majoraxis

When our music turns rubbish and our language ugly we know there's trouble ahead. Filmmakers and photographers seem to be on the way out, to be replaced by something altogether more homogenous - the "content creator" or simply "creator". Why specialise when you can just "create stuff"?
New blog post:
https://www.eoshd.com/news/creator-replaces-filmmaker-meet-thy-creator

I have both the GH5 and GH6 and I prefer shooting with Picture Profiles on the GH5 and V-Log on the GH6. So the GH6 and its version V-Log looks better after post than the GH5 and it version of V-log. Probably not a right answer when it comes to the GH6: V-log or Picture Profiles are both great.

I thought I'd go ask it to give me a post for this thread..... 
In 2023, the ARRI Alexa Classic might seem like an oldie, but it's still a goldie! Let's dive into why it could be your go-to camera:
Unbeatable Image Quality: This gem captures breathtaking visuals, boasting rich colors, a high dynamic range, and fabulous skin tones. It's cinematic magic rivals the latest models! Built to Last: ARRI's rock-solid construction means the Classic won't let you down, whether you're on a sweltering desert shoot or filming in the pouring rain. Budget-Friendly: Since it's older, the Classic's price tag is kinder to your wallet. It's perfect for indie filmmakers, students, or pros who want top-notch quality without breaking the bank. Accessorize to the Max: Compatibility with a vast array of lenses, matte boxes, and more means you'll be ready for any creative challenge! Seasoned Pro: The Classic's star-studded résumé is packed with top-tier film and TV projects. With a supportive user community, you'll never be stuck without help or advice. Keepin' Up with the Times: ARRI doesn't leave their classics behind—they still roll out firmware updates to enhance your camera's features and functionality. Familiar Territory: Already an ARRI pro? The Classic's intuitive interface makes switching between projects a breeze, ensuring that signature ARRI look throughout. However, it's worth noting that the Classic might not have all the bells and whistles of newer cameras. Plus, spare parts and servicing could become harder to find. Weigh these factors, and you'll know if the ARRI Alexa Classic is your ideal camera in 2023.

Now the prompt is ridiculous: "Explain dynamic range to a 4-year-old, adding in facts about American History."
 
Hi kids! Do you know what a camera is? It's a tool that helps us take pictures and capture memories. But have you heard of "dynamic range"? Well, let me tell you all about it while we learn about American history!
Back in the days of the American Civil War, photographers had a hard time taking clear pictures because the cameras of that time couldn't capture all the details in the bright sunlight and dark shadows. But, over time, cameras got better and better, and dynamic range became a big part of that.
Dynamic range is the amount of light that a camera can capture. Just like how the American colonists fought for their independence and the right to control their own lives, a camera with a high dynamic range can capture both the bright parts and the dark parts of a scene, so it has control over all the details in the picture.
Think of it like the American Dream - the bigger the opportunity, the more you can achieve. Similarly, a camera with a high dynamic range can fit in more light and capture more details in a picture, just like how Americans have the opportunity to chase their dreams and achieve their goals.
So the next time you take a picture, remember the spirit of American history and look for a camera with a high dynamic range, so you can capture all the details and make your own memories, just like our forefathers did!

I did a shoot over the weekend that required a lot of zooming in and out. It really made me long for the camcorder days and made me ask myself: why doesn't Panasonic release some power zoom lenses? 
I know they have a couple of lower end ones for M43 that aren't constant and are very slow, but why no higher end ones? I'd buy a 24-105 f4 power zoom lens for full frame (and a 12-100 f4 for M43) in a heartbeat. I can't be the only one that would either. It'd be the perfect lens for event shooters. 
Right now Sony is really the only one offering power zooms. I think it's time for Panny boy to get in the game. 

Yeah must admit it seems to be the best looking footage I have ever seen out of a Red camera.

R6 has pretty filmic luma noise compared to other R series. C70 has been proven in underexposed tests to not only have a much lower noise floor (thanks to DGO sensor) but also a more filmic noise with no horizontal patterns and low chroma noise which immediately scream digital. Fuji XT series I also found the noise pleasing.

