Tim Sewell

I'm very happy with my Mavic Mini 2. The only thing that would tempt me to upgrade would be a 10 bit log option, or an adjustable aperture, or both (!) in a <250g drone.

I'm very happy with my Mavic Mini 2. The only thing that would tempt me to upgrade would be a 10 bit log option, or an adjustable aperture, or both (!) in a <250g drone.

According to the Ukrainian Prosecutor General's Office, he was fatally shot twice by Russian servicemen while unarmed and wearing a press jacket.
https://www.ukrinform.net/rubric-ato/3446547-documentary-photographer-photojournalist-maks-levin-found-dead-in-kyiv-region.html
https://www.lensculture.com/maks-levin
https://www.facebook.com/levin.maks

Probably won't find a more in-depth review than this one - I think I might have to book a day off to read it! https://www.newsshooter.com/2022/02/22/panasonic-gh6-review/

Really the title of the thread says all that needs to be said. The aesthetic. You shoot on whatever you need to shoot on to achieve the aesthetic you want. If the aesthetic is the measure, then, qualitatively, the perfect camera can be an iPhone, an EOS-M or a Panavision DXL package. Fincher likes the resolution as high as possible, other directors/DPs want something more lo-fi (for *this* project - might want something else entirely for *that* project). If we're talking art then the best cameras and lenses are the cameras and lenses that best realise the artist's vision.

No need for any argument, really.

Really the title of the thread says all that needs to be said. The aesthetic. You shoot on whatever you need to shoot on to achieve the aesthetic you want. If the aesthetic is the measure, then, qualitatively, the perfect camera can be an iPhone, an EOS-M or a Panavision DXL package. Fincher likes the resolution as high as possible, other directors/DPs want something more lo-fi (for *this* project - might want something else entirely for *that* project). If we're talking art then the best cameras and lenses are the cameras and lenses that best realise the artist's vision.

No need for any argument, really.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Really the title of the thread says all that needs to be said. The aesthetic. You shoot on whatever you need to shoot on to achieve the aesthetic you want. If the aesthetic is the measure, then, qualitatively, the perfect camera can be an iPhone, an EOS-M or a Panavision DXL package. Fincher likes the resolution as high as possible, other directors/DPs want something more lo-fi (for *this* project - might want something else entirely for *that* project). If we're talking art then the best cameras and lenses are the cameras and lenses that best realise the artist's vision.

No need for any argument, really.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Do you even read the articles that you link to?
Messerschmidt: We shot 6K 2:1 with a 5K center extraction. This method gave us tremendous freedom in post for stabilization and re-framing when necessary. The editors work with a lot of split screens, so having the extra room to reframe and adjust in the cut is very helpful in that process.
also:
In addition to giving Fincher another crack at getting the exact composition he wants, it allows for the elimination of imperfections in the operating of the camera.
“If you are shooting an actor sitting up from a chair and the operator tilts up with him, you might do 10 takes of that and the operator might keep the headroom perfect for six of them, but if they chose for editorial a take where the operator clips the headroom it can be fixed in post,” said Messerschmidt. “Same thing for stabilization – rolling on a slightly bumpy floor or doing a crane move where the crane has a little wiggle in it or whatever, being able to take that out in post very much informs David’s aesthetic. It lets the show maintain that very ethereal, almost robotic look, letting the camera be anonymous in the storytelling process.”
I was speaking of your average Joe, not necessarily you.
Here you go again pitting one against the other. In your b&w mind one is either pro something or against the other. You cannot seem to fathom a person can value multiple aspects of IQ. Filmmaking is more complex than just resolution & color science you know. It’s not just one or the other. I shoot all types of resolutions, it depends on the project and the budget. I shoot all kinds of brands/codecs/sensor sizes etc. Whatever I feel fits the project. That how pros think and work. Enthusiasts come up with these dead-end theories and tend to clinch to one side.
You seem quite obessesed with color science, especially from ARRI. You keep claiming nothing has improved in that department in over a decade “none” “zero”. Sorry but that’s just plain incorrect, you musn’t have been following much. Canon/Sony/BM keep updating their CS. Canon offers you classic eos cinema color matrix or neutral which is ARRI inspired. Sony has had Venice’s S-Cinetone trickle down to FX/Alpha range. BM are on Gen5 of their CS.
Furthermore, the biggest improvement relative to CS in recent mirrorless tech is 10-bit Log & RAW. These types of codecs finally allow footage shot on hybrids to get proper color grading treatments, and potentially compete/match with big boy ARRI/RED footage.
If your complaining about CS in 2022 on a latest gen Canon/Sony/Nikon/Panny/BMD you perhaps should start taking a look at your grading skills.

Dolla dolla bills y'aaalllll
 

I don’t think anyone ever said that... I would have to say this is cinematography, though. She’s using a particular vintage lens, camera, filtration, image processing, and shooting at particular time of day and weather conditions all to get that look.
Everyone acting like this is super easy. You’re all literally sleeping and she’s out shooting. 🤷🏼‍♂️
“Oh I could do this for sure. It’s not that good. Nice video.” Weird.

Now I actually think that Phil has a great eye, but I fully support the rest of your comment. I went out yesterday, inspired by MK, trying to find shots like hers - beautifully composed, inviting, rewarding of prolonged viewing - and it's really, really fucking hard. My admiration for her goes way beyond the technical - she strikes me as a true artist. And I'll take a moment to say that if I was shooting a scene in a city nightscape I would for sure let some of those LEDs flicker, because it immediately provokes an emotional reaction that says 'city'.
Here's her latest and I'd be interested to see any work shot with the A7IV that comes anywhere close: 
 

The videos uploaded by L.A. cinematographer M. K. Rhodes are, in my opinion, utterly mesmerising. Shooting mainly on the Komodo, she captures the city at night in a truly beautiful way. This is my favourite, so far.
 
 

The videos uploaded by L.A. cinematographer M. K. Rhodes are, in my opinion, utterly mesmerising. Shooting mainly on the Komodo, she captures the city at night in a truly beautiful way. This is my favourite, so far.
 
 

Rental only for now, apparently. Read the article! 

Gotta say I reaaaalllly don't like that Pana 20-60. I used it on this shoot for the short bits when I was on the gimbal and next to the images from my copy of the aforementioned Tokina 28-70 ATX Pro 2.6-2.8 (which I love) it was so videoish as to render some of the clips unusable due to my inability to get them even close to matching. I also used my 35mm, 85mm and 135mm Super Taks, so covered all the bases WRT this thread!
 
 

Gotta say I reaaaalllly don't like that Pana 20-60. I used it on this shoot for the short bits when I was on the gimbal and next to the images from my copy of the aforementioned Tokina 28-70 ATX Pro 2.6-2.8 (which I love) it was so videoish as to render some of the clips unusable due to my inability to get them even close to matching. I also used my 35mm, 85mm and 135mm Super Taks, so covered all the bases WRT this thread!
 
 

LOL Yeah, suchlike : ) The elitism couples ignorance and is like the fear, just another bitch! : D
 
Why confused @mercer...? Isn't it a serious cinema camera?
We've made an entire feature film, among much other cine-like stuff, with:

 

 

 

 

 
Shot on P6K
Make-Believers (2021)
 
- EAG
 

Thank God! An essential part of my work dodging bookmark list is back! 

Thank God! An essential part of my work dodging bookmark list is back!