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  2. The cameras used on Netflix's Original Films and Series

    I have to say that anybody who is both a hockey fan AND a fan of Wong Kar-Wai is ok in my book. Are you located in the Bay Area by chance??? I remember watching Days of Being Wild at the World Theater on Broadway in The City back in 1990 or '91 when it was first released. That was probably the closest to film nirvana I have experienced.
  3. Seems like dead in the water. Sadly.
  4. Today
  5. Am I An Idiot??? (Going From D750 to a6500...)

    Yes, it is. Something to think about. But then the 16-35 is about US $1,100 used, and then I would probably need a 24MP body such as the a7 II as well. If sony full frame lenses were more affordable - or if I were halfway decent at manual focus with adapted lenses - then it could work.
  6. Am I An Idiot??? (Going From D750 to a6500...)

    I don't really know when the a6500 will get replaced, and I think that trying to predict what sony is going to do is kind of a fool's errand, IMHO. People were kind of right in predicting the a9, but it wasn't exactly what people had said it would be (the lower MP sensor). Not sure many people were expecting the release of the a7R III. Most people I saw were predicting an a7 III. But then again it kind of made sense that some of the tech that was in the a9 would go into another flagship camera. I'm not really sure what would go into an a6500 successor... and no telling if it would be at the a6500 price point or whether it would be closer to that of D500
  7. The cameras used on Netflix's Original Films and Series

    @HockeyFan12 I think there’s a huge misunderstanding here, no doubt the fault is my own. Number one, I never meant to imply that video is superior to film. Let me be perfectly clear - I don’t believe Raging Bull could ever be improved upon! Number two, I realize that these great filmmakers chose the cameras and processing techniques they did, not because they were impoverished, but for aesthetic or philisophical reasons. When I said that some of the films shot on 16mm might have looked ‘better’ if shot on say a GH5, I did not mean to imply that ‘if only they had had a modern digital camera, their films would be watchable today.’ My point was merely that filmmakers should not be judged based on the camera they shoot with, something even the Cannes film festival can agree on. Come to think of it, I don’t know why I included Wong Kar-Wai’s masterpiece in my list - I think I just got carried away rattling off the names of some of the filmmakers I admire the most! His film obviously does not belong there, glad you pointed it out. My bad! I don’t believe I’ve ever had the opportunity to watch a pristine restored print of Chungking Express at the cinema, but would love to be able to one day.
  8. The cameras used on Netflix's Original Films and Series

