal · Posted
Sure, I'll give you a deep dive. I'll also vent a little. You might imagine there would be some worry matching footage, but for this project, surprisingly not really much of a big deal. We had worked with the Alexa footage for months, so I didn't fret at all that a GH5 would do the pick ups. Why? None of the Alexa footage was shot with a deep consideration for the lighting. It was all very workman-like. And the "eye" of the shooter was decent, but average. That's really the biggest thing. Anyway, the cinematographer and director decided to bring a rigged out Alexa to a run-and-gun-available-light shoot. The dudes are older gents and they just felt like "the best" camera was the logical tool to use. Not true, honestly, but you couldn't convince the cinematographer of that notion. Which is kind of a legacy mentality with older guys, but that's what happened. There was a political element here too. It's a decent budgeted doc so the "shot on ARRI" rhetoric was desired. Okay, so the main reason re-shoots were required: there weren't a lot of compelling shots that could juice the narrative. The footage was decent to look at, but not dynamic. The cinematographer really couldn't get around easy with this big 'ol rig and sticks. Interesting things would happen situationally with the characters, but he would unfortunately deliver a single shot when dozens were needed for a good edit. He'd just end up being burned out physically as the day went along and couldn't move into interesting places for useful footage. Ultimately, a big powerful camera was being underutilized because of "reasons". An Alexa camera delivers nice footage, of course, but when you're pointing it into blown out skies and shooting mid-day with it on the regular, it's not like it'll give you miraculous results. Here's the other rub that had me slapping my forehead, the cinematographer and the director really like the crushed blacks sort of color grade. And they didn't mind the whites being blown, so... That's a style that was typical a few decades ago, right? Well, you're taking a 14 stop Alexa, throwing away a ton of information, and delivering 9 stops for the final project? That's certainly a look. And Michael Mann loves it as well. But then, why the hell spend the $$ on an Alexa in the first place? Now, in this story you're getting a bunch of bias from a guy that spent my entire career as a one-man-band. If my background was from the more collaborative perspective of traditional filmmaking, I suppose a lot of this wouldn't even stick in my craw. Don't discount my naivete'. As for lenses, the cinematographer was using a very clinical variable. Ziess cinema Zoom 28 - 80 mm. And he liked f5.6. Great lens, but neutral character to it with how it was used, so when we went out for more footage I slapped my Olympus 12-40 on my GH5, packed a few ND's, and went with that. At the end of the day, it turned into an effective modest film. Could have been better, wasn't a disaster. imo, it was too verbose and that ends up being a slog, but all that talky stuff appeals to people that vibe on the themes of the film. And while the film doesn't stretch to get beyond that sort of thing, the director is happy with it, so all's well that ends well.
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