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RobertoSF

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Everything posted by RobertoSF

  1. Agreed. In 2011 when I said I was going to shoot my feature on a GH2 I got a lot of sideways looks and comments from a good number of pro film and video guys (Illya Friedman and Andrew Reid noted exceptions, also very encouraging and knowledgeable) . Pro attitudes changed dramatically with the Zacuto shootout, where, if I recall correctly, the GH2 placed 3rd, behind the Alexa (clear winner) and shockingly close to Red. The grading for our feature went very well because we shot it the way we wanted it. Post has taken a while (1 man, 1 computer) but I am very pleased with the finished result. When V-Log comes out I look forward to doing some anamorphic 10-bit test shooting on my GH4. feature trailer, fyi: https://vimeo.com/132865030
  2. ​Same here. Thanks for finding this clip. Gotta love Driftwood, on several levels. Inspires me to do some test shooting with anamorphic and test the 4K workflow.
  3. At. Last. Real 4:3 anamorphic from Panasonic on a GH4. Just in time for my NEXT feature! Thanks to Andrew and Illya Friedman for whispering into Panasonic's ear for about this for ages... Will do some test shooting when the firmware and V-LOG is baked.
  4. Thanks, Jason. I said the same thing when I first shot with them too. I thought this sort of look was out of reach for us DSLR shooters. Andrew, our fearless EOSHD leader here, can answer your question best. He first brought out the idea of coupling LOMO ana lenses to GH1s way back in 2011, and got a lot of us excited. Back then a LOMO in reasonable condition was reasonably priced, I bought my 35mm squarefront for $500. Since then, however, prices have gone way up, and a good LOMO lens/set is still hard to find.
  5. As long as we're piling on filmic clips... these are GH2... but as soon as there's 4:3 24fps I'll try out ana lenses on my GH4...
  6. Shooting 4:3 in 24p on the GH4 is a very, very exciting prospect. Do keep us anamorphic shooters posted, Andrew!
  7. My thoughts exactly. The video where Geoff Boyle said this is very much worth watching:
  8. Interesting development, thanks for the notice, Andrew, glad you're doing some recon out there on the front lines for us. On a recent trip to France I heard Panavision may soon (in a few months) come through on cameras they started developing a couple of years ago. We'll see...
  9. Can't wait to see the results, Andrew! GH4 + Cooke! What PL adapter are you using?
  10. Old rule of thumb, to get the best bang and performance for your buck, hold-off buying gear until 1, you have a big project ready to go on the horizon, and 2, the platforms and workflows are reasonably understood, tested and stable. This worked for me when Andrew detonated the GH2 on the scene and craftily paired it with vintage anamorphic glass. I am now very happily (and gratefully) editing a feature with some beautiful ProRes footage transcoded from the GH2 source. A top pro colorist here in SF has no problems, and reasonable latitude, working with our 8 bit ProRes 422 HQ. A year from now, 4K production and post should be stable for we mortals who live to make movies. And yes, I think 4K 10bit should be amazing...
  11. Yep. I was thinking of the Varicam 35, also recently announced here.
  12. Exciting pricing, Andrew! Thanks for keeping us up to date. So for us anamorphic nuts, shooting with a 2x ana lens on a GH4 with an S35 chip will yield what aspect ratio? Or is the frame 16x9 regardless of the sensor?
  13. Fascinating. Have you heard if it is switchable to 4:3? Still an anamorphic dog with a bone here!
  14. Going to be an interesting year for camera releases, and it's not even April yet. A 4:3 switch would have been a very nice anamorphic lens friendly feature... Otherwise, yes, a it looks like a well-improved legacy to the GH2, which I'm not letting go of anytime soon. ;-) Looking forward to seeing your your Cookes look on the GH4 Andrew!
  15. Congrats on the Cookes, Andrew. I love the cinematic look they offer, too, and would probably jump on a set if I found them at a good price. Looking forward to the results of your secret expedition.
  16. That is a seriously gorgeous looking lens... And for $71K it ought to have some sex appeal, right? http://www.abelcine.com/store/Angenieux-Optimo-Anamorphic-56-152mm-2S-Lens/
  17. Can you drive over to Arri and have a kind word with them about that, Andrew? Good post, mate. Been curious about the Amira for a while now. We'll see what the rest of 2014 offers.
  18. Excellent post and thread. Just moved "The Wolf of Wall Street" up on my list of films-to-see. Love the look of the Hawks, and too rarely see them in action. If budget weren't a barrier (and when is it not for us mortals) it's tempting to think of going from the GH2/Lomo to the Alexa/Hawk-V. Hawk being something of a Lomo legacy. But we'll see what gets announced/released in the next 3 months, not that I'm buying anything other than drives and editing ware at the moment.
  19. If the coming camera can record the full sensor in a 4:3 aspect ratio at 10bit 4:2:2 I'd be very, very happy. It's the way anamorphic shooting was intended many years ago, and for good reasons. Fingers crossed.
  20. I rate the rumor high as well. Been waiting for this to break.   What I really want to know is, will it be switchable to a 4:3 aspect ratio?   I know this request from the pro community was lodged with Panasonic. I just hope they implemented it.   Like Andrew and many other anamorphic zealots, I'd be very, very happy to finally shoot ~2.35   Keep us posted, Andrew.   Thanks
  21. George is right. Good for him for taking on the fight. He continues to use his influence well. If you haven't seen Michael Clayton take a look. It's films like that, and many others, that are on the line. As for the rest of us filmmakers, everything goes on the table (neck included) when we make a feature. Onward.
  22. A good film, regardless of names or budget, comes up like grass through concrete.   Find  your niche. Germinate. Reach for the sky.
  23.   Amen. Shane is well into the black. Critically, and monetarily, which means he will roll into his next project on his own terms.   I watched the film earlier tonight via iTunes/AppleTV. It was affecting. Well done. The nuance of the story was beautifully subtle but totally there. And yes, by the way, it looks beautiful. it matters. It's cinema.   Gents, ladies, the distribution mold is shattered. Time to make a jail break.   I'm in.
  24. Good for Shane. And us, as audience and filmmakers. A rising tide floats all our boats.
  25. As posted a few days ago, what BMCC announces at NAB will be the benchmark. There it is. A bold new direction forward for many of us.   Onward, compadres.
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