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Everything posted by Liam

  1. do you mean 16mm? - just confused, but if that's what you meant, you can speedboost it to help that (as well as low light) also, a few things your top requirements are now the most subjective (cadence, good color, softishness) I was pretty sure the pocket was supposed to have some of the best cadence. you can add the 1dc to the best cadence list for sure by the way. the f3 was the camera Ed used on his film Five Star. all handheld style filming, great test of cadence. maybe "not perfect", but "better than some" could even be an understatement maybe make sure you're comparing to the kings in the cadence arena too (f65, alexa, film) and that you're not just now discovering a problem with your display or noticing 24fps as a problem or something, because of suuuper intense pixel peeping I'm confused how you like graded 8-bit c-log you're seeing, but you're concerned about how well it holds up to grading (your looks may be more intense I suppose, or just in case there's a problem shooting you can correct it - but 1dc/c300 footage doesn't look too thin or artifact filled at all). also, I assume you have experience with the anamorphic lenses in question, but that glass has potential to both make sharp 4k more cinematic (especially opposed to online tests using L-series lenses or god knows what) - and not be a problem for good 1080p to cover. probably all of your options and more have been suggested though. it's okay to have opinions and be picky here, it's a big purchase. but maybe the only thing you can do now is mull on it. remember the audience could be amazed by just about any of those suggested and/or not notice the difference (not that you shouldn't fall in love with the camera, but if you hate all of them.. that's too far the other way)
  2. Liam

    How do you grain?

    It's the free one from vision color (35mm 1080p, in case they may have more idk), should be well made I'd think. I thought of a couple more ways i could maybe adjust it in my editor, but i haven't gotten around to messing with it again lately. Maybe it's just meant to be a little more aggressive like that.. I'm gonna start looking up other free ones
  3. Liam

    How do you grain?

    yep, just a style thing. Surely the compression artefacts, low resolution, possible sharpening issues, etc that my camera does on its own, and which adding grain seems to help with, could be considered.. not ideal. Adding grain has never seemed crazy to me, but I won't make you do it
  4. Liam

    How do you grain?

    Right, that's the way I'm doing it now, which I'm unsure about. The milky haze is there unless I boost the contrast all the way and make it not at all subtle
  5. Liam

    How do you grain?

    Firstly, I think my NLE, Hitfilm, might apply it weirdly. Like making it not as harsh just means there's a milky haze through the filter over the entire image. Or maybe a film grain video applied as an overlay just isn't the best way to create a subtle grain effect? Just a texture, that seems to add more detail to a portrait, make the image dance a little, and only be visible as a grain on like a flat wall. I tested another NLE briefly and it did seem to lay differently. Sorry, I should have gotten some examples. Just curious what others' processes are
  6. I mentioned it (not to be like "I already mentioned it, Jimmy! "), but yeah, same reasoning
  7. Liam

    Anyone Else??

    Or get both! Aaaaaand we arrived at the opposite of the point of the thread
  8. Liam

    Anyone Else??

    Yeah, I'm blessed to not have enough money to upgrade ever. Also reminded myself the other day that my interest in gear is just a side effect, was never the point. Now I know how to use a camera, so I'll be a lot more prepared when I have a film ready, and my camera has done great things in good hands, so I'm done seeing any point in upgrading to a way more expensive, barely more capable camera with a new learning curve. A monthly film challenge would be really cool, but I don't think my mind works that way
  9. As long as you're looking at making compromises, a 1dc could be pretty cool
  10. Damn, I knew you'd decide to keep it and crush my dreams :'( For real though, I hate all other cameras now.
  11. I was really proud of my family for appreciating when I fixed the motion settings on their new tv. They're no experts, but they knew that was a bunch of bullshit <3
  12. That's how Blender proxies work too, very nice
  13. somehow missed this thread, but also super curious to hear more good options. +1 for freemusicarchive.org
  14. Would it be possible to make a profile or set of profiles that sacrifices some DR in the highlghts in order to improve the rolloff?
  15. This was shot on a gh2, so I would think it's still capable If you want internal NDs, good rolling shutter, or more than 8 bit, the a7sii can't be your choice. Not sure how much good a shogun would do on it either. Ls300? Fs5? C100ii? The blackmagic pocket camera is less user friendly, but the best out of all of these for image quality. a lot of options, hard to say which is best. Do you have more requirements to list? 4k? Raw? Log? high frame rates?
  16. Liam