There is an ARRI Alexa Classic (with High Speed license) for only US$5K on eBay right now:
https://www.ebay.com/itm/Arri-Alexa-Classic-Camera-High-Speed-Ready-To-Shoot-Package-w-Case-600-Ship/174312729518
 
That's because they hadn't used the Mini before. 

But once they had, the Mini became their default. 

The only ARRI shoots I've worked on during the last couple of years which were not Mini shoots was because they were low budget stuff which couldn't afford the rental rate for a Mini so used a different ARRI instead. 

 

Those are great specs. I've seen a few bits of footage online but would love to see it with some native Super 16 lenses. Once BMD knocked cut the price in half it became more interesting to me but it's still big and expensive compared with other options. I'd like to wait and see if they come out with a smaller new camera in 2023 or 2024 that uses their own sensor, not necessarily 12K.

Super 16 crop on the USRA mini Pro 12k offers:
6144 x 3240 (6K Super16) up to 120 fps with 7.8ms rolling shutter.
4096 x 2160 (4K Super16) up to 240 fps with 4.25ms rolling shutter.

I have two of these cameras and love them but the downside is fixed-pattern noise. Not an issue if you give the camera enough light but FPN can quickly rear its ugly head and it's very difficult to eliminate. There was a detailed thread about it on the BMD forum here: https://forum.blackmagicdesign.com/viewtopic.php?f=2&t=115570
Interesting about the BMPCC 4K in S16 mode. I've also heard very high praise for the Ursa Mini 12K in Super 16 crop but have yet to see examples.

I also liked Grimors joke. I think he for sure developed a good taste regarding insider camera jokes. If we have camera developers with a sense of humor around, I would love that for both facts, for their development skills and their humor as well. 🙂 
Too bad that out of the 3ccd 2/3 sensor cameras like the Varicams there never materialized a camera in the body of a DVX100 or HPX250, the latter though with great codec, but without ccd magic and 1/6 sensor size.

Adorama also has instant rebates on a few of the Sirui anamorphics. I ordered the 50mm for Fuji at $500 off

The GH6 is now $1497 at Adorama after the additional $200 instant rebate.  That is $700 off the initial list price. 
 
https://www.adorama.com/ipcdcgh6.html

Once a year we have the opportunity to fill in the gaps or expand our capabilities at potentially the best prices of the year. What's on your shopping? Here's some of my favorite Black Friday discounted purchases:
1. Topaz Labs Everything Bundle (Topaz Video AI, Topaz Photo AI, Topaz Sharpen AI, Topaz Gigapixal AI, Topaz DeNoise AI) all for $279
2. Affinity Photo 2, Affinity Designer 2, Affinity Publisher 2, and the iPad version of each, all for $99
3. WaveLab 11 for 50% off  and even more because of the exchange rate if you purchase through www.bestservice.com
4. Sonoris Mastering Compressor 25% off.
5. Relab Developments LX480 Dual-Engine Reverb V4 (basically a perfect copy of the Lexicon 480L dual engine reverb) for 50% off.

I agree with @kye, get a camera such as the Sony FX30 and let the camera handle lens breathing in camera.
As also, any lens that has no lens breathing is likely to be a cinema lens... and thus won't have autofocus anyway!

It wouldn't shock me at all. There will always be a market for monitors and recorders, but cameras are increasingly adding features and codecs that you needed recorders for in the past. The ability to record RAW was important short term, but it's only a matter of time before these companies develop their own flavor of RAW or implement ProRes RAW or BRAW directly, leaving Atomos out in the cold. It's hard to see where the camera industry will be in 5 years, let alone the monitor/recorder industry, but I imagine the former will be in better shape than the latter, especially with so many budget monitor options out there now and in the future.

https://announcements.atomos.com/4207684
https://www.dpreview.com/news/3231195512/atomos-has-developed-an-8k-image-sensor-for-cinema-cameras
 

