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  1. Like
    sudopera reacted to Mattias Burling in Whats up with No Film School?   
    I didn't read your post because its was to long and probably just useless insults.
    But to the rest, here meanwhile is actually showing and proving exactly my point in the first post. He haven't even read the article from Reuters that writes about a successful outcome for an investor in a profitable company.
    Instead he goes by NOFS click bait fake news headline that was first started by a hatemonger/blogger that nows squat about pretty much anything.
    So what we have is a chain where everyone only reads and takes in the fake sidetrack story while at the same time believing that what they say originated from the original source.
    And we all know this is a global problem in actual news as well. People want to believe the fake version of things rather than reality. We see it in politics, war, you name it.
    And it is a problem.
  2. Like
    sudopera reacted to Cinegain in Whats up with No Film School?   
    I haven't been following many of those sorta sites or forums (NoFilmSchool, Cinema5D, REDuser, dvxuser, etc) as they always seemed to be for the bit more hardcore cinematographers and fanboys. Especially the forums, with a maze of subforums and early 2000's layout and users with no patience for newbies. No country or normal men. Nah, apart from rumorsites this is about the only place keep checking on the regular. EOSHD has managed to keep a fresh approach and the audience as well as the curator allow for diverse content, though the main theme is: creativity meets common sense. Most revolves around practical and affordable gear and how to use 'em to bring visions to life, not exclusive to people already well-established in the industry. There's a general vibe of chillness, openness, positivity and creativity that makes the forum content range go wherever the crowd takes it. You'll find a lot of passionate enthusiasts here, like me, that might not feel at home that well at other places (where the thing that counts seems to be being init as a professional, rather than doing it for the passion). Apart from EOSHD I think that for the more interesting informative and opinionated content you'll have to head towards YouTube, some channels there are great.
  3. Like
    sudopera reacted to Andrew Reid in Whats up with No Film School?   
    Apparently this thread is a place to call out a well liked member for his use of non-PC terms from South Park!!
    Maybe I should rename EOSHD to No Jokes School.
  4. Like
    sudopera reacted to Andrew Reid in Whats up with No Film School?   
    "Meanwhile" leave it out. This isn't the place to be language police. It's a place to talk about the subject raised in the top post!
  5. Like
    sudopera reacted to BTM_Pix in RED RAVEN. Only available in Apple Store.   
    Its a bit mind boggling to consider the sort of fanboy cult an alliance between RED and Apple could potentially produce.
    Its going to be like the moonies merging with the scientologists.
    Via USB-C
  6. Like
    sudopera reacted to Justin Bacle in Is 8K too much?   
    Here is the real question. Did you ever sat in a theater projecting movies in 4k and thinking "I wished the resolution was better". I know I didn't. 
    I think 8K is way too much as a viewing format. But as always, higher resolutions can see some good uses for VFX and scientific applications.
    As for myself, I shoot 1.5k 4:3 (yep, read it correctly) , so I really don't care about the resolution race :D
  7. Like
    sudopera reacted to Hans Punk in Is 8K too much?   
    The trickle down effect from 8k cinema to consumer model cameras will inevitably happen, where horrible colours and in-camera sharpening and compression will no doubt be employed. Codec support and media will be slow to catch up and be supported as a standard...much like happened with 4K. Marketing will indeed by hyped, clients will assume more resolution is better etc...it's the same story each time.
    I wouldn't be too concerned though, it's a long way off until existing HD and 4K is properly implimented yet. Many broadcasters and web platforms are still yet to catch up. The distribution and processing of high bandwidth data is always going to be the bottleneck...it takes time for the price point of many factors to converge for these things to become economically viable enough to implement for mass consumption.
    8k camera acquisition gives amazing options for filmmakers to implement for 4K/2k delivery but 8k as a resolution for consumer presentation and delivery...is a long way off (and mostly pointless in many cases for traditional projection viewing). If a wedding client specifically asks for an 8k delivery anytime soon, then they either have a suitable budget to give you for the job, or are completely clueless.
