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Neumann Films

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  1. Like
    Neumann Films got a reaction from Jimmy G in Panasonic GH5 - all is revealed!   
    There are many situations and many types of productions that don't have the luxury or (more importantly) time to use lights.  Documentary, live events, weddings, news, etc etc.
  2. Like
    Neumann Films got a reaction from webrunner5 in Advertisement for Adobe to fight perception of unreliable buggy Premiere   
    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. 
  3. Like
    Neumann Films got a reaction from andrgl in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  4. Like
    Neumann Films reacted to mercer in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    Yeah, I would buy an X5S tomorrow if I could use it with some form of an Osmo handle. And I would probably get an Inspire drone by Christmas to fly it.
    The X7 is gorgeous and I’d love to have the S35 look but until someone makes adapters for their new mount, I can’t see myself shelling out a grand for a prime lens I can only use with one system.
  5. Like
    Neumann Films reacted to mercer in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    I thought Luke said he never used CineLight on a PC?
  6. Like
    Neumann Films got a reaction from Alt Shoo in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  7. Like
    Neumann Films got a reaction from omega1978 in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  8. Thanks
    Neumann Films reacted to mercer in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    @Neumann Films to quote an oldie but goodie... you just won the Internet. Seriously though, that is simply gorgeous. Thanks for sharing it!
  9. Like
    Neumann Films reacted to Andrew Reid in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    That has shots to stand the hairs up on the back of my neck. Absolutely bloody wonderful!
    Mr @Neumann Films clearly knows how to use a gimbal slowly, cinematically, almost like a slider and crane replacement on some shots, rather than waving it around randomly like a robot wand
    I think it's easy to miss the point of the OSMO RAW. Yes, sure it has major flaws. But what else, seriously, is this small and easy to grab and go, which shoots 4K RAW with 13 stops dynamic range?
    In my article, I think all the criticisms are a reality - but I might be willing to put myself through some pain - with the greater satisfaction that brings in the end, rather than having it all too easy, sometimes limitations can be a creative inspiration. I am not kidding
    Yes the Ronin S, Crane, etc. can get the same shots, yes a GH5 can get you close to the quality of raw but it's still not RAAAAAW, also the rig has to be set-up each time you get it out of the bag (not that it really fits in a bloody bag to start with - more like a suitcase) and the weight is 3-4x more than the OSMO.
    Did you @Neumann Films find a way to access the DNGs directly off the OSMO's SSD rather than bring them through Cinelight? Because even with proxies, after editing you are still going to have to crack open those DNGs eventually and it takes HOURS, doesn't it? What if you need to use the SSD again in a hurry? Did you buy multiple ones? They are quite pricy.
    I also love that if you buy the OSMO RAW X5R, you pop it off and there you have your Inspire 1 RAW drone as well. Saves you money if you're planning on getting an Inspire 1 anyway.
  10. Like
    Neumann Films got a reaction from ntblowz in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  11. Like
    Neumann Films got a reaction from webrunner5 in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  12. Like
    Neumann Films got a reaction from mercer in DJI X5R (4K RAW) + Osmo + Inspire 1... anybody else with the same idea?   
    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.
  13. Haha
    Neumann Films got a reaction from kaylee in First 14bit RAW video frame extracted from 5D Mark IV with Magic Lantern!!   
    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?
  14. Thanks
    Neumann Films got a reaction from IronFilm in Lars von Trier returns to Cannes and people seem to have taken personal offence to his fictional serial killer   
    Beautifully written piece, Andrew. I really enjoyed that and I totally agree. 
  15. Like
    Neumann Films got a reaction from Andrew Reid in Lars von Trier returns to Cannes and people seem to have taken personal offence to his fictional serial killer   
    Beautifully written piece, Andrew. I really enjoyed that and I totally agree. 
