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Neumann Films

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Everything posted by Neumann Films

  1. Depends on whether you are an eternal pessimist or not, I suppose My personal outlook will remain unchanged. I shot a short film in 6 second chunks at -16 Q Scale to get a higher bitrate on the T2i when Magic Lantern first came out. And I loved it. Squeezing the best IQ out of a camera is right up my alley...and I thought yours as well but you seemed to have changed your tune since I was last here.
  2. Yup, this is the point I have been trying to make but you have made it more eloquently! Blackmagic pushed other entry level camera makers to include similar specs and try to beat them at price point. The R5 represents a pretty sizable leap forward in what we can expect to have in a camera. Many of these things were thought to be impossible to even get into a single camera and they somehow got all of them! This will push Blackmagic, Panasonic, Sony and all others to either lower the price of their future offerings or innovate and add new tech. In that scenario, we all win.
  3. Probably true, but shouldn't we be fine with that? I'm happy that they just pushed tech forward so far. All it means is that other companies will now feel the pressure to add more features at a cheaper price point...so the consumer wins. Anytime this has happened it's a good thing. When Tesla pushed the envelope, other car manufacturers followed and now almost all major companies have an EV model. Good for humanity. If not for Tesla pushing the boundaries it would have taken longer and probably been more expensive. There are examples of this in many industries and I always think it's a positive. The fact that THIS specific camera doesn't fit a lot of peoples needs isn't the thing I'm happy about, it helps me specifically and I'm in the minority, but it's still a positive for everyone. It just means everyone will get the tech they are looking for sooner and likely cheaper. I would obviously prefer no clip limits but this is coming from someone who adopted Magic Lantern in the very early days and shot entire projects in 10 second chunks due to buffers. I've had entire projects ruined by RED cameras. I'm just used to having to do little workarounds. So for me, it doesn't seem like this is some big thing that people need to freak out over. If you wanted/needed 8K RAW and some of these other specs, it sucks to have to deal with the clip limit but it certainly shouldn't be a deal breaker. You just workaround it and deal with it (assuming the work allows for that). My overall point remains, from a big picture point of view...I'm glad they pushed the envelope and included the tech vs. leaving it out. It might make this specific camera unusable for some but it's a major win for the industry as a whole. Again, before this point RED owned 8K and they charged $30,000 to even begin shooting. This camera marks the entry level for 8K and that is something that will be a benchmark that is remembered years from now. Many many many shooters will create mind blowing stuff with this camera, I can guarantee that.
  4. Probably true...this camera wasn’t made for you then. Also, how can anyone pretend to know how reliable or unreliable it is until you actually use it on a shoot? It might be better than we thought and it might be worse. Speculating is just that...speculation. Time will tell.
  5. But...what? My videos are going to companies like Amazon, Samsung and TCL for display showcases or hardware/software testing. These applications SPECIFICALLY require 8K.
  6. (raises hand) I did. I realize it’s not for everyone but I’m extremely happy with what they did. It’s legitimately my dream camera for this moment in time. Do with that what you will, my point is...Canon has given SOME people what they want. Just not everyone, but no one ever does!
  7. Say it again. A little louder for everyone in this sub. For a company that has been ridiculed for not innovating (most of all...here on this site), they made the correct call. It's a leap forward and I applaud them for it. It will push everyone to follow suit! To solve this problem they would have had to leave out IBIS or AF. They kept them BOTH in. It's really a remarkable technical achievement. After talking with Panasonic engineers a lot in the past about this stuff...the fact that they were able to cram all of this in is surprising.
  8. It depends on how competent you are at overcoming a cameras faults/quirks. They all have 'em. I have plenty of horror stories from working with RED cameras. It's part of the job...always has been, probably always will be. You...expected 8K RAW internal with IBIS and AF without overheating? I'm fairly certain the camera would lose IBIS or RAW and personally I am THRILLED that they decided not to do that. Again, this is coming from one of Canon's most vocal detractors. What was in your tea today?!
  9. Here is the work that I will be using it for that it makes perfect sense to utilize: - Short Films - Music Videos - Commercials - Stock Footage - Pro Stills - BTS - YouTube videos I previously used a RED Helium for this work and just sold it for this. That saved me $25,000. I don’t do weddings or corporate stuff so it’s not an issue for me. You know how you overcome little issues like overheating? You practice and use the camera enough to know it’s quirks and then you shoot/plan around them.