    Good colour science and dynamic range is what most camera manufacturers know is what makes good pictures, resolution boost is a bonus if it does not complicate workflow too much. But as happened with HD/4K buzz when it was new...you will initially have a load of crap coming out so it can wear that 8k badge on its side.
    I suspect that s35 will be less of a standard with these bigger sensors becoming more common. The Red helium 8k VV looks like the way things are heading...camera-wise at least. That camera in particular is the first thing produced by Red that I think delivers on their braggy-jock rockstar attitude that they used to throw around.
  8. Like
    sudopera reacted to Hans Punk in Is 8K too much?   
    ...saying that, the example video does look a bit distracting, mainly because the detail is being combined with very deep depth of field, causing a bit of 'sensory overload' - especially when subjects have vivid colour. I'm also not sure how many actors and actresses will appreciate every pour of their skin being revealed in a closeup at 8k, they complain enough as it is at 4K which is why digital makeup has become a very common thing these days. My guess is that by the time affordable 8k consumer cameras become common place, I suspect the actual resolving resolution will be closer to 4K after broadcast/streaming compression takes its toll, not to mention whatever tricks the camera is doing at source to quickly write to compact media.
    For now, Red seem to be getting it working pretty well. Mark Toia seems to describe the advantages of 8k as a capture format quite nicely (even though it's a bit of a sales pitch)..
  9. Like
    sudopera reacted to Hans Punk in Is 8K too much?   
    Shooting 8k is not too much.
    8k and beyond has/will become more and more necessary for movies that involve heavy visual effects. Being able to work with high resolution plates that have the headroom to allow re-positions and the overall detail boost for blue/green screen work is a huge advantage. When 8k live action is inter-cut with CG characters, the 8k footage (often down-scaled considerably) now matches the resolved detail that CG characters and environments can have (because they do not have to be 'captured' photographically). Traditional techniques of lightly degrading/softening the CG image to match the live action plates is becoming less of a thing when shooting higher resolution 'cleaner' live action elements. 8k is also a no-brainier when it comes to being an attractive acquisition format for archive purposes, it will have a longer shelf life in regards to being compatible with ever-evolving displays and projection systems whenever the 'negative' needs to be revisited.
    All of the above has a recent real-world example....Guardians of the Galaxy Vol. 2
    Back in the day, Vista Vision format was often employed for effects shots that required optical compositing and many passes through the printer would cause generation loss. Once the larger format of Vista Vision optical composite was down-scaled and printed to 35mm, the grain was effectively reduced to a regular size (or smaller) and the generation loss of detail was no longer apparent since the reduction to 35mm was effectively returning full resolution to that smaller format. ILM were the most famous users of this technique and that is why they became the best in the business...providing the best quality optical composites for effects shots in films. 
    Although we no longer have optical compositing generation loss to deal with, shooting larger format at 8k+ still has many of the advantages that these old optical tricks gave. The effect of reduction/downscale alone to a lower resolution gives a massive improvement to perceived sharpness, as well as huge reduction in noise - since any noise artifacts are literally shrunk.
    I remember when people were asking if upgrading to HD cameras was overkill...how quickly we forget. 4K down-scaled for HD/2K delivery works great, since compression and noise artifacts from footage is visually reduced, So 8k down-scaled to 4/2k projection makes particular sense in this regard. Consumer 4k cameras often have so much in-camera compression applied to get to that resolution, that the image suffers until down-scaled to HD anyway, which is why a solid HD camera with good picture and colour, often trumps a 4k camera, in terms of delivering a pleasing image.
    So, shooting cat videos in 8k at home might be too much (unless it is really cute) , but there is an increasing need out there for 8 -16k cameras out there for film production that require visual effect integration...last time I checked, that accounts for most Hollywood releases for the past 25-30 years. 
  10. Like
    sudopera reacted to enny in Is 8K too much?   
