Germy1979

[quote name='peederj' timestamp='1347769413' post='18192'] I admire your screenwriting skills greatly germy! Though as someone who owns and uses a real U87, i can tell you that after a couple days you aren't thinking "that's a U87." You are thinking about whether it gives the vo talent a cold or a kazoo voice or it's perfect. And if you are worth hiring you are simultaneously considering the bigger picture of what this means to the delivered narrative, and adjusting accordingly. And after doing vo with a U87 you aren't likely to waste much time with the GH3's of microphones. Let the local car dealerships cope with that sound. [/quote] Oh yes brother.. That's a whole different discussion, lol:) It's funny just how parallel the production philosophies mingle in video/music. I took a break from it after 15 years of having music i really didn't like, shoved down my throat. When it gets to the point where one day you have a revelation, that presents no point in your life where you dreamed of being a mastering engineer for shitty music... It's time to regroup i think, lol. I've mixed and recorded with some pretty coveted gear over the years also man, and i agree with you on the level of expectation... once you get to that level.. Though i don't think we would have said, "Hey Bono... we're gonna try an SM58 first....see how that goes.". But that was back before it was neccessary to autotune someone, until they sounded like they had a cold, lol.... My other issue with the modern music scene. :) It's basically to the point where finding anything worth liking is like finding a treasure.... Which can be rewarding for those who work in the craft... We still need to be inspired also from time to time. But even my heroes aren't a sure thing like they used to be, anymore... "Prometheus" let me down. The last thing Hans Zimmer did that impressed me was the fast moving viola arpeggio behind the theme in "like a dog chasing cars" on The Dark Knight. I used to love his unpredictability in cues, but he hasn't really done it like that since the 90's... And the only song i liked this year, came out last year by Amos Lee called "Violin.". I sure as hell didn't hear it on the radio though.. Guess it's all subjective to personal flavor these days, People like hearing computers sing:)

[quote name='horshack' timestamp='1347762583' post='18187'] Why didn't the dude call her back after missing the call? He didn't even have to dial - just go to "missed calls" and bam, she's on the line and he saves $75 in gas and tolls. And he gets to stay in the motel and watch I Love Lucy reruns in his underwear. Maybe she's the type who doesn't like people not answering her calls and so he figured she wouldn't answer? I need to buy the book to learn the backstory. lol. [/quote] Baaahahahahaaaahahaaa!!! "Hello?" -"yes, did someone call Pierre?" "uh...you were supposed to be here an hour ago asshole. You know, vacation? The train leaves in 45 minutes. I still have to grab our daughter from moms." -"Sheet!....Sheet!" "mmm hmm.....hotel again huh." -"(cough) - no...?.." "i bet your face down in your underwear with a bottle of scotch & your asshole hurts like hell.". -".......h-how d-" "don't bullshit me Pierre! You took Mikey's toy badge, and Ted's wife says he's been missing all night again. She's worried because the gun is gone too...you said you were through with that part of your life." -"Pierre can explain!" "Either Pierre produces himself at the train station in 45 minutes with a level of commitment that hinders my control of bodily functions, or the child support will be astronomical you sleazy motherf-cker....(click)." (Ted later walks out of the bathroom with a cloud of steam, in a tight pink robe, and Hasselhoff chest hair.) "you have the right to remain spectacular in bed...raaarrrrrr...."

