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DBounce

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DBounce last won the day on January 12

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About DBounce

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    Pharoah

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    Making movies, creating apps and building pyramids.

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  1. YouTube certainly supports 1440p on Android... and maybe 4k, but you need to own one of the 4k Sony phones to test that out. YouTube is limited to 1080p on iOS as Apple does not support the VP9 codec that YouTube uses for video compression of footage with resolutions beyond 1080p.
  2. That's exactly what I have come to understand. Honestly, all of the top cameras produce a good enough image for serious work. It's the other components that most of us are missing. Creative lighting, thoughtful camera movement and most importantly... a good story. Find a system that works for you and shoot. Work within the limitations. Focus on telling the story. That's get you get better.
  3. DBounce

    Leica Q2 (DCI4K)

    I think at that price medium format starts to make more sense. You are getting something truly different. Something that might expand your creative process. Just a thought. I’m keeping away from new camera bodies until the next breakthrough... or the new 1DXMK3... whichever comes first 🤫
  4. DBounce

    Sony Xperia 1

    I think it’s easy to get hung up on the tools. The convenience of the smartphone will triumph over the image quality of a dedicated camera much of the time. With advancements in sensor design, combined with machine learning supported by companies with deep pockets, we can be almost assured, that the next quantum leap will likely appear first in a mobile unit. The “do everything” aspect of the smartphone is its ace in the hole. Smartphones are murdering the dedicated camera industry. That said, I would rather a bag of holes... than a drill. We need to remember the camera is merely a means to an end. The more convenient reaching that “end” is, the better.
  5. DBounce

    z6 vs XT3

    The Ninja V rocks. It's a must have imo. I am only without it when I need to travel light. It's so helpful when framing, getting good exposure. These days I rely on AF almost exclusively, though I would not trust the Nikons AF to that extent. Which makes the Ninja V an even better choice when combining with the Nikon. I think I'm done with new cameras until the next breakthrough... per/pixel gain adjustment. Once that becomes a thing I will be interested enough to explore new bodies. Cured of GAS, I am now focusing on content. Which feels great to say. We are finally a parity amongst camera manufactures. Pretty much any of the top contenders is good enough to get the job done. This leveled playing field means manufactures will need to push the envelope to rake in new sales. 2020 should be interesting to say the least.
  6. DBounce

    z6 vs XT3

    Slow-mo is something I almost never use. Though I understand some need it.
  7. DBounce

    z6 vs XT3

    Having owned both of these cancers, the X-T3 is more fun to shoot. But if I had to pick one, it would be the Nikon. It has a distinct advantage in stills. I'm not so concerned when it comes to the crop difference in video. But would miss the extra DOF in stills. That said, you can get great results from either body. AF works great on the Fuji, staying useful even as the light drops. The Nikon was not as capable in this department in my experience. Honestly, both are up to the task.
  8. We do not own the sliderkamera 6 axis, but we do own both motion controllers and gimbals. The gimbals are great if you are filming on the go and you are not the subject. They are no good if you are filming yourself. The motion controller makes more sense in this case. Granted the motion controller is also useful as a second shooter. We use both the Ronin S and Edelkrone Motion Kit with HeadPlus. Both are quick to setup. The Edelkrone can be aimed by hand, which is a real timesaver. If I could have only one, it would be the motion kit. Why? The motion kit captures cinematic motion every time. It never makes mistakes because the human factor is removed from the performance. Every move is repeatable; which makes for the possibility to create some very interesting vfx scenes.
  9. I saw this posting over at the Z-Cam Facebook group. It seems there is a vender working on producing a new Anamorphic lens for the M43 system. The vender claimed that the new lenses would be quite affordable. It's expected to make the light of day in about three months. Here is a picture of the lens.
  10. Clearly you do not understand a word that I'm saying. That's OK. Keep buying spec sheets... That "definitely" trumps output. Winner winner chicken dinner.
  11. The people making the documentaries certainly care what the image looks like. Which is my point. The people with the talent to win choose Canon. Again having a Canon does not make you a winner... but clearly winners prefer Canon.
  12. I agree, but they do know what they like image wise. This is why Arri dominates the Academy Awards as the camera most used on winning films. Same is true for Canon in the documentary world. It’s not about the camera, it’s about the imagery. Or do you think it’s all just a coincidence? The audience may not know or care what cameras were used, but they certainly know what imagery they prefer. Let me tell you what they really do not care about... lofty spec sheets.
  13. Let me simplify this, winners choose Canon because they are focused on image, ease/speed of use. They view the camera as a tool. The footage is the product. For them image is first and ease of capturing the image is important so they can capture that footage with little fuss. They are focused on reliably and fast service should a issue arise. Canon is well known for providing a system that is well suited for professional needs. Using Canon does not ensure a win... but clearly those with the talent to win favor Canon.
  14. I think the results speak volumes, Arri, Panavision for Feature films and Canon for documentaries. As for what about the ones shot with other brands? Well, they simply didn’t make the cut... they were not considered to be worthy. It’s really that simple. I think if your goal is to impress the Academy you should plan wisely in every aspect of your production; from story, script, talent, crew, sets and yes cameras also. Is it possible the Academy favors the Canon image? Sure, why not? Most people love the image Canon's produce. Is that thought really so surprising? Here’s a quick takeaway... Winners choose Canon. Got a problem with that statement? Let’s see your Academy award winning documentary shot on a Panasonic? I’m not saying you couldn’t shoot one... who knows? But I’ll bet if you do, you’ll be confessing you actually used a Canon🤫 Ok I’m bustin balls a bit.., but there is clearly a correlation. If you listen to most of the people here, they will tell you that no one uses Canons for doc work anymore... Sony owns the market. Well, if that’s true, it’s even less probable that all the documentaries that were nominated were shot on Canons... and yet despite massive odds in Sony’s favor, only the documentaries shot on Canons were nominated. Now I understand that there’s much more to it than choice of camera... but at the end of the day my initial thought remains true... winners choose Canon. Tech geeks sit around pixel peeping, oogling technical specs and shooting test charts. I myself was guilty of this... till one day I sat down after comparing footage from all the top contenders and reached an astonishing conclusion; The image matters... motion matters... that’s what people see. Ease/speed of use matters that’s what allows you to get the shot. When I put these things first the choice was clear... Canon. We have enough detail... too much honestly. Sharper lenses, more resolution is not the answer. That’s only useful in industrial cameras or medical devices. For cinematic imagery we have more than enough detail. Canons match well to Arri’s in every aspect save for dynamic range... and that can be controlled with thoughtful camera angles most of the time. I believe the people that have the talent to win or be nominated for an Academy award put image first. I think tech specs are for nerds. I can’t recall ever watching a movie trailer where they focused on dynamic range or low-light performance as reasons to see their movie. No one cares... no really, no one cares. Virtually everything currently out cinema camera wise is frankly good enough. If you can get usable 6400 ISO that’s super flexible. Turning night to day is just foolish.., damit, just shoot in daylight if that’s your goal. Many will rebut these comments, but in the end the results are irrefutable. Nuff said!
  15. I don't think you could ask for a better endorsement than the fact that every nominated doc was shot on Canons. Any arguments that suggest otherwise are plainly disingenuous.
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