    I don't think we will ever watch films in VR well i don't i will just not the same experience human are social animals we like to watch film together be together and in my experience with VR is solitary experience and lets not forget that 20% of population cant handle VR motion sickness if VR ever takes off it will be in Games, architectural design and real estate. And watching thing in 8k that is few cm from your eyes i see lots of problems mentally and physically. PS turning your head around in 360 watching Jurassic park looking for dinosaurs looking up and down and shit i just don't see it.
    Unless you like to see Jeff in 8k 360 up close and personal

  11. Like
    sudopera reacted to Dan Wake in Is 8K too much?   
    in VR il looks that the goal is 32K. 16K per eye AMD wish that apparently
    so 8K is only like the "Hd Ready" of the VR. incredible.
  12. Like
    sudopera reacted to Andrew Reid in Is 8K too much?   
    I think only VR stands to benefit from 8K.
    Cinema doesn't need it.
    However, in 10 years we might all be strapped into our VR headsets for watching movies... Even at the cinema!
    I'm very impressed with how immersive VR is when done right. It is here to stay, unlike 3D.
    But watching 8K on a flat screen from a distance is pointless... Human eye just isn't up to it.
  13. Like
    sudopera reacted to Oliver Daniel in Pro camcorders? They're pointless creatively.   
    Andrew, I'm with you on this as I'm having a similarly "off" experience shooting on my FS5. 
    It has everything I need in a very versatile package and shoots some great stuff for me, but.....
    I much, much prefer shooting on small mirrorless, certainly at a creativity angle. I do t own a GH5, but on yesterday's FS5/Inferno heavy pop music video shoot - I held the BYS guys GH5 w/ Speedbooster Ultra and my Sigma 18-35mm. It felt really cool, very exciting in fact. 
    Today I got some pickups shots, and ditched the FS5 in favour of the A6500. The 4K XAVC-S (minus RS), is just fantastic. It felt very good.
    The bigger cameras are there for covering all bells and whistles, and being a reliable workhorse. To get creative with them, you need a team around the camera to pull off the shots (grip / lights etc) as they are much more stationary. 
    The FS5 / Inferno covers this heavy production need, but for smaller projects, it wouldn't be my first choice.
    In the pro world, clients do get very excited about seeing the Kit being used, and do feel more value is being attained by a bigger camera, even if that bigger camera is actually shit. 
    I've had weird thoughts about selling it all and just going GH5, as this method is just fun. At the same time, I could sacrifice the "expectation" I've built by selling up, or it could be a case of finding a new lease of life by using what I find most fun and enjoyable (small powerful mirrorless). 
    I guess you could relate to that? 
  14. Like
    sudopera reacted to Andrew Reid in Pro camcorders? They're pointless creatively.   
    Work tools are boring. I've always found mirrorless cameras way more fun to actually shoot with.
    In his day job John Brawley has an Alexa. Why on earth would he shoot 'for fun' creatively, with an Olympus E-M1 II? But he does.
    There are a lot of talented DPs who shoot with DSLRs and mirrorless cameras once they down their RED and Arri cameras at the end of the day.
    Yet I find in the mid-range market for video pros (wedding videographers for example) there's an aspirational value attached to the higher-end pro cameras, that is stupid and pointless. Aspirations should be creative.
    Owning a Sony FS5 or Canon C500 doesn't make you more creative, it makes you more efficient at work by a slight bit, and you appear more professional because of the big nobs and bells & whistles. Sadly, it doesn't necessarily make for "better" work because I have yet to see a clear distinction between work shot on mirrorless cameras and on stuff like the C300.
    In fact often the small camera stuff looks better and more inspired. The legendary Anthony Dod Mantle is known for his rough and ready work with digital, but when he went Canon C-series on Oliver Stone's recent series of Putin interviews, the look they achieved was slap dash and lazy to my eye... Could have been so much better. He used DSLRs as well on this shoot (between 2015-2017) and those shots actually came out more interesting!
    Too many pro videographers seem to dream of cameras like an Alexa and RED, why shows to me how important the professional label and look is to people, but creatively, they are no better and actually worse than the small cameras.
