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Oliver Daniel

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About Oliver Daniel

Profile Information

  • Gender
  • Location
    Manchester UK.
  • Interests
    Music Videos, Commercials and Films
  • My cameras and kit
    EVA1, GH5, Ronin-S, crap load of lights.

Contact Methods

  • Website URL
    http://www.videoink.co.uk http://www.mightyherovideo.agency

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  1. I love the BM image and I’ve been so close to pulling the trigger many a time. There’s always been a caveat that’s got in the way, like poor battery life or the bodies (Ursa) being a bit too bulky and heavy for my shooting style. Maybe this one will be it. I’m playfully predicting a “Blackmagic Cinema Camera 10”….. a more box style C70 form factor as though a pocket and Ursa made a baby…. Can be configured to fit your shooting style, so you can remove the grip and screen to easily use on a gimbal. Maybe a ToF module. Super35, 8k res (Ursa 12k sensor). Crazy price point. 😁
  2. Oliver Daniel

    The Batman

    I possibly would liked to have seen Batman / Bruce pushed even more into a very personal and darker cage - where he possibly becomes so reckless and desperate - the plot almost becomes about him having to control himself from completely losing it. It did have those elements in it but I felt they could have pushed that side more, being about a young Batman in his early years who will be very emotional, angry and make mistakes. Overall though, a very positive direction which is strikingly different to all other franchise movies where “the formula” is getting rather tiring.
  3. Oliver Daniel

