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jindrich

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  1. Netflix approves the S1H to shoot content for the platform... ... yet 100 out of 100 DP's would choose an ALEXA Mini rather than the S1H In fact, pretty much EVERY DP would choose an ARRI over everything else, not to mention a stupid DSLR/mirrorless (to shoot professionally, not that DLSRs are stupid). On a professional shoot, the cost of the cameral body rental is essentially NEGLIGIBLE. An ALEXA Mini is €500/day or €1.5k/week. A basic commercial costs typically €250k to make. Why are people still thinking pros/producers/directors/DPs would choose anything else than the tried a
  2. Right, poster says from Estonia, while the videos look from Hungary. I'll try to contact the people who shot that.
  3. Wow, that looks stunning, really, very well shot and edited too. Skin tone looks gorgeous, really organic. Footage like this is what makes me believe XH1's log+Eterna is the closest you can get to ARRI color and highlight-rolloff under €10k, there's no harder test than a spot light and smoke to see how that works out. I'm currently testing Fuji/Sony before buying. Would you care to comment a bit about the shooting? -Was that source HMI, Tungsten or LED? -Did you use AF-C or was just MF -lens left at fixed focus point and keeping distance to maintain focus? -Which lens did you us
  4. Thx for your answer. The MINI isn't like an ALEXA classic, which indeed weights a ton and slows everything down. If this production couldn't afford an additional £700 for a MINI (INCLUDING in the £700 a set of CP primes, tripod, follow focus and Mattebox), then that was really a micro-budget project. It's Sign O' times, I guess, when Producers think they can produce professional content for peanuts. For everything I know shot professionally, Camera rental cost is essentially negligible, as the bulk goes to crew, location, insurance, props, hotels, travels, etc etc, with LIGHTING being the sol
  5. The video looks really great, and to be shot and finished by a single person in such a short time is quite an achievement. But the image still looks "digital" to me, which is mostly the main problem with ANYTHING but ARRI, under artificial lighting. My question is, for such a professional project (and I know how cash trapped labels are these days), isn't there an additional 700 quid for the overall budget, to rent an ALEXA Mini (includes set of primes, MB, FF, Sticks etc) for one day? An AMIRA is even cheaper to rent. Thx.
  6. another example of the IQ the XH1 is capable of:
  7. Here's a long, somewhat professional, video-centric review of the XH1: And here what it can do under professional hands: I'm about to try out the camera soon, but I'm almost decided. Fuji+Flog+Eterna is the closest I've seen to an ALEXA under €10k, highlight rolloff, color, and motion. On top of that, lenses are superb, it's a perfect hybrid camera -it's great for photos-, the new Linear ManualFocus solves focus by wire issues, the High EVF with focus peaking is perfect for MF, and the XH1 along with the XT20 make a great A/B combo system -for peanuts
  8. Andrew, following your logic, this years' best camera BY FAR is Sony's F35, as there's some available s/h for the same amount you paid for your 1DC (£5000). So actually, you got a terrible deal. Therefore, the Rating should be: -1) Sony F35 (from a quarter of a million down to just £5000) and at a VERY long distance, everything else.
  9. jindrich

    4K Read

    Ok, here's a reality bite on 4K from the real world. The first worldwide event broadcasted in HD was back in 1990, the FIFA World Cup (football/soccer) held in Italy. Sony's (defunct) HDVS system was used back then and it was big news all over the industry. Now fast forward more than 2 DECADES and simply take a look around: in 2012, while there's finally plenty of HD content, roughly 50% of TV networks are still broadcasting in SD. In SD, not 1080 not 720. This means that 22 years later, we're still NOT into a 100% HD world. And now people expect 4K to happen overnight
  10. In the Movie World NOTHING is certain. Remember the last flop, Disney's John Carter, $250M in production plus another $100M+ for marketing, and Sony is expecting a net loss of $200M. If people dislike 48p (I personally raise hand) this might be another flop. Simple as that.
  11. The entire world population has been "trained" into 24p=fiction, 48/50/60= crude reality. This has been going on for over half a century. People won't "sooner or later get accustomed to" movies in 48p, because those 48p will simply cease to exist. Movies have production costs of $80M and over, a flop will cost a fortune to investors; a few blockbuster flops might cost a billion $ to the studios. If 48p won't work once, specially on a blockbuster, it's over.
  12. Yes, the camera white labelled "model C nº22" has a 1D-X logo rathen than 1D-C and it's used all over the place in the BTS. This could mean nothing, like it was just a chassis prototype, or indeed, that they're both the same camera (other than the ethernet/phones plug). Neither is yet available, but I guess a way to find out would be to load a 1D-C firmware into a 1D-X and see what happens. It wouldn't be the first time Canon puts the same components and changes just firmware, but in this case, given the price difference it would be too sick for such a think to
  13. Rather than think about cameras, we should think about market segments and production types. There's Social, Web, Corporate, Commercials, Broadcast (ENG, EFP and docos), high-end Drama and Movies. Each of this categories require a different type of camera, and even if all  could be shot with the same one, the sort of required crews, resources and budgets are so far apart that it makes the chosen camera irrelevant. If BMD made an ALEXA for $1k, you still wouldn't be able to shoot a Lancome commercial, a TV drama like "Sherlock", or a proper Movie, because those
  14. [quote author=Simco123 link=topic=631.msg4624#msg4624 date=1335295155] From what I've seen D800 is plagued with moire and its so call clean HDMI improvement are very minor. Low light is not a patch on the 5DIII and post processing the 5DIII yield a lot more detail and DR. Nikon is still behind Canon in dSLR video quality, any advance user with some clue will not be buying a D800 with an external recorder. [/quote] Have you tried the D800? From all the possible video modes, if setup correctly in 24-25-30p and FF mode (exclusively), it produces a better image than the 5D3, with better DR
  15. And the winner is... Arrri Alexa. It's the most demanded camera for Film, TV drama and Commercials by a LOOOOONG mile. While other manufacturers were building hype on specs and promises and whatnot, Arri understood the most important features were: a solid camera for the CURRENT neccesities, a simple and fast workflow and first-class customer support. On the other side of the spectrum: -DSLR: the Nikon D800+Ninja2 as the best option, with Broadcast-approved image quality -Low cost Video: FS700 (alone or with additional Samurai) as the lower cost all-terrain camera -Low end Bro
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