  10. I’m happy to let my footage do the talking to bring more of you over to my camp. I think it’s an incredible achievement and nitpicking about stuff that can easily be worked around is...a bit much. To each his own though, it’s your investment and you know what you need in a camera. It’s my A cam for just about everything. For everything it doesn’t work for, I will rent. Easy.
  11. Rolling shutter exists on every camera. No camera is perfect. For the price this is an incredible achievement by Canon. Whether or not it makes sense for everyone is irrelevant. It’s an incredible piece of technology at a surprisingly low price.
  12. Andrew, I love you buddy but...this has to be a satirical post. You have criticized Canon for a lack of innovation more than anyone. They overachieve and bring an innovative and groundbreaking piece of tech at well under market price and you’re focusing on the only “con”. They deserve credit for this. It’s pretty jaw dropping on paper.
  13. Kind of crazy to be back into the Canon world but...here I am! What a benchmark for them and the price is ridiculous for what you get. Up until yesterday you had to pay $30,000 to get similar specs. Planning an unofficial short film for when my pre order arrives. It will all hinge on how it performs there but on paper...it’s almost flawless (IMO).
  14. Thank you for the kind words! What contest is this?
  15. There's some VFX work that I'm waiting on to get completed before I move on. BTS for this episode will be out on Friday hopefully though!
  16. GH5, Kit Lenses, Natural Profile. Minimal to no grading.
  17. Adobe is an antiquated company and they operate like one. Have you ever looked at their forums in search of a solution? It's an absolute nightmare, the first response from an actual Adobe team member is generally condescending and dismissive. They have gotten fat and lazy on the subscription model which gives them a million reasons to slow progress to a drip. Why rush along updates when their entire business model is built around people continuing to pay a monthly fee? Doesn't make business sense therefore it doesn't happen. I'm pretty fed up with it myself. Will likely switch to Resolve full time soon.
  18. It's unfortunate because if they just put all of the pieces together then they would likely get the sales required to make it feasible. With an incomplete eco-system, it's hard to get people to shell out $6-$7k for an aerial only camera. If that camera can move from drone to tripod/gimbal...then it's a totally different discussion.
  19. I mean, they promised it and still have it listed on their site as "coming soon" to other products on the site. The idea was to come up with an Osmo solution, sadly I bet they have ditched it.
  20. Thank you sir! It's been a while but from what I remember you need to still do something to get the DNG's off of the SSD. It was fairly quick but there's no way around it...it's slow. I compare it to working with the 5D3, it's not going to be an easy workflow but there is something fun and unique if you are OK with slowing your process down. The fastest route I found was: 1. Record to both SSD and Micro SD (1080p on Micro) 2. Transfer both to same folder 3. Utilize Premiere Pro Proxies 4. Dynamic Link to AE to color DNG files via Adobe Camera RAW 5. Export to Adobe Media Encoder for upload Slow, yes...but not much different than my workflow anywhere else. Sometimes I just slap a LUT on in Premiere Pro and export there but it's not very often.
  21. I didn't have issues like that. Not saying it was a dud as I had my own headaches but that sounds...faulty. I could be wrong though. Maybe my experience was the exception rather than the rule. I was a huge fan of the X5R/Inspire 1/Osmo set up. It had quirks but I dealt with them because I loved the image quality, now with the price being much lower, I think it's a hidden gem. No ProRes is rough as DNG slows everything down. There are ways around that though, you can record proxies directly to the Micro SD card and then utilize Premiere's proxy workflow. Personally, I made my cut in Premiere using proxies then Dynamic Linked to AE to use Adobe Camera Raw...which is STILL the best way to process DNG files (in my moderately humble opinion) I haven't used Cinelight, the PC solution is bare bones but stable and straight forward. Cinelight...I can't speak for. I have heard mixed things as well. I just cut this together, it's a reel of Osmo and Inspire stuff all on the X5R, should show the versatility. Tripod, pan/tilt (via app), car mount, Osmo, and Inspire 1: At one point we were working on a light weight (*feather weight) jib made out of carbon fiber pieces that you could backpack anywhere and build up to over 40 feet. The Osmo was so light that it just barely worked. The idea was...easy epicness in national parks. Sadly it never fully came together but there is one shot in the video using the set up (shot at 1:20). Keep in mind, it's a little like dealing with Magic Lanern on the 5D3 or something. My tolerance for stuff like this might be different than other people's. It's quite a bit of work for less footage...not for doc or any kind of long form content. It's niche, for sure. Yes but they use Panasonic sensors and work closely with them, so they might be protecting that relationship.
  22. HA! Oh God...that half pink screen is giving me flashbacks. That is probably going to be a beautiful image though. Andrew, you going to try it out?
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