    I hated shooting with my Sony FS5. A fiddly pain in the ass, for my music video work in Berlin, it needed an OIS lens and rig for handheld - limiting the choice of looks from the lens. With a GH5 you can put any lens on there and it is instantly stable for handheld work, with a tiny form factor that gets out of the way.
    The FS5's image was worse than an A7S II but double the price. Aside from high frame rates it didn't offer anything creatively over a DSLR or mirrorless camera and now I have 120fps full frame on two of my small cameras along with 240fps 1080p on the pocket RX100 IV - So why bother getting a more expensive camera if it doesn't power you along creatively as much as the cheaper stuff!?
    These pro cameras aren't cheap... Sometimes I got lucky and I bought a Canon C500 for a very good price used, but do you know how many times I have felt compelled to take it out and use it for artistic work? Zero times.
    Kendy Ty is another example of a pro who downs his workhorse RED and shoots with a DSLR... The camera gets out of the way to such an extent he can shoot short films in public and direct the actors at the same time as being the main cinematographer. His work sticks in the mind as some of the most creative and spontaneous I've seen and there's not a C200 in sight... zero need for one!
    I think pros have by-and-large completely forgotten and lost the spirit of the DSLR movement back from 2010-2012 as they sought efficiency. XLRs, built in NDs, yadda yadda. Blackmagic as well, when they ditched the small cameras and went all-out URSA on us. Canon too... Oh wait, they never got it in the first place, and they invented it!
    Cameras should not just be about making money. That's how an art-form gets boring. That's how it dies.
    They are not just about doing a job.
    They're about creatively enabling artists and they're about democratising the art form so that price doesn't act as a road block to new talent.
    Of course Canon only care about profit, they are not interested in that.
    The Olympus E-M1 II's stabilisation isn't seen on any of the pro cinema cameras. It's unique. It offers something creatively to the result that a bigger, more complex shooting rig simply does not.
    On the audio side, so important creatively, small mirrorless cameras used to have limitations and some still do - but with XLR boxes with phantom power that fit in a hot-shoe, you can't really complain. Audio is not a big limiting factor on the Panasonic GH5.
    I still know that pros have their professional reasons for going Cinema EOS or Sony FS or RED or even Arri... Workflows, codecs, ergonomics, power, performance, looking-the-part... I'm not denying their reasons for one second, it would be so naive to suggest they drop the workhorse cameras and use a mirrorless camera for paid work.
    But the creative side of the small cameras is what matters to me and I think it is being overlooked as specs in the $6000-$10,000 pro market hot up.
    Sure, you can shoot all day on a big battery to a small broadcast ready codec with the C200, very practical... But can you put a 1970's Super 16 lens on there? Can you increase the character of your images by a factor of 10? Does it have an anamorphic mode? Nope.
    If I ever buy a C200... Shoot me. It's over.
  15. Like
    sudopera reacted to Andrew Reid in £150 Arriflex lenses on the GH5   
    The GH5 has the chunkiest 10bit files I've ever seen for $2000. Some of the lenses are even more of a bargain.
    Read the full article
  16. Like
    sudopera reacted to fuzzynormal in The other issue with the C200   
    It is an issue for me.  Im part of a documentarian team that shoots, with my wife, an A and a B.  
    As such, I'm frequently looking to rent or buy camera pairs and lenses.  
    Typically, for our own self-financed films, I'll purchase the gear on deferred credit --and then re-sell the stuff 4 or 5 months down the road when everything is shot and in the can.
    The depreciation between the purchase and resell is what I consider my "rent" fees.  Gear comes and goes this way and the cost of having the stuff while the work is happening is very reasonable.
    Cheaper and more flexible than actually renting.
    For instance, we bought another GH5 recently simply to pair with the initial one (purchased for another gig) and now we'll be using those GH5 cameras for the summer.
    Id love a bigger budget, eventually, to possibly employ this strategy for higher end cams such as the Canon C's, but the low overhead of the hybrid gear is effective for doing this sort of stuff on the cheap. 
    Also, I like shooting doc video on a photo camera.  I think it offers a certain comfort among subjects/people. It does often seem that they aren't indimidated by that as much as they are with "big" or "real" gear. 