  16. Like
    Neumann Films got a reaction from Juank in Kinefinity Terra 4k has landed   
    In my experience, this varies from company to company. Some companies give you almost 100% creative control (Panasonic), while others want you to say specific things about the product.  I have always stayed away from companies that do the latter. If we get into talks and they say "We would like you to mention this and this", I'm out. 
    That said, if I sign on then I'm under contract to do a job. Who in their right mind knowingly gives less than 100% to a client?  It doesn't matter how big of a job it is, I have always tried to go above and beyond.  Whether it's a wedding, an unpaid thing for a friend, or a commercial.  All you need to understand the relationship here, is apply your own experience with clients on bigger jobs you've had.  Same thing.  You do your best, you attempt to give them a great product, all the while maintaining as much artistic integrity as possible. 
    The only projects where artistic integrity is your sole objective, are self funded narratives.  Everything else...you have someone paying the bills.
    TL:DR Watch the footage, listen to what the shills say, but ultimately YOU know what you're shopping for...so just look at the specs and the footage and pull the trigger. You can expect to hear the "pros" section of the list from the shills, but you have to wait for someone that isn't associated with the company to hear the "cons". 
    Because I was on here shilling "face to face"  In all seriousness, you shouldn't need any of that though. You know what the specs mean.  Combined with test footage you just make a "pros and cons/budget list" and the camera you need should be easy to determine.  I tried to drop hints to prevent people from buying a GH5 before this was announced. I knew that would be a point of contention with a ton of potential customers.  I didn't really try to shill...just inform that something else was coming and that maybe people should wait to make a decision.  $2000 is quite a bit of money and it's worth spending some time to make sure you invest in the thing that fits your needs.  No different than buying a car.
    The "camera doesn't matter" crowd is flat out incorrect.  All large purchases matter.  If you think otherwise, put your significant other in charge of your finances. Immediately. 
  17. Like
    Neumann Films got a reaction from IronFilm in Kinefinity Terra 4k has landed   
    In my experience, this varies from company to company. Some companies give you almost 100% creative control (Panasonic), while others want you to say specific things about the product.  I have always stayed away from companies that do the latter. If we get into talks and they say "We would like you to mention this and this", I'm out. 
    That said, if I sign on then I'm under contract to do a job. Who in their right mind knowingly gives less than 100% to a client?  It doesn't matter how big of a job it is, I have always tried to go above and beyond.  Whether it's a wedding, an unpaid thing for a friend, or a commercial.  All you need to understand the relationship here, is apply your own experience with clients on bigger jobs you've had.  Same thing.  You do your best, you attempt to give them a great product, all the while maintaining as much artistic integrity as possible. 
    The only projects where artistic integrity is your sole objective, are self funded narratives.  Everything else...you have someone paying the bills.
    TL:DR Watch the footage, listen to what the shills say, but ultimately YOU know what you're shopping for...so just look at the specs and the footage and pull the trigger. You can expect to hear the "pros" section of the list from the shills, but you have to wait for someone that isn't associated with the company to hear the "cons". 
    Because I was on here shilling "face to face"  In all seriousness, you shouldn't need any of that though. You know what the specs mean.  Combined with test footage you just make a "pros and cons/budget list" and the camera you need should be easy to determine.  I tried to drop hints to prevent people from buying a GH5 before this was announced. I knew that would be a point of contention with a ton of potential customers.  I didn't really try to shill...just inform that something else was coming and that maybe people should wait to make a decision.  $2000 is quite a bit of money and it's worth spending some time to make sure you invest in the thing that fits your needs.  No different than buying a car.
    The "camera doesn't matter" crowd is flat out incorrect.  All large purchases matter.  If you think otherwise, put your significant other in charge of your finances. Immediately. 
  18. Like
    Neumann Films got a reaction from mercer in Kinefinity Terra 4k has landed   
    In my experience, this varies from company to company. Some companies give you almost 100% creative control (Panasonic), while others want you to say specific things about the product.  I have always stayed away from companies that do the latter. If we get into talks and they say "We would like you to mention this and this", I'm out. 