Hi,
Rebelle 5 Pro simulates water colors with realistic color blending and also does oils, acrylics, pencil and ink.
If you ever wanted to try you hand at being a (digital) painter - get this deal - regularly $149 only $10 end Oct 13.
https://www.escapemotions.com/blog/ten-years-of-escape-motions
https://www.instagram.com/p/CjQb5Faq4yC/

Well, you know I am all eyes and ears for Smartphone stuff. What amazes me is how on an iPhone especially right out of camera is really about as good as you are going to get for the average person other than DoF  stuff from a real camera and even that on my new OnePlus 9 Pro is not even bad.  They have the HDR, AI, Computational stuff Really down pat on them. The video side is amazing also. And sure, it is not great blown up to big sizes but who even does that anymore.
But yes, this raw stuff is really getting good and interesting. It is certainly the future for new people getting into all this stuff. going to be even more Super exciting down the road.

No footage to share, but I hope that the community is checking this out. I was already super impressed with the previous version in that it made all of my interlaced footage look like how I remember it being at the time. With this update (still early times) I noticed you can basically throw many new (but old) formats at it. I took some .MTS (hacked GH2) files and tried them. I upresed them to 4k, reduced the noise a little, added in minimal detail and sharpness and output them as h.265 4k 8bit files at 28Mbit/s. The results looked so good. I found the blue channel to be nicely detailed and virtually noise free (which was a minor problem before). Yes, it takes quite a bit of computing power (1 minute of footage = 20 minutes render), but still...
Maybe others have some thoughts?

Not sure if its available from launch but Resolve is coming to the new M2 powered iPad Pro.

No indication of how fully featured it will be compared to the desktop version (the Cut and Colour pages are illustrated as being available in this screenshot) or price or codec support etc  but it will be interesting to see nonetheless.
It will actually have to go some to compete with LumaFusion which is the current state of the art for the iPad and which has been becoming ever more feature laden over the past couple of years.
LumaFusion has actually had an FCPX export option for a while (and is very much an app favoured by Apple in their marketing and presentations) so I'm curious about why Apple are now putting Resolve front and centre in their announcement when it will presumably offer the same functionality for a rival desktop editing system to their own.
Irrespective, these new iPads are further blurring the lines between desktop and tablets for content creation whether one is mobile or not.
Full details of the new iPads here :
https://www.apple.com/uk/ipad-pro/

Hi,
Rebelle 5 Pro simulates water colors with realistic color blending and also does oils, acrylics, pencil and ink.
If you ever wanted to try you hand at being a (digital) painter - get this deal - regularly $149 only $10 end Oct 13.
https://www.escapemotions.com/blog/ten-years-of-escape-motions
https://www.instagram.com/p/CjQb5Faq4yC/

TBH, I think this is probably well into the realm of diminishing returns.  
The way I see it is that there's stuff that happens before you colour grade and stuff that happens afterwards.  10-bit (or more) matters when you're capturing footage that you need to significantly alter in the colour grade (log, linear) but after it's in a 709 space I think it becomes far less important, unless you're capturing in a 709 profile and plan to heavily grade it after that.
I've found that there's essentially three groups when it comes to colour accuracy:
The general public, where there is zero guarantee of quality, adherence to standards, or consistency in what they're looking at.  They also (mostly) don't care, and most probably can't tell the difference between the colour of a Sony A72 and an Alexa. Professional colourists, where there is almost no limits to the degree of accuracy and the investment in minutia around this, and is often accompanied by a failure to understand the practicalities and compromises of the world.  Their clients are occasionally directors or producers who have some of the most refined taste and colour perception imaginable, so they are aspiring to be good enough for the worlds best.  They will argue to the death about things you've never heard of. Us practical folks in the middle trying to do what we can but without it being the entire universe that we live in.  We care so much more than the general public that they can't understand a word we say, and we care so little in comparison to the pros out there that we can't understand almost anything they say. If you've got a vaguely colour accurate monitor setup in a vaguely controlled environment then I think you're going above and beyond for what most of the audience really cares about.  For this, 8-bit monitoring is totally fine.

Makes it far more logical by a country mile to buy it in the PL mount version instead of the EF mount