  17. Like
    sudopera reacted to jax_rox in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    This camera takes SDXC, and let's get real for a minute: raw is wholly unnecessary for 98% of the camera's target market. 
    The Varicam LT may be 'only' a few thousand more - but Starr factoring P2 cards and the price jumps drastically. And since when does the LT do raw internally..? 
    The FS7 doesn't even have a proper EVF. Stick a loupe on the LCD and voila - you've got the same solution as the FS7. 
    You know the URSA Mini also doesn't come with an EVF? And really, the 'back of the body' EVFs on the C series and FS5 are next to useless.
    But sure, feel free to denigrate a camera based on the cost of wholly unnecessary accessories
  18. Like
    sudopera reacted to TheRenaissanceMan in The wraps are off! Panasonic EVA1 compact cinema camera announced with Super 35 5.7K sensor and Dual Native ISO   
    Believe it or not, that amazing Varicam 35 reel that blew us all away a few years ago was shot on the same 10-bit AVC-Ultra codec.
  19. Like
    sudopera reacted to Oliver Daniel in The Canon C200 is here and its a bomb!   
    Yep, this camera is a production workhorse... it's not designed for mirrorless camera street shooters, Vloggers, shoestring budget filmmaking.... 
    As an FS5 owner with all the bells and whistles - I have 4k 100fps and 2k 200fps in ProRes or CDNG. Spoilt really. 
    This C200 does peak my interest though. 
    In my limited time with the rather boring C300 - it was an absolute pleasure to use that camera. 
    The C300 II seems like a big misfire as seems like it needs to be heavily discounted. 
    The C200 has some great features the FS5 doesn't:  
    Dual Pixel AF. Superior Colour. Internal RAW. 4k 50/60p internal. Easier to grade Log.  No need for bulky external recorder. Better focusing / peaking (going off previous C-series cameras).  Those features are very, very worthy and actually very surprising. A big deal. 
    However, there are a few reasons why I'd currently be in no rush to replace my FS5 with this: 
    Critical reasons
    No broadcast "middle" codec until early 2018.  B camera for gimbals, 2nd camera etc for smooth matching. The 5D mk IV isn't exactly worthwhile whereas Sony has a gazillion options with tons of features.  100/120fps mode uncertain.  Moderate reasons
    Would lose 4k 100fps and 200/240fps modes.  Regular ND instead of electronic ND.  No Speedbooster.  Less lens adaptability.   
    Good stuff at last by Canon though!
  20. Like
    sudopera reacted to BTM_Pix in Would You Perhaps Be Interested In A Different GX80/85 Colour Profile???   
    Yes, you just have to modify the html file so that when you hit 'Deploy' it takes you to B&H Website where you can then buy a GH5
  21. Like
    sudopera reacted to Neumann Films in How important is a social media "presence"?   
    Important and not important at the same time.  All depends on what you do with it.  We have always opted to build it a bit slower while trying to maintain some sanity and our personalities.  No Vlogs, not a ton of face time, no trade shows.  We live pretty normal lives on a day to day basis. 
    You can build it really quickly by just playing the game (being fake, like you said)...but those people just end up being D League Celebs.  Know what you want to do, if being a D League Celeb is your goal...go for it man.  You won't be the only one.  If you want to do something unique and different...just do it.  There's no right or wrong way.  Build your own image and show people what you want to show them.  Generally you can't force it, if I tried to do Vlogs every day they would be horrid.  I'm not Casey Neistat and there's no point in pretending that I am.  Do you because there are other people like you and they will relate because they can tell you're being real.
