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Posts posted by RobertoSF

  1. I can't really speak for what others expect from their cameras, but I remember the GH2 won the most important praise any camera could earn...chosen in a blind test as the best in the Zacuto shootout by Directors responsible for films like the Godfather Etc....and that little camera did not get there overnight!...The GH4 is coming into it's own in a timely manner IMHO and the irony for me personally is,  like with most people using computers and virtually leaving the brunt of the capability untapped, the same is happening with cameras. There are suddenly more DPs than PAs in the world and cameras are just not good enough anymore:)...unless perhaps we actually bother to use them!!

    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. ​I gave it a go. For some reason I couldn't import it in Premiere nor AE (too high bitrate?). Opened it in MpegStreamclip and exported it to quicktime AppleProres 422HQ.

    Then Graded the clip with SyntheticAperture in Premiere.

    ​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. Roberto...Jesus Christ is all I can say...Those from what I have googled are $3K lenses.  Are there more inexpensive alternatives that produce similar cinematic quality...that is filmic as all hell.  I'm speechless. 


    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.

  4. 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...

  5. 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.

  6. 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.



  7. The director wants to keep a lid on the production costs so as not to distract attention away from the film itself. He's doing the opposite of propagating a starving artist narrative. That said, I heard a rumour that the budget was around $50,000.

    $300,000 in a month is very acceptable for a small scale, no studio independent release, but if the budget is correct, it's exceptional. Six times the production costs is a great return on investment, especially when he's spending so little on distribution or marketing.

    Bare in mind that this is not the only number that counts. Carruth is also making money from every foreign distributor that picks up the film. It's just a little from each country, but it adds up.


    Talk about negativity. This guy could go out and shoot an upbeat movie in the hopes of chasing success, or he could make what he wants to make, on his own terms, and retain total artistic control over the film and its release. He found a way to do the latter and remain profitable.

    That is true success. 


    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.

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