    That said, if I sign on then I'm under contract to do a job. Who in their right mind knowingly gives less than 100% to a client?  It doesn't matter how big of a job it is, I have always tried to go above and beyond.  Whether it's a wedding, an unpaid thing for a friend, or a commercial.  All you need to understand the relationship here, is apply your own experience with clients on bigger jobs you've had.  Same thing.  You do your best, you attempt to give them a great product, all the while maintaining as much artistic integrity as possible. 
    The only projects where artistic integrity is your sole objective, are self funded narratives.  Everything else...you have someone paying the bills.
    TL:DR Watch the footage, listen to what the shills say, but ultimately YOU know what you're shopping for...so just look at the specs and the footage and pull the trigger. You can expect to hear the "pros" section of the list from the shills, but you have to wait for someone that isn't associated with the company to hear the "cons". 
    Because I was on here shilling "face to face"  In all seriousness, you shouldn't need any of that though. You know what the specs mean.  Combined with test footage you just make a "pros and cons/budget list" and the camera you need should be easy to determine.  I tried to drop hints to prevent people from buying a GH5 before this was announced. I knew that would be a point of contention with a ton of potential customers.  I didn't really try to shill...just inform that something else was coming and that maybe people should wait to make a decision.  $2000 is quite a bit of money and it's worth spending some time to make sure you invest in the thing that fits your needs.  No different than buying a car.
    The "camera doesn't matter" crowd is flat out incorrect.  All large purchases matter.  If you think otherwise, put your significant other in charge of your finances. Immediately. 
  19. Like
    Neumann Films got a reaction from TheRenaissanceMan in The "Annihilation" of Paramount Pictures   
    This guy should get a half-pass since he's blazed out of his mind.
  20. Like
    Neumann Films got a reaction from Tim Sewell in The "Annihilation" of Paramount Pictures   
    This guy should get a half-pass since he's blazed out of his mind.
  21. Like
    Neumann Films reacted to Andrew Reid in Is the era of Vimeo ending?   
    Yes this is crap about YouTube, it should remember your connection speed each time and only drop the quality if your connection is suddenly a lot slower or you are downloading a 100GB game patch on Steam in the background
    Vimeo meanwhile, I agree with all the comments about their reliability... It's pretty shocking.
    I don't know how such a well funded and successful business can continue to neglect the basic fact that they need to deliver their core business....Streaming. Videos. Smoothly!
    I suppose there is a balance to be had between YouTube's pixilated first 10 seconds and Vimeo's 10 minute wait before even one frame moves.
  22. Like
    Neumann Films reacted to jonpais in Is the era of Vimeo ending?   
    Same here. I dread playing Vimeo because of the long buffer times.almost said ‘long buffet lines’. 😬
  23. Like
    Neumann Films got a reaction from jonpais in Is the era of Vimeo ending?   
    It's not that complicated. I haven't been able to watch a 1080p video on Vimeo without buffer in 5 years. I have 1GB internet.
    That's like not being able to eat food at a restaurant.
    Best of all, in Vimeo's case you still need to pay the bill when you leave.  Great business model.
  24. Like
    Neumann Films got a reaction from Orangenz in The "Annihilation" of Paramount Pictures   
    This guy should get a half-pass since he's blazed out of his mind.
  25. Like
    Neumann Films got a reaction from EthanAlexander in Time for a shootout?   
    Not a transform as in "plop 30p into a 24p timeline and let Adobe handle it". I actually slowed it down by 20%.  Same process as conforming 60 to 24. 
    There should be no difference in motion cadence if shutter stays at 180 degrees and you properly conform.  Doesn't matter what frame rate. What you saw in the video is what the GH5S spits out. 
    I didn't notice anything different with the motion cadence myself, wouldn't have let it leave the kitchen if I did
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