Emanuel

Equivalent to 3.2K to be more precise :- )

https://www.t3.com/tech/drones/dji-mini-5-pro-is-rumoured-to-get-lidar-a-bigger-camera-and-a-surprise-release-date Coming soon here at my end too... ;- )

People are rushing to gas stations because of the price hike—up to about 5% just from this Monday on... Diesel was already sold out at the first station I went to... How is it over there in your area?

Landed, my friends... :- ) https://www.the-digital-picture.com/Reviews/Sigma-17-40mm-F1-8-DC-Art-Lens.aspx

GX80/85 here too (they are the same camera, varies the geographic version, EU or US). Just arrived from street back to my Lisbon base, 5 minutes ago, with one in hands... as casual shooter for covering this: https://www.portugal.com/activities-experiences/the-ultimate-guide-to-the-biggest-party-in-lisbon-santos-populares-and-santo-antonio-2024-edition/ + FX30 with my new Sigma 16-300mm f/3.5-6.7 attached to 1.5x Clear Image Zoom and no complaints on ISO as far as low light concerns under street bulbs by night, go figure for 4K 25p always under ISO 1000; + Osmo Pocket 3 which didn't leave the case this time and it's one of my favs; + Insta360 One X2 in my shirt pocket, despite its terrible low light/night shooting performance other than my beloved Osmo, the same, never came out... Its small form factor with the cheap kit 12-32mm f/3.5-5.6 lens makes it unique. Didn't even feel the need to use my Osmo, can you imagine? And Panasonic batteries last and last... A single battery for all night long, two batteries for Sony. Follow @kye's entry for everything else, it's for free and you have there more with him than whoever else here or anywhere out there ;- )

I am tempted to pull the trigger... Thank you guys! :- )

The one we know is the other one, but OK thanks for your heads-up! : ) We have another case very likely then... This is a plague. I have nothing against technology but those people who tend to take advantage from illegitimate access? We're obviously talking about something else in fact... On that case, we're studying right now a legal action based on copyright claim. Now you've brought another case. I've just notified the author on your finding.

Got it! : ) No, not this one... Title means nothing ; ) It is much beyond a single title but not about this one in particular. Take a look again on the plot... And information disclosed. Yes, there are countless ways to take something from someone, tweak it just enough (disgusting attitude to take advantage without giving proper credit, especially when it’s so obvious where it came from), and voilà, pass it off as new. Revolting to say the least... To people handling this in a daily life, AI looks like a children's play. I know it's not. But there are many more evil ar$eholes other than a damned LLM... : P A different title and outfit won’t cover up what it really is. But not the case you've pointed out. It wouldn't be wise to elaborate further, here and now. The original author knows my legal advice for the subject matter. I believe that speaks volumes, considering what's already out there ;- )

Others who were familiar with his script brought this to him (and there are additional details I’ll omit mentioning here) : https://en.wikipedia.org/wiki/Dear_Santa_(2024_film)

@eatstoomuchjam I was only half joking with that last line, I was trying to come up with an example that fits the topic ; ) On the leftover and also to @KnightsFan now... That case unfortunately goes far beyond a mere synopsis... As with everything in life, there’s a deeper reality beneath the surface. The real problem comes when we tend to oversimplify things, stripping it of its intrinsic complexity. There's always a hidden part somewhere. And details obviously count even when they don't make all the difference. Once again, we face the B&W dilemma. The palette holds countless shades... It’s one thing to replicate 'external' models... it’s something else entirely to build in layers upon the rough sketches of one’s own process. And between the two lies an infinite universe of possibilities in how it can be used. So... Yes. The pairing of my copyright, legal, and film background and roots—strictly fueled by creative commitment—keeps me tethered. A good producer pays just as much attention to copyright stuff as to the creative side of things. I would never simply drift away.

Of course but don't forget the prior discussion brought to the previous page about the whole case of the history of this medium, no less... And yes, AI is clearly a space where copyright violations make it even harder to protect original work. My point is, this problem didn’t start with AI... not even close. Here's a blatant example: the original work (years in the making!) of a close associate and business partner of mine has been stolen by... Hollywood! : X Go figure... And it has nothing to do with AI. Does that strike a chord? ; ) Now imagine how real thieves are using this technology today. This isn’t a simple problem... it goes far beyond AI. At its core, it’s about a lack of ethics, shady alliances, and the pursuit of profit with no respect for others’ work. Let’s be clear: this didn’t start with AI. In the worst-case scenario, the introduction of this new technology can only make things worse. In my country, people are used to saying something like this, although pessimists are also often seen as realists: «An optimist sees opportunity in every challenge; a pessimist sees a problem in every chance.» Unfortunately, I guess we could replace it here (not only for the things discussed in this thread but also for others) with: Where goodwill finds a chance, the thief finds a catch.™ (not stolen anywhere... : D this line is copyrighted right now LOL ;- )