    The Batman

    The Batman was aesthetically bold and brave for a blockbuster. It looked like the most expensive art house film ever made. I loved the blurry murkiness of it all and the interesting characterful feel of the image. It added to the overall story greatly. It almost always looked out of focus and I didn’t care. Great to see that modified Soviet lenses were used here and there (Iron Glass Adapters). It’s a refreshing change from all the other clinical perfect Marvel movies firing out of Disney’s ovaries. Also thought the slow pace, and Robert’s very awkward and similarly slow, clunky movement made the character feel grippingly tortured, and often, weird. I liked they left out a lot of sweeping aerial establishing shots and setup most locations as if you’re looking through a rain soaked window. The score was also haunting and moved things along eerily in synchronisation with Robert’s weighted posture. Overall, very impressed. Unforgettable cinematography. Great all round. Relatable to this, I’ve been dropping all my clinical boring Sony lenses and making life hard with Lensbaby’s and heavily modified Russian glass. 😂
  4. Yep, GH5 ALL-I is night and day compared to IPB for workflow. Very robust. Another poster mentioned ProRes being a standard. That’s it. I can’t count how many times I’ve been asked for ProRes files for both acquisition and delivery. Sometimes if there’s been a screw up with card space - I’ll shoot to H265 and transcode to ProRes later for workflow efficiency. I know full well the image quality trade off is incredibly incremental, so it doesn’t bother me if it means getting the footage shot. These ProRes critics are not to be listened to. They likely do not have the experience of working in certain environments where efficiency is paramount. It’s also another reason why most commercial video production companies don’t shoot RAW.
  5. I wonder how many of these ProRes commentators work in a professional environment? Although it is better for grading than more compressed H2 or Long GOP codecs, ProRes isn’t really about image quality. It’s down to workflow. It’s substantially much, much smoother to work with compared to other codecs. Especially in FCP. This is invaluable when there’s a business to run as efficiently as possible. If you can shoot ProRes and you’re running a business - you should. Because it’s “old”, doesn’t make it worse. Look at the Arri Alexa. I’ve found XAVC-I and other infra-frame codecs to be close in performance and also great for professional workflows. Just not quite as smooth as ProRes, but very close. H2’s and Long GOP’s are quite smooth on M1 Macs, but not perfect. Fine for a lot of smaller projects and saving space.
  6. To sum it up… there’s no rules. No matter the lens choice, camera, grade, resolution, “aesthetic”… whatever it is, if it’s right for the story, and the process to tell it, it’s just… right.
  7. Very beastly impressive specs here, but you do have to debate how you’d be able to use this camera to its full potential for a lot of work (the 8k 60 in CRAW). If it had ProRes LT internal, it would be an absolute storm. Still very appealing and promising for the camera market. Even though I like the Canon image better - from the looks of it, my hunch is the A7S3 is still the better video workhorse. That thing just works. Much more manageable file sizes, better DR and affordable lens options (you cannot ignore the cost of RF lenses in the price). Plus 4k / 120 (a big feature) is not compromised at all. I think it would be wise to wait for the market to move if you really need 8k soon. Also if you can’t wait, there’s a Nikon Z9 to consider with internal ProRes. More importantly, I’d like to see more usability and codec options in these cameras rather than more K’s. Hybrids with internal ND’s, ProRes, better audio, larger LCD screens, better battery life, better menus, better “feel” to the image texture. Less need to rig.
  8. I actually miss my C70. The body design was fantastic (besides the flimsy LCD). Now rocking the FX3 and A7S3 which are a lot of fun to shoot with bare bones. I don’t enjoy handling them rigged up for bigger jobs - very cumbersome. Guess it will “only” be RAW in 8k/60p? (XF-AVC would be awesome).
  9. Thanks - it’s good to be around. Yeah Andrew, you’re one of the only people who actually dares to disrupt the norm and say it how it is. I’d love to see an “Am I switching” parody based on yourself. Sponsored by EOSHD so you can say whatever the ‘eff you want. 😂
  10. I’ve been very quiet for a while but this article has reeled me back in. Firstly, I read this forum for years before I first posted, trying to learn what the hell people were talking about. It’s been invaluable as a resource. Thank you. Also, I found your more recent YouTube content very refreshing, honest and actually very funny. There’s a huge amount of “camera-tainment” out there with the same salesy business model. I always love it when someone dares to defy conventions and expectations. Keep doing it. Lastly, although situationally it’s different, I can relate to your fatigue. I’m going through somewhat an existential crisis with my work where I’m not satisfied with anything I’m shooting or what I’m shooting with. Tired of social media, it’s falseness, and yet, it’s essentialist to everything now. The spark I once had is all but darkness. However, your story is inspiring and certainly lifts spirits. I’m glad you’re seeking your spark again. I’m sure I will too. 😊
  11. In my opinion the A7S3 is the best camera you can buy on a price / quality / features ratio. It's so versatile and really fun to shoot with. You can focus more on the story and worry less about the gear. Honestly, I think it's one of the best releases we've seen in terms of cameras, ever. It speaks volumes about how many people moaned about the camera being "too safe" - what? They absolutely smashed it and gave us way more than expected. Do people want the camera to fry their eggs too? 😂 They need to merge the cameras completely, get the EVF flipping up, increase the screen size and deliver an even more robust and sexy 4k image. That will be the one.
  12. Dress like an old lady and wear a scarf over your head. 😂 I do agree with you on screens though, they need to be bigger, brighter and fit elegantly with the body design. Blackmagic have got this mostly right with the the 6k Pro.
  13. I was an EVA1 owner for 2 years. The problem with the camera was that it felt unfinished. It wasn't the most reliable and took irritatingly long to change frame rates. It would crash often. The EF mount also made the small and compact body a bit heavy, because of the EF lenses. For handheld use, it would get quite straining after 5-10 minutes. The 120fps + modes were disappointing. Just too soft. The spec was too late and should have been a bit more blockbuster, but the ageing FS7 was still spec'd better in a few departments. An EVA2 would have a huge task now in beating the FX6. It has a lovely image though and is certainly better than the FS7 for that. I enjoyed using it and made some work with it that I'm very proud of. Overall, it was a solid effort but they should have gave it another year of development, under cut the FS7 and knocked it out the park!
  14. Haha. That’s why I use a Ninja, but I know having an additional 5 inch clunk isn’t for everyone. I’d love to see d as one modularity concerning screens. A bigger screen that actually detaches from the camera itself and takes SSD’s or something smaller. Would that get around the internal compressed raw issue? I know that this idea is essentially an external monitor, but my point is that it could be designed to work perfectly with the camera it’s made for - removing the need for fiddly unbalanced rigging and expensive third party accessories.
  15. I had a C70 which has a lovely image and an excellent body concept but something was bothering me with it. I couldn’t put my finger on it, but in my gut, something wasn’t right. I also had an A7SIII at the same time, and still do. The gut feeling that overshadowed my positive view of the C70 might have been the A7SIII. That camera is simply a marvel that I love shooting with. Maybe I enjoyed the sheer flexibility of the A7SIII more, hence the demise of the C70. I always shoot with 2 bodies. Instead of getting an A7SIII again, I picked up the FX3 as I wanted the XLR’s and the video centric button layout. When the FX3 was delivered, I was very surprised at how it felt in the hand. I was surprised at how small the XLR handle unit was. The grip feels really good. I was thinking “wow, Sony have nailed this”. At first, the button layout was confusing as I’m used to the A7SIII. It still trumps me now as it has a function where you can lock your shutter, ISO or IRIS and I keep forgetting it does that. So I always have a few sections feeling frustrated when the values aren’t changing, because I’ve forgot they are locked. 😂 The camera is identical to the A7SIII, minus the body design. Everything is the same. I use it with the Ninja V which is a powerful combo for this size. It feels amazing handheld without the XLR handle and the Tilta cage but with the XLR handle it does feel a little clunky and unbalanced in the hand. Now when I’m handheld, I don’t use the XLR handle unless I’m recording some audio with a handheld look, which isn’t that often. On a tripod, it’s fine. Capturing shots with the FX3 is very liberating. You can do pretty much anything with it without lugging a brick around. Some people like to rig it up but for me, it’s just very unnecessary with a body this size. The image itself is fantastic. What I will say is that it won’t perform miracles for you. People have this misconception the FX3 or A7S3 will light an image for you. No, it won’t. Stop being lazy, feed the camera what it needs and it will shine. Again, Slog3 won’t perform miracles. It takes practice, patience and resilience. It isn’t the best between 3200 and 12,800 ISO. To shoot at these high values is a bonus but the best image is SLOG3 640 ISO, so to get great results, shoot for that as much as possible. The FX3, just like the A7S3, does have superb colour capability. If you don’t WB, or expose correctly or nail your focus, it would look like garbage. It is not forgiving, you can’t be lazy. I can match this very easily to the C70 - I couldn’t do that with previous Sony cameras. Using both Alpha cameras together is extremely powerful and liberating. When treated and operated correctly, and not lazily used to perform miracles, the image you can achieve is just fantastic. Peoplr saying these cameras are conservative and underwhelming need to re-check their opinions. Sony gave us almost everything in pristine 4k and it delivers. They are unique on the market in terms of feature set, and it shows. Most importantly, the FX3 as a step forward in camera concept for cinema application is the right one. It’s exciting to work with and getting great shots isn’t a pain in the arse or a cripple on your back. What I would like to see in the next version is the FX3 and A7S3 to merge into one camera offering with: - On-sensor ND or similar tech. - A thicker image in feel and robustness. Not bothered about 6k or 8k, just even better 4k please. - A larger back LCD. - A flip up EVF like BMP6k Pro. - An improved XLR unit that is more modular when used with accessories. - Possibly both an IBIS and non- IBIS version. If they deliver the above, that would be near perfect.
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