[quote name='Anil Rao' timestamp='1347753417' post='18180'] ok, my genuine points to consider after watching this. 1. Watch the fans blades in the beginning, that was really shocking, unless they are all really furry, as I have seen fan blades with tassles before. 2. There is no demeaning here, the grading really is all over the place and that is not the fault of the camera now is it? 3. I'd like to know what is the budget of this, time frame of schedule and furthermore, look at how many people worked on it? This would negate a few things to consider, the first being if you are going to do this properly, give it all the quality it needs. I am not going to fault the craftsmanship as there is a considerable amount of blood, sweat and tears that goes into a production like this and especially with a short timeframe to accomplish everything, however, if this is an official Panasonic showcase why didn't they take the time to do it right instead of a rush job? More importantly, most of us are not going to have the kind of background support this demo utilises when working for ourselves, so that is not a real working example to use, to fairly showcase the camera, and even if we did, in all honestly I expected a better showcase, and not these kind of Ideal Home Exhibition demos, or shots of frogs close up you see on HD screens in Dixons. I watched this as a film first and it was just too hammy, now before the obvious reply to that will be, yes but it is to show what the camera can do, I say that is fundamentally wrong as an example to sell this camera and here's why... I want to be held by the idea, if this idea is to show the GH3 as a working tool for filmmakers and not just to start flames and wars amongst the online pixel peepers, then shoot it as a film and not a technical promo, then when one watches it, you can say to yourself, 'wow that was great', followed by, 'what!!!! that was all shot on a GH3', then you have proven the point. Philip made a film about a camera guy who collects cameras and it was awesome, then he told us at the Mac Video Expo where it was projected for us, that it was all shot on the NEX 5N, I was totally floored, that's the kind of example I expect to see. Even now when I think about it I can recall my wowness at watching it. When I made a short film for the French filmmaker [i]Luc Besson[/i], I shot it on a 200 line resolution security camera, the kind put outside your garage, I just loved the field of view, (which was very [i]Terry Gilliam[/i] meets[i] Jean-Pierre Jeunet[/i]) and the image the camera gave me. I had reworked the wiring so I could record the image to a DV Deck and shot my film as a film, as an idea I wanted to express. I then graded it at VTR (now known as Prime Focus) in Soho, by the legendary colourist [i]Tareq Kubaisi[/i] and it was screened in Paris, London and Tokyo. My point being here, is that I could have shot it on 70mm if I really wanted to, however I am a guerilla filmmaker, and by guerilla I mean that I want to push what can be achieved without all the bells and whistles that raise costs and still be held up as a validated professional piece of work.[i] GENESIS[/i] obviously has all the bells and whistles thrown at it and it's unfortunately speaking, not a good showcase for what it should be doing, which is telling a story that at the end of it, has us go wow and then unbelievable. They should have given this to Michael Mann and stipulated, off you mate and only by yourself, but he loves his Nikons too much ha :) Doesn't matter though, I am really looking forward to getting one of these, and if I had the added expenditure I'd feel the same about the BMCC, I'll be watching how that all develops before stepping in, but it's all good. Someone already said it before, but a new kid always stirs things up for everyone else to re-raise their game and that's better for all of us right? :) [/quote] Pretty good points here man. Most of us have been following the development of the, (we'll call it) - "affordable cinema look project" since 2008 when Reverie hit the web. I'm sure it went back further, I remember Wolf Creek was shot on high-def....but that ran how much then? I like the philosophy of "the best camera for the job is the one you have".... It keeps you productive. This is a love for cameras that has developed since the dawn of DSLR cinema and its affordability over the last 4 years though. It's likened to a breakthrough medical explanation, lol. (yeah, turns out a.d.d. Is legit!) We spend a ton of time watching tests with different lenses, patches, cameras, etc... Most of them are flowers. "Flowers with Sedna AQ1" - because we don't have Paramount budgets. But those are some of most cinematic flowers i've ever seen... The case could be made for both. If you have a story, and the resources to make it, schedule it, and rent a Scarlet.... they're reasonable on lensrentals.com, and Red has a few big budget flicks under its belt. Otherwise, you're probably looking at a camera for under $3000 because you want to own it, and use it whenever you want, can. If you love the cinematic look... Shallow dof, interchangeable lenses, Etc... - you won't get that with an ipad. So I think for some, it is about the cameras and that's cool, because I can see how it's happened. These are exciting times for poor, talented, aspiring filmmakers and if something like a GH2 would have been around when I was making my Army movies as a kid, I would've shit my pants. So i see your argument here man and it's a good one... Because from an image standpoint, technically the GH2 has impressed me far more than a Nex 5n ever has...but I haven't seen a story on it that moved me... But that's a matter of personal taste on my end. In Genesis, we see shallow dof, low light, wide angle, fast pace, detail, etc.. Shots most will pixel peep for things like banding and shit, even though it was a pre-production model. Obviously the story didn't concern anybody as much as the rolling shutter did. Ha! It's funny. I spend more time watching vimeo than I do actual films anymore...Bourne Ultimatum is on right now in the background as I type this. Such a gritty, badass movie. It however breaks every single law of Vimeo cinematography I've come to know.. It's hilarious. I didn't care in 2007 when i first saw it. Now i subliminally think, "Cameraman on Adderall.". or "Blown highlights everywhere...all the time... Blown out.". Then that car chase comes on, and i don't give a shit anymore what it was shot on. So yeah, i think if you shoot movies for a living, it takes something special to draw you away from that when you watch one. Same thing for a recording engineer. Good music, and all he's thinking is, "That's a Neumann U87."