We’re clearly not talking about the same thing. There’s obviously no need to use AI to violate copyright, that’s not its only purpose! That’s exactly the point I was making. Stolen scripts? I’ve seen that happening since the ’90s (when I started to work in this business, for Elias Querejeta as professional script reader FYI), a long time before AI ever came into the picture. Has this technology made things worse? I wouldn’t be surprised. I fully share that concern, in any case. Honestly, there’s nothing new here. And yup, it’s a high price to pay for adopting this kind of technology indeed. If we’re using our own stuff, then nothing is being stolen. The meaning up there (@my posts) is very clear: AI is just a tool. The use of it is something else, though so yeah, what you’re saying fits too. But that’s not really the point I am making. It’s the usual tone in these kinds of discussions: always about taking sides. WOW We have to pick a side or risk being seen as a minor part of the picture. And if we don’t explicitly state our stance, we risk no longer being seen as part of our own group : P or being taken as pure thieves!! Phew... If people prefer to see things in B&W, they shouldn’t blame the world we live all in, later on. I’m done with binary thinking, always have been BTW. And I’m not here pretending my dick’s bigger than anyone’s. Everything you wrote, I stand. I don't retract a single word of mine up there either... What about that? ;- )

Not exactly, although low budgets can now achieve more than ever before : ) We can move faster, take on more projects simultaneously, and access work that was previously beyond our financial reach. For creators who used to get stuck a few steps in, things that once seemed impossible are now within reach. I’ve seen many talented people leave the craft or reduce it to a side project but now, the path forward feels more open.

PS — Just to answer someone else out there to whom I’ve sent this link: Nothing against it looking like video, if so. Video is cinema : P If this means looking like it was made for the big screen in terms of narrative — well, docs are usually made in a different form. But docs are also cinema ; ) That narrative form, usually made for the big screen, can also be reached through distinct ingredients such as cadence, dynamic range, lighting, framing and their respective language each element carries. Not to mention editing, pacing, sound design, and how it all aligns with intention. That is, further to that — narrative intent doesn’t depend solely on medium or format. Whether fiction or documentary, cinema arises from how all elements are orchestrated: rhythm, texture, spatial composition, sonic atmosphere. The so-called 'cinematic look' is less about resolution or gear and more about coherence — how lighting interacts with story, how movement informs meaning, how editing shapes perception. A documentary can be just as evocative, immersive, and crafted for the big screen as any scripted film — sometimes more so, precisely because it plays with reality through an authored lens. Think of the slow-burn, meditative tempo of Chantal Akerman’s News from Home, or the hyper-composed observational poetics of Gianfranco Rosi’s Notturno and Fire at Sea — all undeniably cinematic. Or the emotional montage and reflexive voiceover of Agnès Varda in Les glaneurs et la glaneuse, merging essay film and personal documentary with formal invention. Even in cinéma vérité — like Frederick Wiseman’s institutional portraits — the framing, duration, and soundscape create a cinematic rhythm far beyond "capturing reality." Lars von Trier’s The Idiots (Idioterne) and one of my favourite ever (as you well know ; ) offers another perspective on cinematic form, blending the boundaries between staged drama and spontaneous behavior. Shot with a raw immediacy and handheld style that can resemble documentary, it challenges traditional narrative structures and pushes cinema toward an exploration of social taboos and collective behavior. The film’s use of naturalistic lighting and unpolished texture contributes to its unsettling, immersive atmosphere, underscoring how cinematic expression can emerge from both form and content in provocative ways. Closer to us ; ) Portuguese cinema brings its own deep contributions to this idea of documentary as cinema. Pedro Costa’s Vitalina Varela or No Quarto de Vanda / In Vanda’s Room unfold in shadow and stillness, shaped more by presence than plot — fiction and documentary blending until the line dissolves. And Manoel de Oliveira — whose films stand almost outside time — gave us a cinema where documentary, poetry, theatre and metaphysics cohabit the frame, inviting reflection instead of reaction. Also worth noting in the video I’m commenting on here (shot on the Panasonic G7 with cheap C mount glass such as Kern Pizar 26mm f/1.9 and Cosmicar 12.5mm f/1.9 lenses) is the distinctive grain structure — a tactile, organic texture that enhances its cinematic feel. This film grain, far from being a flaw, enriches the image’s atmosphere and adds depth to the visual narrative, demonstrating how video can carry a rich, sensory cinematic language all its own. All this just to say: the tools of cinema aren’t bound to fiction, nor to any one format. If it resonates, constructs space, breathes rhythm, and asks something of the viewer — it’s cinema, regardless of whether it was shot on film, video, or through a window.

That's what I always say to my people… This camera is a gem. Lets you use unique glass that’s nearly impossible to mount on anything else unless another MFT format device but what cam? ; ) This is what cinema is made of — and still made with ;- )