    I don't think I've ever disagreed with a post I've read on this forum more than I disagree with this one. The features you mention are about as closely associated with the specific look of their respective formats (as well as the style they adopt from production circumstances surrounding the use of those formats) as any in recent history. Sure, 16mm has no more resolution or dynamic range than most mirrorless cameras today, but it has an inimitable physicality to its look (film grain, halation, gate weave, etc.) and even a physicality to the approach one is forced to take. And that offers a distinct (and in my opinion frequently gorgeous) look and disciplined style I've yet to see anyone get close to approximating for the duration of a feature shot digitally. No one at that level is shooting 16mm because it's the best format technically or because it's cheaper than 35mm; they're shooting with it because they prefer the process and the look. Sure, you can compare 16mm and today's video cameras on a technical basis and they're surprisingly comparable. But that's like saying dinner at the French Laundry and a bottle of Soylent are comparable on the basis of nutrition and ending the comparison at that. (They might or might not be, but you get what I mean.) I've seen Chungking Express projected from a good 35mm print at a high end screening facility and the texture and color of it are beyond anything I've seen shot on any digital camera, technically superior cameras such as the Alexa 65 (which can look just as good, only in a different way) included. Not in a way I can easily quantify, but in a way that resonates emotionally. I remember the look of that movie more closely than the story. If you think that film would look as good shot on a GH4, you need to question your own eyes, not Chris Doyle's, and definitely toss aside the resolution chart. There might be less grain on the GH4. It might be sharper. But the dreamlike quality of certain sequences derives specifically from the texture of film. Features shot on 16mm embrace the grain even more. I mean, Van Gogh's paintings don't measure well on a resolution chart. Should he have used a GH4 instead of a paintbrush? Yes, Festen was shot on cheap video. And its success proves a great point that a good story and good performances are more important than "look" for that kind of movie–I agree with you there. But the specific look of the cheap video (no lighting, miniDV) was still made with philosophical (Dogme 95, of course) and aesthetic (it looks like a home video and shares the aesthetic intimacy of one, crucial to the subject matter) intent. It had a large budget. They could choose their camera on the basis of cost. They chose miniDV for another reason. Even if the GH4 were around then, it would still have been shot on home video. It's the filmmakers emulating that look, and not emulating the bad amateur online filmmaker look typically associated with mirrorless cameras and dSLRS (it's not all bad, but I'm just talking about the audience's association with a look), that makes that story work. Another story might look great shot on a 70D. Maybe a story about a vlogger could be amazing on that format. But that would be an entirely different movie! I would try to be less disrespectful of the choices made by DPs and directors who can afford to make choices on bases other than cost or assume their only criteria are technical! I'm not trying to say I know what these filmmakers think, and maybe they would have shot on a wireless camera today if they had the opportunity... I doubt it, but I don't know. I'm just saying that you don't know, either. Furthermore, I think your response is a little ironic with respect to the original topic. Netflix is the company that most specifically chooses cameras based on technical specs; even Amazon and YouTube Red will allow the Alexa's upscaled 4k for original content, while Netflix won't because it's upscaled. And because of that, you have a lot of shows shot on the F55 or C300 Mk II that would look better in every respect (except resolution and again, imo) if they were shot on another camera (or even at 2.35:1 maybe, which they also won't allow). But resolution measures better on those cameras and it's in keeping with Netflix's brand and promise of technical quality, so that's what Netflix uses. I get it–part of their brand is 4k HDR original content. Maybe there are even legal reasons for the choice to stick with "true 4k" cameras, too. And it's fine. Those cameras are close to the Alexa anyway and the crews are super talented and most of the content on there is serialized tv type stuff that doesn't need the look of Chungking Express anyway. But if anyone is drinking Soylent over the good stuff on the basis of numbers, it's Netflix. I do agree with the larger point, made many times on this forum, that amateurs like you and like myself, and those who don't have or don't want to spend the money to rent their format of choice, would do best to embrace what's available to them. Just because Chris Doyle probably wouldn't choose a GH4 if he were to shoot Chungking Express today (then again, who knows, he might) doesn't mean he couldn't shoot an awesome entirely different feature on digital. And I agree that a good story, such as Festen's, would work on almost any format, but I reject the notion that miniDV was used thoughtlessly or arbitrarily...
  9. The video assist won't accept 4;4;4. It will probably give you a green tinted image if you send 4;4;4. for use with the video assist, set the f3's sdi out S-Log 4;2;2 Use SDI output A, not the 'Video Out' bnc connector. If you're set to 24p you should be sending 24p out of the sdi. the BM video assists seem to sometimes detect the wrong frame rate - on the A7 series they see a 25, 24 and 30p signal as 59.98, but when imported into the timeline you'll see the correct framerate. It's worth setting the camera to Cine EI mode since it locks you at 800iso and you get the most from the sensor. correctly exposed you can pull or push the 4;2;2 footage a lot before it breaks up. Amazing camera. ps. watch out for the 'shutter on/off' switch down near the bottom left in front of the flip out screen. Set to 'off' gives you 360degree and changing shutter angle won't change anything. catches you out sometimes.
  10. Swapping the FS5 for a........ GH5?

    That A7R2 + batis 85 + 35mm 2.8, Slog-2 iso 800-1600, and literally hand held , I did not had all my equipment with me that day, but I usually have a zacuto marauder and it s not as shaky.
  11. Yesterday
  12. Swapping the FS5 for a........ GH5?

    @Laurier I think, that GH5 could well be the champ of DSLMs. For 1500 -1700 it is a heck of a deal. Video below was shot in REC709 mode and regular 8bit HD, 800 ISO with F-stop at 2.8 for light gathering and F4 for dof.
  13. Panasonic GH5 - all is revealed!

    Well, it was already rumored that Panasonic would split their flagship into flagships... like Sony did with the A7, A7R and A7S series. So... now that they've decided to give us the photocentric G9... maybe up next indeed a low MP count GH5s with lowlight focus (clean ISO6400, usable ISO12800?).
  14. Swapping the FS5 for a........ GH5?

    Yeah but the A7R2 have excellent auto-focus in video , I shoot a lot of fashion video/Mv and that a fantastic feature, It save me the cost of a 1st AD, beside I can shoot moving subject hand held with a 85mm 1.8 wide open in full frame, and I love the look. I had a GH4 as well, that was versatile but image quality was always disappointing for me. Honestly I would rather go for a blackmagic micro + monitor if I was going for a smaller sensor /better codecs. But I m not saying the GH5 is a bad camera, it s just that price wise ... I would choose a a7r2
  15. Lenses

    @kidzrevil Hey, we want motion Anyway, you´re getting some nice ooc results with these lenses.
  16. Panasonic GH5 - all is revealed!

    Different cameras do different things. Sony cameras have the low light capability and that is one of their main calling cards. Another body, from someone it seems? I honestly don't know if RAW is being added to the GH5 or not. It would be great if it was though! Different cameras do different things. Sony cameras have the low light capability and that is one of their main calling cards. The GH5 is more "all around" in my opinion. Its a beast!
  17. Lenses

    Spoke to a cashier at B&H yesterday. An old dude, he’s really into old lenses like minolta’s,leica & zeiss. He seen my nikkor auto lenses and had to inquire. One of the main things he mentioned is that they have a very specific color rendering the same way zeiss is known for their color from hardcore photographers. I decided to upload some shots straight out of the camera to see if I can pick up on the signature color rendering of old nikkor glass. I notice it has a warm look to em which compliments the skin well. These are the nikkor auto 55mm f1.2 & nikkor auto 28mm f2 pre ai with metabones speedbooster xl and tiffen satin filtration.
  18. "The Middle Path" A ***** **** Short

    "The Middle Path" A ***** **** Short", I count five starts followed by four stars. Making a five letter and four letter term? "A Lumix GH5S Short" then? GH5S, what could that be?:)
  19. Am I An Idiot??? (Going From D750 to a6500...)