I really want to see how exactly the "high dynamic range" sensor is working.. Honestly I do not like the skintones on the GH2. I didn't think about it either, but Andrew makes a good point about the sensor for the gh3 actually being DESIGNED for All-I compression, as opposed to a hack... I'm looking forward to learning the difference. There is a new series of patches with a matrix designed to emulate a 4:4:4 space, but honestly after testing them all... I'm convinced that the patches have gone as far as they're gonna go with GH2, and it's reached its max potential. I cannot see any discernible difference between them all. I guess if you're cropping 400% and you're looking for a block in a shadow, then there is good reason. I sit and watch patch tests though, and i want to comment: "sorry guys, but what exactly am i looking for?" but it's Personal View and I don't want to read 17 responses that make me question my self esteem, or worth to society.. The point is, there are hardware limitations that aren't going to go away with a patch. Man they did give the Gh2 a chance though! It truly has been, the best dslr type camera for video on Earth for 2 years.

[quote name='Zach' timestamp='1347657751' post='18062'] http://www.youtube.com/watch?feature=player_embedded&v=FBJI_wVtDl8 Heres another A99 video. Aliasing everywhere....bleck:/ [/quote] I know it's personal flavor....but man, "why the video look?" i wonder sometimes. The best one was a 30p bmc test on a cinema camera.

I think i just......yeah.....i just shit my pants.

If anyone has seen the latest 21 Jumpstreet you will instantly understand the letters: "H.F.S." This is the materialized equivalent of 9 Cialis pills. Why am i the only one commenting?!?! I just want to see it wearing nothing but a Voigtlander!

[quote name='QuickHitRecord' timestamp='1347548197' post='17896'] It's just another thing to forget. I hope that the GH3 resolves this. [/quote] Amen.

These guys are really picking up the slack. I'm sure there were tons of people that bought a 5D3 for stills... But probably just as equal, it was the most anticipated camera amongst the indie guys. Now all of these cameras are being announced 6 months later.. The 5D3 has gotta be capable of a hell of a lot more... And it damn well should be for $3500! Andrew you took the OLPF off of yours, and it wasn't a discernible difference in image quality? What would fix this thing, ...besides bullets? Faster sensor readout? Could Magic Lantern allocate more processing power to that task? (is that a stupid question? Digic 5+ is supposed to be pretty fast..). Clean HDMI:)

I have this patch! All I can say is, thank you! haha! I always keep it on 160 to avoid this very thing... (unless i can't.)

Moire, aliasing... But my eyes are trained to look for that stuff, haha... Rainbow rocks, and moving horizontal lines. WIth the VG900 having the same sensor, would this still be a problem on a video specific camera? One of the features if I remember correctly on the spec sheet a couple of weeks ago had something to do with the pixels on the sensor? -Photodiode expansion technology- wtf is this doing?

[quote name='QuickHitRecord' timestamp='1347426235' post='17813'] The VG-900 and VG-30 are 24mbps AVCHD. If I am not mistaken that's similar the FS100, which puts it to good use. Still, I am not blown away by this. [/quote] they output clean hdmi also apparently... I'd assume with the E mount, these 2 were designed to protect us from "it's a stills camera!" comments.. It's the whole 24megapixel sensor on a video camera that gives me the "3k is dead" vibe from the Scarlet, haha. I never hear about the demand for snapping photos during a take... But i hear about the lowlight struggles people have all the time.

