mtheory

  Then you're gonna hate 'Oblivion' just as much as I just did. Expensive, over-produced plastic-looking garbage of a movie shot on Sony F65. ( At least 'Hobbit' had some trees. )

Good write-up by Cinema5D, but one thing that concerns me in the article is this:     Why would they recommend tethering a laptop on their light, portable camera? Could it be that the camera drops frames on its uncompressed RAW? I may be reading between the lines here, but it seems odd for them to recommend backup workflow when the camera has internal SSD recording.

Nice, man, thanks for the calculation. Now a subjective question about lens selection for this crop factor, - is it safe to use wide angle lenses like 35mm for close-ups in order to avoid unflattering distortion of the subject's face or should I stick to 50mm? It's just that I like to work close to the subject, but don't want any clown faces. What's the widest "safe" focal range for close-ups for S35 for those who are used to full frame optics?

Ok, so that's clear, now how about the exact crop factor? This from John Bawley,      Ok, so it is slightly less than true Super 35mm. Does it mean that crop factor will be slightly higher than 1.6x? 

I'd love to know more about Kineraw Mini, wish those guys would send a model over to Andrew for review. Definitely outclassed by Blackmagic now, but still a strong entry with uncompressed CinemaDNG RAW for $3K and a beautiful gradable image too.    They'd have a better chance in this post-BMPC-announcement market if they dropped the price to $2K, - we'd have a $2K for 2K RAW camera with S35 sensor and no global shutter as a good lower-end option below the BMPC, - this way they could be part of the affordable RAW revolution. 

DPX is a highend VFX image sequence format that supports 16-bit and retains maximum color information once exported from camera. It's like a digital negative.

Yes. Get ready for 4K cats in shallow DOF.  

I assume if they are dealing with a different sensor manufacturer there shouldn't be delays. If I were them, it would be the first clause in the contract for any new vendor.

  What's your ranking on the pre-order list at CVP? I pre-ordered shortly after you did, but can't check because I used a guest account.

I'm looking forward to BMPC as a greenscreen camera, but this woman from BM forum is giving a very strange and uncertain answer about how well the BMPC compressed RAW footage will key.     She should be saying "You will get rock solid keys", not "should be keyable".   Is this a cause for concern?

  I can't seem to find where my ranking on the waiting list is ( I pre-ordered with a guest account ), where exactly is it displayed?

  Just pre-ordered mine too.

  They will probably provide a service to convert BMCC preorders to BMPC with a priority queue, which will delay any BMPC orders for new customers. They would've known that demand is going to explode even more, let's hope they have been ramping up the production line.

On behalf of the whole forum...  

Sony's 16-bit RAW codec on either of these cameras will be cool. The hexagonal design reminds me of Kineraw S35, perhaps they want to enter this market.         Got any specs?

  I think he was going for a "Black Swan" look, which can backfire if you are not Darren Aronofsky.

They should do a Movi Lite with 2-axis stabilization and no remote controls, this would significantly affect DSLR productions and cut down on image stabilization in post. Not having to use AE's warp stabilizer ever again and not being locked into IS lenses would be great.   One a completely unrelated note, I just saw "The Place Beyond The Pines", I think it had a bunch of long steady-cam shots but I am not sure because I was too engrossed in the story, I love when films do this. The movie is a massive slow burn though, so head into the theatre with a good dose of patience, which will be rewarded.   http://www.youtube.com/watch?v=G07pSbHLXgg

You didn't develop the emotional tension for that reuniting scene to be powerful. When she opens the door we have only a few seconds to process so much information, - that they have been estranged, that she is his daughter, and that they are now reuniting.   You should've built up to this moment more gradually, for example when the old man is at home, we could've seen photographs of his daughter, returned letters, perhaps an message on the answering machine from several years ago from her that says "Stay away from me" etc that he plays incessantly. We would've realized his feelings of shame and guilt, and that doorbell scene would've been alot more tense because we'd know ahead of time what is at stake.   Good direction, needs good writing.