    Totally agree ! Recently I upgraded to a 43” LG 4K HDR set and puts you in a different zone editing on a biggger display. Your content on a bigger screen will truly test the quality of your work and it even changes how you visualize things before you shoot it cause you have to imagine how it would look on the big screen. Also the little nuances people tend to zoom into 300% to see become negligible on the bigger screen. Not to be long winded but the last thing editing on a bigger display taught me is you have to factor in the PICTURE SETTINGS on peoples display. Now when I grade I use 2 presets on my tv : one thats calibrated using a bluray calibration disc and one at the tv’s default settings with the sharpness up. Now I see exactly how my in camera adjustments effect not only my workflow but how people will view my content
  20. Lenses

    At least person didn´t express the appreciation adequately.
  21. Hallo, question is, if BM Assist offers 444. Odyssey 7 or 7+ might offer that. Not sure about the BM. cheers
  22. Be sure to use one of the A or B top BNC outputs for the RGB 444 I don't think it comes out of the SDI BNC on the side of the F3.
  23. Panasonic GH5 - all is revealed!

    I am planning to buy a good HDR TV to watch my GH5 videos. It may not be a Panasonic TV. LG or Philips OLEDs are first two items in my list for Santa Claus.
  24. I've recently bought BMVA and F3 and they arrived today. I'm trying to set them up to work via single 3G SDI port (SDI A on the camera body). I've managed to get 60p in 422, but can't manage to get 24p 444. I went into System menu and changed the setting from 59.94i to 23.98p. Then, in Video Set, changed output to 23.98PsF. In Dual-link ang Gamma, if I'm setting output to 1.5 YpBpr 422 I get the image, but as soon as I go to 1.5G RGB444 or any 3G setting – I get no image at all. Can anyone suggest what setting to use to get the 444 24p out of this setup?
  25. Am I An Idiot??? (Going From D750 to a6500...)

    I was browsing fleabay and noticed a few had gone for US 800 range. Which bugs the question, in the 800-1000 range is the A7S Mk1 still competitive? Just curious on your thoughts! it's fun searching eBay/Craigslist for good cameras at very nice prices.
  26. Nikon 85mm1.8G trying out

    Hope everyone is having a good thanksgiving week! (American folks anyways). I am pumped to get home and try out the Nikon 85mm 1.8G I rented from LensPro for a super nice price with a holiday discount. Anyone here ever shot this lens? I'm shooting still on the d5300 and rented it for some nice family portraits but hopefully I'll shoot some video with it as well. Do wish it had VR. I have read this lens is supposed to be fairly sharp. Anyways just wanted to try something new. Thoughts on this lens guys?
  27. The cameras used on Netflix's Original Films and Series

    I think a simple definition of terms is in order here. If by DP we are referring to the larger studio films. Yes, most likely they won't be shot on DSLR's or prosumer cams. Those DP's rarely own their own cameras any way. Compare that with someone like me who not only owns my camera but prefers to shoot AND direct my own small budget productions. Even though I am technically doing what a DP would do, I am fine not falling into that official ASC DP category. Instead I would call myself a filmmaker. The funny thing is, personally I would hesitate to call any of the individuals involved in the big studio productions a filmmaker. I mean the roles have become so specialized that who could really say they made that film? This article that Andrew wrote not long ago really put things into perspective for me. Like most, I had become infatuated with the idea of an expensive camera with ALL the bells and whistles. Not realizing that those very things were holding me back creatively. Once I let go of that paradigm, so much else fell into place. Shane Hurlbut ASC doesn't give a crap what he shoots on. He tests the cameras at his disposal and chooses the one that best fits the project, even if that means a DSLR. Being a DP is important for some. To me it's irrelevant. So is the size of your camera. To quote @Andrew Reid "Aspirations should be creative." Not technical.
  28. Panasonic GH5 - all is revealed!

    This thread got me thinking .The teasers Neumann Films does in his VLOG posts, plus his cryptic comments in this thread... might point to a new MFT cam with better low light capabilities. Funnily enough, 43rumors thinks a big MFT announcement is imminent in december (news posted today) In his vlog Neumann - after teasing us with a "Classified" after unboxing something unidentified - shows a lot of available light night shooting... possibly with that new cam? this rimes well with Cliff Totten's Analysis of the GH5 sensor and its successor, the IMX294CJK. That new sensor is 10megapix-ish, and high sensitivity. Please find the link to the sensor here. It features bigger photocells, and even a HDR mode on-chip. I'm not even getting started on 4k120p or anamorphic modes. It's all conjecture at this point and wishful thinking... but wouldn't a GH5s be damn nice?
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