[quote name='Chrad' timestamp='1347424248' post='17808'] I'd be surprised if the A99 sensor isn't better in low light than the 5D MkIII's. [/quote] Those Exmor sensors are killer in lowlight. Plus this is a full frame with new stuff under the hood... Flagship to boot.

Yeah i was gonna say. The VG900 with an E mount looks like the one we need to look at.. Avchd 2.0 is still 8bit 4:2:0. I wish they'd just tell us what's coming out of the hdmi jack! Lol.

Man... It begins! I hate to say it... But I read all that press release and all my negative ass managed to retain was "9" stops...lol. (had to tell myself, that's just a reference for the iso range...) Canon has made me cynical... Haha! Really can't wait to see what we've got here! This is new technology now. Interesting to see what a "high dynamic range" sensor will do on the GH3 and how it works as well. Big year! ....still getting a bmc though, lol.

Well. If your Samyang is a Nikon mount, you can get an adapter for almost any camera without vignetting. it depends on what camera you're using. So if you get the BMC in M43 mount, The sky is the limit on lenses pretty much. You won't be using the Voigtlander on a 5D mark 3 though if that's what you're asking:) Just go to Vimeo and type "GH2 Voigtlander" in the search box and See what this lens looks like. There are the Zeiss as well too. I think you can get a Zeiss 25mm for a little cheaper than the Voigtlander on Ebay. Granted a little slower, still a Zeiss nonetheless. For the BMC in M43 mount, I'd get the Voigtlander. The GH3 is coming out shortly too and it will more than likely be amazing. (B cam). Also, the Voigtlander's don't deppreciate like a Samyang does. You'll turn it in a heartbeat for $900 on Ebay if it's in good shape.

Right now, even though i've seen enough footage of the bmc with good depth of field with lenses around f2 online, The smaller sensor had me thinking how nice it would be to use the Voigtlanders... And then out of nowhere the M43 mount comes out. I'm with you though on future proofing, & in a way wish there was no such thing AS a micro four thirds mount lens.. That's where they stay pretty much since most everybody else has a bigger sensor... One focal length that somehow manages to always frame cinematic character no matter what the crop factor is, is a 35mm. I don't know why, but even on the bmc it hits the sweet spot. (shot 2 raw dng john brawley footage from afterglow....chalk on pool stick scene.) Samyang, Rokinon have a Cine version of that lens out...i would get that one. 35mm T 1.5 cine. The SLR Magic 12mm is faster than the Tokina 2.8. Between the 2 it would probably come down to character, and speed, since the Tokina doesn't have a big zoom range. I was going to suggest it also though because it does very cinematically on the GH2. The Voigtlanders are nearly a no brainer... Super fast and shallow, beautifully sharp and cinematic when stopped down. These lenses don't leave most guys' cameras once they're on. Your options are kind of determined by how close your focal lengths are to each other... If it were me, my widest lens would be the 17.5 Voigtlander, then the Rokinon 35mm, and then i would jump to the longer medium telephoto ranges like a badass 85mm. So my 2 cents: Voigtlander 17.5mm f0.95 Rokinon 35mm T1.5 Cine Contax Zeiss 85mm F1.4 (mmj...not a fan of the aej ninja bokeh:). - these are on Ebay in mint condition for under $1000 all the time. Heliopan 77mm Vario-ND. Get the M43 mount BMC....

