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Oliver Daniel

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Oliver Daniel last won the day on August 19 2018

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About Oliver Daniel

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    Long-time member

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    Male
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    Manchester UK.
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    Music Videos, Commercials and Films

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    http://www.videoink.co.uk

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  1. No chance. There's no way Sony would let this be better than the cheaper version of the FX9. I predicted a while ago it would be something like: - 4k 10 bit up to 30p. - 4k 8 bit 60p (10 bit external) - Updated with PDAF. - Bigger battery. - Maybe S-Cinetone profile to match with FX9. - One little surprise, like 4k 120fps cropped with buffer. - Announcement NAB 2020. It's 5 years in the making, so I hope to see something groundbreaking from Sony - but I wouldn't bet on it being "revolutionary". The camera to watch out for this year looks to be the XT4. Do we have a blockbuster on our hands?
  2. Honestly, probably not. I think the days of me spending that kinda money on cameras is gone, unless it made absolute sense. I still want the right kinda Canon but every single time, they omit something very important. Saying that, it’s still a strong video acquisition tool that I would try. I can’t help think the omission of DPAF in 4k60 is what most users of this video camera would want. Sports journalists? Wildlife? Absolutely. Big error.
  3. Not bothered about raw. Plus it’s 2020. When you don’t have a focus puller and you want shallow DOF on a gimbal in 4k60, and Canon obviously deliberately turn off DPAF in their blockbuster 10 bit video setting..... it’s typical typical Canon. Why oh why?
  4. If true, what an absolute load of horse shit. I knew this camera would have a cripple in there somewhere. They just can’t help themselves can they? Dealbreaker.
  5. I’m at home, got beer, kids asleep. Fancy some fun, wild speculation? Death of the Gimbal They will always have their place in high end TV and cinema, however for nearly everything else, I think we’ll see them replaced with insanely improved IBIS and a boat load of sorts gimbal-ish “fluid movement” remote type pistol grips. Every man and his dog will have them. Return of Canon With video rising to such a compulsory level, Canon will crack the cripple and deliver what we’ve all wanted for such a long, long time. Eventually. Or it’s 60fps Canon Log in exciting 720p. The Fall of RED The Chinese will knock them out like a weapon in the nuts and force out a RED army of affordable cameras named after mystical creatures. RAW video everywhere Nearly every decent camera will have it internally within years. Masses of terribly noisy Vimeo videos to follow. Smartphone Domination They will become “cinema grade” and will be the No.1 choice for Vloggers at least. Computational DOF, crazy AF, all sorts of crazy software. Completely trackable VFX filters. Boobs and penis’s on everything. Computational Focus and DOF Already exists but will mature into an essential feature for most cameras for a very different post experience. “Fix it in post” said after every shot. Video AF Will get so insane that only the high end will use manual. Us forum geeks will still be buying $20 f***d up Helios though ? Video Essential It will become absolutely compulsory for every business and person and hamster and pig for everyday communication. Like the internet is now. Video will become the internet. And your very soul. and finally..... Cameras and gear will be so commonly incredible but so second nature in operation , getting something technically correct will be as hard as passing wind after a curry. Even your 90 year old Grandma will be able to lock focus at f0.95 and orbit round her cat’s face in 10bit 8k. The tools will be so commonly reliable that they will hardly matter. We’ll see an epidemic of terrible content with perfect focus and stability. Although this will unearth some under privileged gems, the little fishes will barely be seen in a sea of waste - unless it rises above it. As creators, we are not just fighting for quality. You will be fighting to the death for people’s time and attention. The “competition“ will be everyone and everything. Fun times.
  6. I want to play. Cameras: FS700 - still perfectly capable in 2019. A legend of a camera. GH5 - still irreplaceable and way ahead of its time on launch. BMPCC - the toddler who is really annoying but just adorable at the same time. GoPro - a rocky patch here and there, but just an amazing achievement. Lenses: Sigma ART - doesn’t need explaining. Lighting: Anything by Aputure - owning fantastic modern lights now far easier! Stabilisation: Movi - gave birth to a new way of shooting. Flowtech 75 Tripod - at last, the tripod redesigned that isn’t a clunk. Edelkrone products - very clever, exciting. DJI Inspire - ridiculous results in a small package. Big copters looking dusty. Software: FCPX - f**k the critics, as a “concept” at first, way way ahead of its time. Now matured into a modern beast and revolutionised my editing. DaVinci - will explode in the 20’s. iOS - crazy apps and camera functions give us a glimpse of the future.
  7. I’ve seen most superhero movies as I enjoy them (they are really fun to watch) and I do somewhat agree. Most of them have the same plot too: - A character in peril realises they are powerful and uses it to do good like save a cat. - A bad guy wants to blow up a city or similar because that’s a great plan. - The hero wins but someone close to them dies, because y’know, emotion. There are exceptions to the trend that I highly recommend: - Logan - Daredevil (Netflix) - The Boys (Amazon) - Super - Dark Knight Trilogy
  8. Who knows. Just the most logical reason is that Apple wants ProRes RAW recorded internally in lots of pro cameras as part of their current aggressive pro market strategy. Sounds good to me.
  9. I think Apple are more likely to create their own cinema camera, and it will have the form factor of an iPhone. ?
  10. Yes it will be, and I think we’re likely on the right track with our guesswork. Komodo looks super interesting, and is an answer to Zcam, Kinefinity and BM. Gotta say I’m curious. I hated using the Epic and Scarlet-W bit liked the images in REDcode. The size and features of Komodo make it seem very accessible. Don’t get me wrong, RAW is great. I remember my jaw dropping to ML RAW on 5D and on a Kinemini 4K film. Just when like me, I’ve got overheads and expenses coming out my ears and not much time between projects, RAW is a very close no-go. I’ve used both REDcode and ProRes RAW in FCPX. ProRes RAW is especially fast but it needs more integrated control. It’s a huge step forward. BUT, 10bit gives me everything I need at a much lower overall cost.
  11. This is my speculation: Apple is aggressively targeting the professional market with the new Mac Pro, and they want to sell a ton of them. It has been designed for optimum performance in FCPX and ProRes RAW. They want high level creators to adopt and have easy access to ProRes RAW, but the RED patent is getting in the way. Hence, question it and invalidate it. There’s also no denying that RED has been dishonest, but there’s no denying they’ve created unique products that create amazing images. And you’re right that barely anyone uses any kind of RAW in the professional world. RAW costs a hell of a lot of money to use (I know this having done it) and 10bit or even 8 bit codecs are 99.9% more than enough to produce high grade projects. What I want is the juiciest, most beautiful, yet economical 10bit codec in full readout up to 4K 100fps in full frame under $5000 - then we’re done ✅
  12. Panasonic S1H in a dream world where it has 4k100fps and PDAF. Ronin S whatever. Edelkrone HeadPlus kit. An even more compact Flowtech 75. A bag of compact but powerful RGBW lights. All Sigma ARTs. All the Richard Gale (Dog Schidt stuff) lenses. Haze machine. I actually own half of the above. I’m incredibly intrigued at the idea of getting a full cinematography kit in just one rolling, portable case. Inc lights, gimbals, everything. Can it be done?
  13. What they need to do now is release that mega delayed A7S III, with the same colour profile. I predict it will be: Full readout 4k 60p 8 bit internal (but 10bit external, 60p will be cropped). HD up to 120p 10 bit internal. PDAF of A7RIV etc. Some lowlight wizardry with a higher MP. Then we've got a great setup to fit many situations.
  14. This camera looks massively underwhelming to me and I can't see many people buying it. Could anyone tell me why it's exciting?
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