  22. Like
    sudopera reacted to Zak Forsman in Modified Lenses / Accessories that produce unique flares & bokeh   
    I modded a set of Conax Zeiss lenses myself. Wasn't without its challenges as this was my first time tackling something like this, but 100% worth it. The set includes 28/2, 35/1.4, 50/1.4, 85/1.4, 135/2. Mods include:
    1. seamless focus gears from Helicopter Sean
    2. bolt on Canon mounts from Leitax
    3. knurled step-up rings to 82mm from Breakthrough
    4. 82mm push-on lens caps from Kaiser, Canon brand rear caps
    5. and most importantly, I custom-made 2x fixed aperture cut from a .4mm thin sheet of stainless steel

    After sourcing all the lenses from ebay (all are mint or near-mint condition AEG or AEJ), I opened up each one and took measurements for the aperture discs. designed them in adobe illustrator (making alternates that were smaller, and smaller still). When I received the aperture discs I auditioned the different sizes, selected the one i was happiest with, and finally mounted them inside with a semi-permanent adhesive so i can remove them later if i want to re-sell the lenses.
    Haven't been able to shoot with them too much yet (busy at work). But I did take the 50mm pictured above for a spin. See below.

    Surprisingly, I've taken some flack when i mentioned this project in various facebook groups because these lenses are highly regarded (and pricey). I don't know, maybe they see me as either incredibly stupid, or reckless... maybe I'm both. But I can definitely say I'm also completely happy with the results. 
  23. Like
    sudopera reacted to Cinegain in How important is a social media "presence"?   
    I have a friend that used to never want to have anything to do with social media. Then again, he also paid for everything cash, because who knows who's keeping track of the digital traces you leave behind. Now that he has started his own business, he's all about social media and without embracing it he probably would never have seen the growth he has now. Unfortunately you're better of being an attention whore than keeping faith you will catch your break eventually. Your content might be king, but if it doesn't reach the eyeballs of someone recognizing your talent because you're hoping they will bump into it magically, opposed to actively promoting your material... then maybe there's something to it after all. Of course, being true to yourself is a noble thing... so if you can manage to get by without selling your soul then by all means stay sane! In the end of it, it's all a matter of perspective... there's 2 things in particular you mention... 'popularity is the only thing that matters' & 'making films I'm proud of'. Which is the more important one? Of course you can do something in between... like just showing some natural excitement for what you're doing by sharing little bits and pieces, keeping people in the loop... rather than just having to come across forced and spammy.
  24. Like
    sudopera reacted to IronFilm in Canon C200 and Panasonic rival camera to fight it out at CineGear Expo   
    I would not mind at all if Panasonic releases it with a MFT sensor, *if* that means the camera can hit a very low price point such as say US$3.5K??

    Who wouldn't want a GH5 with built in NDs, SDI out, TC, and XLR for US$3.5K!
  25. Like
    sudopera reacted to Cinegain in Dear Andrew...   
    Not sure where you're going with that? Are you leaving EOSHD because you feel like you've outgrown it or something? Or was it just the point of saying 'thanks' for allowing the guidance of your journey to your present day situation?
    So, I take it everyone is welcome here whether you own a cellphone or a RED. But... there's a lot of people that could use some help figuring all this shit out when starting out. And there's just too many places that are too pro, too serious and couldn't care less about n3wbz. I feel like here, there's no judgement, whether you're using a Sony F35, URSA Mini, GH5 or T2i/550D... it's all good, it's about getting the basics right and being able to deliver convincing content and there's more to that than an expensive camera. Think the crowd here is mix of professionals and enthusiasts that aren't quick to judge and are supportive of eachother. Positive vibes. There's too few places like that around on the good ol' interw3bz. Anyways. There's continuously going to be people starting out and not that quick to drop $3k+ on a camera and of course the core that gets more experience and higher end equipment as time goes on. That just allows for more interesting insights and knowledge to be spread around here, so personally I don't see the DSLR community going anywhere... if by that you mean the users of consumer & prosumer DSLR and mirrorless cameras that want to practice their art and be executing their talent as cinematographer or filmmaker. And isn't an URSA Mini a mirrorless camera at the end of the day either? And one more accessible than an ARRI?
    Seems there are a lot of 'coffee and <insert interest>' events popping up everywhere. I feel like maybe this is a 'coffee and filmmaking' hangout, where you can just talk about whatever is on your mind filmmaking related (or occassionally even otherwise) amongst people with similar interests.
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