mtheory

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I know filmconvert is considered a great tool, but it doesn't convert raw. It also doesn't really grade, it just applies some retro look combinations (the science of whose is of no importance to any *film* produced within the last decade), and imho it takes you on a meander away from actually developing grading skills. Like it or not, Resolve is a hundred times as powerful, as are the tools in After Effects alone, only that they are not specifically dedicated to grading. 

This! 

The creative discussion is sort of irrelevant because it is purely subjective and every artist develops their own method, you really can't debate whether Kurosawa is "objectively" better than Kubrick, etc, etc. The only thing that can actually be objectively discussed is the craft of filmmaking. What we do with that knowledge creatively is basically up to us. 

The video is also soft due to missed focus on James' part, as he admits in the video's Vimeo thread:

"I wish some people not here but on other forums would view this bearing in mind it was very hard to focus in those conditions and setup needed work it was just a speedy test with family and friends. More of a trip to the beach with a camera. I'll get better footage out of it once I know it's weaknesses and strengths. Had very few clips to cut as battery solution did not hold. Looking at 4k clips I see my focus is off plenty."

Let's not forget that James is a master grader who made 5D H264 footage look incredibly film-like long before RAW showed up, so I suspect the softness and the muted colors in this latest video are very much intentional, and result of his grade.

I remember seeing him being dissed around on various forums for his 'aggressive' visual style, so perhaps he decided to scale back in response? I hope it is only temporary, as I very much love his visual approach, which he perfected with Genesis. 

As for BM4K, I am still on the original NAB-date pre-order but will reserve my judgement until RAW update comes out.

Why? C300 is still a hot rental and I understand C100 is selling pretty well, too.

C-series don't push the kind of volumes DSLRs do, - 5D became the most profitable camera for Canon ever since videographers flocked to it. They no longer have a reason to. 

Andrew, please capture some greenscreen footage samples for us when you have time.

The 5d3 with RAW isn't setup for serious production. It's a hack, it can be unreliable -- and yes, the video it produces is glorious.

 

Could say the same for all RED products.

Did they catch the VFX artists who did this yet? Execute those bastards!

Checkmate, Canon.

While the Academy itself is all about politics, which is the only reason I can think of why both Only God Forgives and To the Wonder are missing from Best Cinematography, the Arri cameras are being picked by DPs because that's what they want to shoot on, for a variety of reasons that have nothing to do with politics.

 

I'm surprised at Only God Forgives' ( lack of ) reception in the cinema press too. The silence is deafening...

Yep, both 5D3 and 5D2 can do continuous RAW with audio on 1000x cards now. Fucking A.

Happy New Years to all, love this forum.

They should do a new one, this time with ML.

Anyone know if Mac Pro can be upgraded to use NVIDIA cards?

You should train your staff better, because my windows machines are on 24h a day and they never crash.

What's your software/hardware setup? Windows 7 vs 8? Asus vs Gigabyte vs Other mobos? Nvidia vs ATI?

Thanks.

These samples are okay but I'm waiting for some handheld sample footage from BM4K to test software stabilization in AE.

A global shutter camera, coupled with an IS lens and 4K originating resolution should be make for an amazing 2K workflow.

Petty mentioned that some pros will release more footage soon.

Personally, I'm excited about two products for 2014, - BM4K and 24-70 F2.8 L IS ( yes it's coming. ) 

Life is good.

Personally, I recommend both a Mac and a PC workstation side-by-side, one for fast editing, one for heavy rendering.

Good to know that the 4K camera is still alive, I was in fact considering canceling my pre-order only days ago, glad I didn't. As for the images, - I actually dig the softness at actual resolution zoom, - it is indeed filmic, now I wanna see a 4K face with some bokeh.

Yeah, basically if you're learning to be a filmmaker, make your first ( short ) film on a DSLR* and get a bird's eye view of the production process. Then, when you've made mistakes and learnt from them jump on a proper cinema RAW camera.

*( Although, I consider 5D3 both a DSLR and a proper cinema RAW camera. )

I will continue to enjoy Canon through their lenses at least even if not their DSLRs. The 85MM F1.2L is the work of a madman!!

I love that lens.

Maybe we should just do a kickstarter/indiegogo campaign to raise money for developing a 3K CinemaDNG S35 camera for $3k. I might be traveling to China soon and could take one day off to research suppliers. Andrew, hypothetically, what sensor would be the optimum one?

Hey thedest, I missed the video you posted, can you send me a link through PM?

As someone who struggled with those damn light-losing-dust-collecting 35mm adapters for DVX100 to get some basic interchangeable lenses on a budget video camera, I'm grateful to Canon just for their still L lenses that are now widely used by many entry indie filmmakers.

I'm further grateful to Blackmagic for grabbing the ball and running with it by choosing to adopt the EF mount and pairing it with RAW. 

So no matter how much Canon cripples their cameras from now, the cat is already out of the bag, - all the elements to a perfect budget indie cinema camera are already out there, it's just a matter of BM's shipping now.

Until then, Magic Lantern is the best band-aid solution to shoot movies NOW!

We WON, and Canon can't do anything about it!

Is there a way to hardware hack the 6D and replace its storage controller with a faster one? I know someone, somewhere can figure it out and post a tutorial...