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Here is some completely unbiased coverage of Scotland’s previous meetings with Brazil.

My opinion on the buyout of Hollywood by an oligarchy mafia. https://www.eoshd.com/opinion/warner-bros-risk-talent-exodus-over-trump-ellison-deal-who-will-follow-christopher-nolan-and-jump-ship-next/

The woman with bubbles at 1:00 or so or the sun behind the mountain at 1:50 or so are more challenging scenes than the baby and the rolloff in both looks really rough to me. The image at 0:49 also looks pretty bad to me, as do the highlights in the water at 0:40ish. It's great for a camera from 20 or so years ago, but in modern terms, I'd expect better from any mid-tier hybrid. Like with most things, in the hands of someone who knows what they're doing, it can look great - but so can a Nikon ZR or a Canon R6 III. 😃

Nikon ZR vs Arri Alexa Mini Color (R3D NE, N-Log, Log C) https://www.youtube.com/watch?v=mgJGK3YpIx0

The effective resolution of properly-exposed modern 35mm film is somewhere in the neighborhood of 5K if I remember right. But as above, a lot of people aren't so likely to care about that. Unless the varicam had some sort of miracle sensor, though, 35mm negative film will have much better dynamic range and much, much more pleasing highlight rolloff. It's still seen as king of rolloff - and on a film with a 20 million dollar budget, the cost of shooting on film vs Arri vs anything else is basically an afterthought.

I think a lot of people would be surprised to learn how many movie theaters are still projecting in 2K. Movie theater projectors are expensive as hell and overall profits for theaters are down compared with 10 years ago. Exhibitors aren't going to rush out to spend thousands and thousands of dollars on anything that doesn't have a direct positive impact on their profits. Being able to count the pores in the lead actor's skin doesn't put asses in seats or sell more candy.

No, but it turns out that a lot of our guard rails are imaginary.

"The old world is dying, the new world struggles to be born, now is the time for monsters" - Antonio Gramsci, Italy 1930s

Vimeo is in the process of deleting ALL my videos, due to their new policy of deleting their entire library of content for ALL non-current users without an active Pro paid subscription. Also, about 90% of my Vimeo was nurfed by the copyright music shambles, where Vimeo did the 3-strikes thing and they delete your entire account. So to avoid that, back in the day, I just decided to make these videos private, and unlisted. I have not got round to putting it all on YouTube yet, but perhaps I should?

I had a play with the Nikon Zr today and quite liked it, it's a capable, good value for money Sigma-Fp style camera with very good autofocus and finally a screen with which you can see what is in focus and what isn't. Well done Japan for going large after 25 years of 3.0 inches. It's the sort of camera that would be very exciting back in the day of the DSLR video revolution to say the least... Nowadays though, I find other stuff more exciting. Also the screen tilting mechanism sucks... I'd far rather they'd drop the YouTube vlog-style swivel screens on a camera like this and have a standard tilt screen that is ON AXIS with the fucking lens, and with it being so large it really feels unbalanced stuck out at the side and blocking the ports. In a way the Zr feels like a Blackmagic Pocket Cinema Camera 6K but done well. But it doesn't feel very high-end, even if the image is. Also I miss the EVF and think the Z6 Mark III is even more bang for buck. So yeah, doesn't set my hair on fire but it's going to be a very decent buy for a lot of people.

I'm talking about LOG video, it really does depend on the user more than the camera how the colours come out, especially as the modern range of gear now have a similar high level of codecs. So the Z-LOG = S-LOG = F-LOG they're all very much the same sort of thing. Whenever you see this LOG footage on YouTube, it's been graded by the user, either with a LUT or with their own grading skills in Resolve. Yet all the comments are like this... WOW the camera has great colour science, blah blah blah. And i's the same with RAW... All the sensors are now at a high level, similar dynamic range and so on. If anything they are now too good and are moving AWAY from the look of film. As for colour science... If you shoot JPEG or rec.709 video, then what the camera is doing matters far more. But in LOG they are all using a very similar wide colour gamut, and similar LOG curve, similar white balance, it is only the 8bit side that still has a big variation between Film Simulations, Photo Styles and Creative Looks. So just bear in mind next time you see footage on YouTube that the LUT is doing 99.99% of the colour you're seeing not the camera.