Great product, but they basically priced themselves out of real success. For $15k ( and even $7.5k ) they will only get highend customers who are a very small market and can afford steadycam rental anyway.    If they went for the 5D/7D shooters and lowered their margins they would've become millionaires. This thing needed to cost $3k to be a game-changer and a true 'companion to DSLR revolution'.   I'm sure this will become a niche product for action/stunt work in cramped environments and will be used on big budget movies in a shot or two and popular with the rental houses. But they missed the DSLR train, high volume sales ( "to own" customers ) and the chance to truly change the game.   Next.

10 years? Once Avatar II and III hit theatres the media industry will go into a 3D frenzy again, especially if James Cameron tops Avatar's current box office record.   Expect the same for 4K if Apple releases RETINA TELEVISION, - high dpi tv seems the only logical way to go from here. So perhaps a few years from now on we will still be exporting 1080p for distribution, except it will be a high-resolution 1080p stream that will require a 4K acquisition format.   If Apple makes high dpi video a sexy new trend for consumers then expect to switch to 4K sooner rather than later...

Content consumption is rapidly moving to mobile, so instead of 3D/4K we need better bandwidth optimization and streaming technologies to make current content delivery faster and easier. The current 480p/720p/1080p system works very well with these varying bandwidth/data package/speed factors.   I'm more excited about H.265

As a follow up on the industry discussion in another thread, - a pretty good summary from classic 'The Producers' scene.   http://www.youtube.com/watch?v=fjn1Y9YcIQM   Almost 50 years on, 'creative accounting' is very much alive and well, -   http://spinoff.comicbookresources.com/2010/07/07/with-the-right-accountants-even-harry-potter-can-flop/   No wonder the artists get screwed.    

This was DOPs work.     This was VFX Supe's work with Director's comments.         Giving Miranda sole credit for a collaborative effort is wrong. He should've at least invited the VFX supe up on the stage to share the award with.   And Doyle could probably kick both of their asses by shooting all of this in-camera.   I know the crazy bastard could do it.  :D

I voted no because while I think Vimeo On Demand changes the game it will have a mild effect on the industry for the simple reason that it does not change the players. What I realized from analyzing the 5D revolution is that the imaginary army of Tarantino's and Rodriguezs' I expected to hit the Internet never materialized. Instead, production was made more affordable for existing filmmakers, who would've been shooting films even without 5D's appearance.   No technological band-aid, whether easier production with 5D or distribution with Vimeo will change the fact that in the end it is only the human factor that counts for 99% of success in filmmaking, - the ability to deliver amazing content and that seems to be a very finite resource. While there have been some decent films from new directors around the internet here and there, much of new content created were just wedding videos, docs and sentimental DOF slideshows titled as "films" without any narrative story or dialogue.   The most interesting filmmakers to appear in the last 5 years like Garreth Edwards, Neil Blompkamp and Gareth Evans came very much from traditional industry means and were either funded and distributed through the old traditional means. ( Though Blomkamp did gain through YouTube exposure ) So where are our Internet filmmaking stars? Vincent LaForet, Philip Bloom and Shane Hurlbut were all seasoned professionals before 5D revolution hit, so we can't credit technology ( whether 5D, Netflix, Amazon, Vimeo or YouTube ) to their success.   So I think Vimeo On Demand will make life easier for existing filmmakers. Like the Don Hertzfeldton above. There will be a handful of decent films ( mostly docs ) coming out, but mostly the quality of content from new players will be average, if that. I remember the iTunes store first opened Steve Jobs was asked why Apple makes it so difficult for independently produced musicians/filmmakers to get distribution there. ( You still have to go through an intermediary company that must be vetted by Apple, and that still doesn't guarantee distribution. ) His response was very blunt, - "We only want good content." He was clearly implying that indies were not up to standard. It made me mad at the time, but over the years I ended up agreeing with him.   I'm looking forward to seeing some good docs and niche films on Vimeo from veteran filmmakers that I could only catch at festivals otherwise, but to catch the next Tarantino I will still head for the traditional cinema.   I hope to be proven wrong.    mtheory