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pablogrollan

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  1. That is not entirely true... I imagine the FS RAW out of the FS700 is very similar to the FS RAW out of the FS5 (both 12bit linear and from very similar if not the same sensor). I can tell you that both the raw to CDNG and the raw to Prores HQ 422 recorded to an Atomos Shogun Inferno are considerably better/more flexible than the original Slog 2/3 10 bit files, both from an FS5 or even an FS7. It could be that Slog files -which are not as flat as Slog 2&3- are "less strained" and can handle pushing in post better (can't know for sure because I haven't used an F3), but I doubt it. FS R
  2. Don't think so. That has been available for Windows users for quite some time... and compatible with a broader range of GPUs. Besides, plenty of Windows laptops do not need that extra graphics computing because they already have a powerful enough GPU. Kind of defeats the purpose of having a laptop for "portable" editing, not to mention an ultrabook plus the eGPU is more expensive than simply buying a powerful laptop. If you buy an expensive laptop to edit -and all macbooks are relatively expensive- you should not need to look for an additonal external GPU!! I believe the main target audie
  3. No, you just "drag & drop" and edit natively, and export from Premiere -Premiere's export dialog is actually an integrated version of Media Encoder-. That has been available in Premiere for ages. It was Avid exclusive long ago, back when FC was great for students and Premiere was a buggy toy to cut home movies. Again, that was in the past. As far as I know Avid is a software-only platform now. They just list the requirements or "certified parts" of the computer build, just like Adobe does -FCPX doesn't because Apple does not officialy endorse custom builds-. It is no longe
  4. Nope, it is a platform agnostic codec, open and downloadable for free from Avid's website both for decoding and encoding -Premiere even has the presents for both .mov and .mxf wrapped DNxHD and HR-. In fact it is the closest to an industry standard. You can edit Prores on Windows without problem, too; it's exporting (encoding) that's not supported though there are "unofficial" workarounds. Can't talk about FCPX -not familiar- but FCP7 wasn't that different from Avid and Premiere's evolution has been a transformation into some "avidesque" NLE. I used Avid for some years don't find it an
  5. Ok, that mirrorless version is not really a cine version. I did buy a Samyang set back in the day in Nikon mount, since its pretty much the oldest and most adaptable mount like IronFilm said. And just as he said, the m4/3 mount versions are always a bit larger and heavier than the Nikon and Canon versions. If you buy a lighter lens, well, you're definitely not buying the same glass! Sometimes that is a big compromise in quality, but it obviously depends on the lens -I have not tried that version-. The VDSLR II versions are sharp and generally optically very good in a so-so plastic chasis:
  6. I have used the Pixapro 100D MKII with a large softbox and they're great -silent, nice light- but found that a little more power would be welcome. It's meant to be used 1-1,5 metres away from the subject... How is the Pixapro 200D? As good as the 100D but double the power? That could be a much more workable option for me. Lately I've been using rented Kino Celeb 400s and they're great, but bulky and pricey. It's great having a large soft light powerful enough to shoot from a distance or through a scrim jim. A nice alternative: http://www.cinelight.com/led-lights/flexible-led-lights/
  7. Not just you, most DPs I know don't like Red and couldn't care less about 8K, they'd rather choose an Alexa any day. In fact, top end films are still shot mostly on a combination of Alexa, Alexa mini, film... The Alexa LF is referred to by some as the "Netflix Alexa" since the lack of true 4K made other Alexas non-eligible for Netflix Originals -something Red really took advantage of-.
  8. Yes, I live in Madrid. The only big downside is that the industry is pretty much Madrid and Barcelona... Mallorca gets shootings from German production companies -some have offices there- but the rest of the country lacks large clients and agencies, I'm afraid. Still, Madrid is well communicated and it is no problem to shoot on location all over Spain if you are based in Madrid -happens often-. As to which is bigger, well Madrid is a bigger and more populated city and there is a wider variety of clients and projects but Barcelona has always been big on advertising -many advertising agencies th
  9. I believe you should be getting that LOT of expensive light, either buying or renting, so that your experienced DP can give you excellent footage... that should be higher on your list than 12 bit 444 IMHO. I'd much rather have the "quality" footage from a good DP with enough lights, modifiers and lenses shooting 8 bit than poorly shot REDraw or ArriRaw. After all, if you like extremely stylised looks like Blade Runner's, you can shoot so that you have the look on camera... Still, there's more than 8 bit-10 bit-12 bit to footage falling apart in grading. If you plan to grade heavily, it is
  10. In this case I have to disagree... Not only is Spain the fastest growing economy in the EU -after a long and hard economic downturn- but also not every field is the same in every country. Filmmaking/advertising is big and with high rates in certain "not-so-developed" countries; for example, Czech Republic is full of qualified professionals working in international productions making a lot more than the average salary. In some countries, being a small producer or cameraman is a well paid job and in others not so much... Here -Spain- 1000€ does not get you an experienced DP with Amira, ligh
  11. 200 seems too low IMHO, unless you are an intern, a non-pro doing a favor or a reduced day rate based on the amount of days hired. I live and work in Madrid and 200 would be ok if you get hired several days a week every week... Anyway, just like everywhere else, it depends on the distribution and the scale of the job -in this case, I suppose it is mainly internal or web use-, your skills/experience -although knowing how much others clients pay for your talent is only useful to you and measure the value of your time-, and the gear used. It shouldn't be like that but the rates are different
  12. I'm not stuck with domestic grosses, where do you get that impression? In fact, this movie was probably greenlit mostly because of foreign market revenue since the original Blade Runner was a flop in the US. It is a cult movie nowadays so it could gather a worldwide audience to make it financially viable -let's hope it does-. The issue is that whatever international distributors spent on international marketing is irrelevant to studios. Most of the times, studios make movies, market them and exploit them in the US -where they control the whole production chain up to movie theatres-. That'
  13. If the budget was around 155M$, then 400M$ is a reasonable break-even figure. Producers/Studios generally receive an average of 50% of the gross Box Office (the other half is what distributors amd cinemas keep). It is an old rule of thumb that movies need to make between 2 to 2,5 times their budget to break even, depending on marketing expenses and distribution deals. According to this, Blade Runner 2049's marketing expenses would have been less than 35M$ which frankly seems to make sense given the media presence and promotion has been OK but not huge... In addition nowadays there are man
  14. I've also used the Rode filmmaker kit -300$ new- and, though it is nowhere near as sturdy and well built as the Sennheiser kit, sound quality is pretty much the same and it uses the "digital" frequency range and therefore does not interfere with other radio frequencies -and that range is free I believe, which is one of the reasons the kit is so cheap-.
  15. The extra CPU cores help, but also look into a more current GPU, such as a GTX 1070 or 1080. Even a GTX1060 6GB as an affordable alternative to the 660ti
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