I have a colleague from Kansas that use to do second unit for Malik back in the 70’s and this anecdote is right on target. My buddy’s job was to wander around the set’s region and find shots of bugs.

I have the S1RII and the S1II. I also still have the old S1 and S5. The S1II is the same than the S5II about video details, even if some youtubers said the details rendering has improved, it's not true at all. Same bad rendering as the S5II. I understand some people are not bothered or can't see the difference and it's nothing wrong about that, but the difference is clear by example if you zoom inside your videos on people faces. Like the S5II, there is a sort of rough detail sharpening and in the same time a lack of very fine details. As always V-log looks better than the 709 profiles but it's still not great in my opinion. The S1RII also has the same detail rendering and I was very disappointed by the 6,4K Open Gate, it was not better than the 6K of the S5II, maybe even worse, like if this mode used a tiny bit of binning like the 5,9K 16:9. The new 7,2K is ok and looks better than the 6,4K. The 8,1K Open Gate is even better but limited to 24fps. Even if the video engine is the same between the S1II, S5II and S1RII, the later has much more resolution in 8K, hence the fine details looks finer even with the bad processing. it's only when the footage is a bit underexposed or overexposed that the S1 6K looks better. I read somewhere something interesting about Real Time Lut, using a burned in lut with a good amount of contrast helps to recover fine details. When recording V-log without Real Time Lut and grading in post, some fine details can't be recovered. I can confirm it's true. So using Real Time Lut V-log on the S1RII in 8,1K Open Gate is the best for details rendering. I'm glad Panasonic has fixed the colored pixels issue in Prores Raw on the S1RII and now the footage looks great, same details rendering than on the S1 or S5. But it's really crazy we must use Prores Raw to get the same good details rendering than on the S1 or S5 H264/265. And the crop is a shame, 1,45x ! When cameras like the Z8 or Z6III offer 6K or 8K 60fps raw video without crop ... About the S1II, Prores Raw only has a minimal crop (about 1,05/1,1x I think) and it was the main reason I bought this camera. Like on the S1RII, Prores Raw is excellent and like it has much less crop, fine details looks even sharper (in a good way). Finally we have a Panasonic camera with not only excellent IBIS but also excellent detail rendering and good AF without using external recorder (even if Prores raw is a pain for the workflow). The only issue I found is the 240fps 1080p mode, it is clearly not finalised because some horizontal lines appear randomly. I also found the photo raw files of the S1II and S1RII to be slightly less contrasty than the S5 and S1, they have less that punchy looks and I still prefer the rendering of the S5 and S1 with my best lenses like the 50mm S or 24-70mm Pro. it can be because of ACR but the JPEGs out of the cameras also looks slightly less contrasty than on the S5 and S1. Other than that, IBIS is stellar but sometimes more digital than on the G9II or GH7, color science is good but not as good as the GH6 to my eyes. The S1II also has better AF than the S1RII and I can feel the difference. Compared to Nikon, Lumix has several advantages like the IBIS and Open Gate. L-mount also has great "practical" lenses but I think they lack really great lenses with very nice rendering and more pancakes. After using most of the L-mount lenses, only a few looks really fantastic, like the 50mm S Pro (if it has not the coating issue), 24-70mm S Pro, 28-45mm Sigma and the APO Summicron SL. While absolutely great, the APO SL are really too much expensive for most people and it will be hard to attract a lot of people in the system, it is why Lumix try to attract people with smaller lenses and never released again new S Pro lenses since 2019/2020. Nikon has better AF most of the time but also more great lenses. The 50mm f1.8 is much better than the Lumix, the Nikon 35mm/50mm/85mm f1.2 and 135mm f1.8 are some of the best lenses you can buy. You can also adapt Sony FE lenses and there are more interesting "cheap" lenses available from third party manufacturers like Viltrox (mainly the 35mm f1.2 and 135mm f1.8).