[quote name='Philip Bloom' timestamp='1347228693' post='17661'] The difference being that Michael Bay is not part of this small community that we have...little bit of respect for each other goes a long way! :) [/quote] ...perhaps you haven't been on dvxuser recently... They have to shut the forums down long enough to sweep up the eyeballs over there.. Lol (sometimes i wonder if i should be "lol" -ing... This is a forum, not a text message.) You probably won't respond or be back to see these comments Philip, but we all respect you. I've really learned that if you're reviewing or testing a camera or a product, it's suddenly not okay to be a human being. Most of us pre ordered this thing with no experience with it. So we need to see what it's potential can be in the hands of someone who knows what they are doing. We needed to hear things like "rolling shutter"... Even though we don't want to. I don't know if you got paid to do a 45 minute in-depth review on it, but something has to justify the time you spent making and editing it. I would assume it was to show the curious world of investors and budding cinematographers- what this camera was about. So thank you for your time man:)

[quote name='EOSHD' timestamp='1347114689' post='17596'] Nice comment on Facebook... Somebody said the Blackmagic sucks because of the sensor size. This guy replied well...Says it all doesn't it!? "[color=#333333][font='lucida grande', tahoma, verdana, arial, sans-serif][size=2][left][background=rgb(237, 239, 244)]Yeah having real 1080p with 13 stops of dynamic range in 12bit 4:2:2 RAW or 10bit 4:2:2 ProRes sucks so bad when you can shoot pristine real 720p soft macroblocked unfocusable 8bit 4:2:0 compressed h264 on a 5D MarkIII for just $500 more!"[/background][/left][/size][/font][/color] [/quote] "But it's a damn stills camera!!!!! Aaaaaaagggggrrrrrhhhhh!!!!!"

..I wonder if Michael Bay ever gets on a forum when he's not blowing shit up, sees somebody bashing the piss out of him, and drops the law... Insert foot. [quote name='Philip Bloom' timestamp='1347210080' post='17646'] sorry that you don't really know my work or consider me a DP. Each to their opinion. Doesn't matter than 99.9% of my work is lit. Often in complicated ways but I guess you my work more than I do! :) [/quote]

[quote name='pss' timestamp='1346946081' post='17458'] saw this before....hard to tell anything from this....i can only look at this as a complete waste of time and money....light is horrible, flat, there is no mood, unless you like latin soap, every shot and set up looks unbelievably unimaginative to me, i feel bad about the actors, the story? is....what?why? who decided to do this and get people involved, was anyone paid to do this...i don't get it at all.... although i really don't like the grading either (again, no mood, no tone, nothing....) the image looks clean and crisp.... this could have been shot available light, handheld with a 5DII and it should have looked better.... [/quote] Haha! Yeah i tried to justify what to take away from this... The lowlight maybe... Who in the hell would think people want to see how video a "cinema" camera could be? ..lol. A cunt hair of rolling shutter. But i've said it before, I probably wouldn't shoot "Cloverfield 2" with a BMC.

Real men shoot with canon.

[quote name='andy lee' timestamp='1347038457' post='17549'] no focus assist too! this is a major issue as you need this for every shot you do! no x10 zoom in and its a reflective shiny screen..... so you will need to get a external monitor with digital focus assist for this camera [/quote] Doesn't it have peaking?

This was a good article... It's just fun to talk about filmmaking. These guys talk about the medium though, because they really don't have issues getting work i'm pretty sure. They've already put their thumbprint in the industry and we admire these guys for their work. Somewhere between Titanic and Avatar, I'd say Cameron is less concerned for the story so much as he is raising the bar for entertainment in general, so now he's all about breaking the barriers of immersion. Whereas, Nolan has Wally Pfister running around like a doc dp. Run and gun gets such a bad wrap like it's unprofessional. No. It's spontaneous, and challenging. What i kind of got from this article though, is RAW acquisition is at the doorstep for $3000. How many people will buy a BMC? Now, how many films will come out of it, vs. cat videos on Youtube? If you don't watch it, it can get too philosophical and hinder your productivity... It's happened to me. The technology won't be the problem soon enough, and the lack of production will run parallel the excuses. Like fast food and cancer since the 70's. On the other hand, there's gonna be some badass cat videos... My day with Mittens. Gear: Blackmagic Cinema Camera Lens: Arri/Zeiss 25, 35, 50, 85, 100mm cine kit. Iscorama Anamorphic adapter. Sachtler pod Raw shot in my kitchen Graded in Resolve.

The voigtlanders are beautiful.... Faaaaaaassst! For the dof junkies, that's a big deal probably.