    Some great colors

    Lol, any more of a typo, and we would have had a problem.. I looooved Whiplash. I had doubts when i heard about La La Land, but this could be crazy good Something about that first scene especially, immediately told me it was film. Vibrant but "ungraded", with true blacks, that you'd at least struggle to get with the DR powerhouses of today
  17. 1.17x crop of an already 1.5x sensor. Or whatever the numbers are. It's smaller than apsc
  18. I'm shocked this is getting so much disagreement. I can see your side, sort of. I'm baffled you can't see mine For one thing, story isn't as difficult as the people teaching story structure want to believe. really? it'll start on an image? rising action BEFORE the climax?? brilliant, why didn't I think of that? So a lot of stuff will happen in the film, and then.. people will watch it. The film they made in Laforet's class was terrible El Mariachi was made by someone who gives the advice not to know the rules of story structure, and it plays like a film. It almost falls into cliches by accident. Because it's not complicated. Slacker's structure is very simple, yet compelling. A series of conversations. I would be amazed if that film started as a three act structure and then Richard Linklater altered it until it got to where it is.. There's not one way, and then variations. There are infinite ways. So maybe these guys aren't the best filmmakers ever, and maybe you can say they still knew the actual rules before they arrived at the style they wanted. I mean it's not like the best filmmaker ever has actually CREDITED their success to ignorance (except for Orson Welles, who made the best film ever and then credited his success to his ignorance) but like I said, I'm a broken record and don't want to die on this hill. Yeah, some great filmmakers know the rules. I'll be very comfortable letting my scripts speak for themselves
  19. @Cinegain Sssssssort of. Sounds to me more like someone has a serious passion for running and they may be interested in help.. you did cross country in high school. Would it help them at all for you to tell them how to run? Can you train the next usain bolt on that? Are you also even ignoring that their shoelaces are tied wrong? I learned what I needed to be comfortable with a camera (admittedly more than some people need to know) through google in the course of like 4 years, and there are concrete things I wish I was handed right away. Everything about story is subjective at best
  20. I'm lost. There are displays that actually show up to 15 stops of dr now? Or still just an image with 15 stops compressed, but not as much? What does 10 bit have to do with hdr? Just another advancement that's buddying up with hdr in youtube and better screens? They definitely don't have to go hand in hand, right? A good hdr display still uses all of its dr with a video not made for hdr, right? Not just essentially lifting the blacks and everything to match a bad display? A video made IN hdr, when played on a normal screen, will clip the boundaries? Or compess it, giving it that flatter look? Will old content be poorly converted in order to appear to be hdr? Sorry.. last I heard on this topic was like "Wow, there's a display what has EIGHT stops of Dr!! The futuuuuuure!" so I'm pretty behind. I should try to figure it out on my own really, but if I'm missing something important, please share. Also are pretty much all 4k tvs these days that say hdr liars?
  21. I don't want to repeat myself too much, but I rarely enjoy people telling me how to tell a story.. they would have to be amazing at storytelling for that advice to matter. And the ones who know how to tell a story often say to figure it out for yourself or they make up advice that they don't even personally follow (and it ends up being a million different, opposing methods). "Story is important" is a fine lesson I suppose, or "This is what I do", but generally for people who want to make films I think the technical basics are actually where you should start. They're already authors, they just don't know how to use their pens. Either that or just flood them with filmmakers they should watch the films of and interviews etc. Or not even that. One of my favorite filmmakers mainly just reads a bunch of non fiction about space apparently. That's why it's so hard to give advice. Everyone is and should be different. Teach them the concrete stuff, and for everything else, just keep them interested/excited/exploring Also, I forgot to list sound in my original topics. Sound.
  22. @HelsinkiZim stumbled on this pseudo masterclass from sorkin for free if it helps. maybe an alternative, or maybe to inform your decision on taking the class. interesting so far. good luck with your workshop! https://www.indiefilmhustle.com/masterclass-aaron-sorkin-screenwriting/
  23. I have not, but that could be cool
  24. yeah, one festival didn't get back to me that I wasn't accepted until the festival ended. and then they wouldn't respond to my emails.. I can only assume they didn't watch my film. these guys seemed mostly genuine and enthusiastic about the films (I felt some phoniness when it was directed at me though) they flat out said they chose the "best of fest" based entirely on budget.. which is always nice to hear -_- a couple good films though! (or at least something in there to like) Sometimes the filmmakers weren't even there, which I feel was a waste, since it was such a small festival already. I'll go ahead and share a couple, since they deserve some views.
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