mercer

So, with all of the P6K hype, I missed what the P4K updates are. It seems there is an Anamorphic Mode and a 4K S16 Crop Mode? Anything else?

Anyway, I just watched some of the P6K videos and they look pretty good. The wedding video looks great. Of course, with the data rates, I don’t know if this camera is the best option for a wedding, but for a fake, promo wedding... I do...

Good point, Jordan. Thank God Skip will inform us of this in his next post.

You are not right. The majority of Hollywood produced TV shows and films are shot on an Alexa Mini... which shoots 2.7K. Netflix Originals account for a very small percentage of Hollywood Productions and BTW... almost everybody on this site knows about Netflix’s requirements for their original productions because there are about a half a dozen threads about it over the past couple of years. But thanks for playing. Good Lord... how old are you? By your name, I would think you were born in 1977 but by your responses, it’s like talking to a teenager. I’m sure you’ll reply by cherry picking one of my sentences and distorting it but please don’t bother wasting your time... this is boring.

The S1H and FP are the two big question marks going forward. I can’t foresee myself putting out $4000 for an S1H. Hopefully, the FP will be at or below $2000. I don’t love that you need a SSD for Raw but after seeing the cages Tilta designed for the P4K, it’s not a deal breaker either. But at my level, I probably should invest in the actual production than the next best camera. I think I may rent the P6K, though because I am curious.

No. Are you the most argumentative for no reason whatsoever? As far as Netflix... umm... yeah that’s what I said. As far as 4K? I don’t think anybody disagrees with you about future proofing. That is a solid argument in favor of 4K and the argument has been around for 5+ years, yet 5 years after the advent of 4K into the consumer market and over 10 years since Red released 4K into a cinema camera, most US Network Television is still broadcasted in 720p. So, I don’t see people pushing against it, I see some people choosing not to use it. Obviously, 4K is the future, but it doesn’t mean that 2K is obsolete because a small percentage of content ON (not created by) Netflix is in 4K.

Thanks. Sorry, no most films are not shot in 4K. The Alexa is the most used camera in Hollywood and it is basically 3K with the intent to deliver in 2K. Netflix only requires 4K for their original content. As to why not... read my above post. But everyone’s different so if you need/want 4K... that’s great, you have a lot of great options in the marketplace.

I compose in camera but for some folks, I see the benefit. I don’t know if 6K will give an perceived increase in detail over 4K other than annoying sharpness. Now, I wasn’t referring to loss of sales from people in the market for a cinema camera, I’m talking about the folks who started with a P4K and may want to upgrade to the Ursa for the specs, those could be lost sales. With that being said, I am considering a larger scale short film in the winter. This camera could be perfect with its’ 6K anamorphic mode could be useful for a camera/lens rental package but as a purchase, this camera is just not really here nor there for me. At the price, rigged out, you are getting way too close to EVA1 and C200 territory, which are more workhorse cameras in my opinion. I’m hoping the Sigma FP will come in less than $2000.

I almost wonder if BM functions day to day from the money they make from preorders... joking. I actually think this is a strange camera release and they’re banking on the desire of enthusiasts and up and coming filmmakers to drink the Kool Aid. If I’m being honest, I’m almost offended that less than 2 months ago, people were still waiting for their pre-ordered P4K and then they release this. Also, what does this camera do to Ursa sales? I’m sure a lot of folks were planning or considering a jump from the P4K to the Ursa and now don’t have to. Interesting.

So only 120fps in 2.8K mode is windowed? Not really. Most of the shooters on this site aren’t cinematographers by the criteria of the title, they’re videographers. But for the point of your argument, that’s just semantics. So, I digress... if you look at professional cinematographers and the films/tv shows produced and released, only a very small percentage is captured in 4K and higher and even less is distributed in 4K and higher. So the argument is that if it’s good enough for an Alexa and your local multiplex, 9 out of 10 times it’s good enough for a smart phone distribution. With that being said, technological advancements are great and hopefully the major players will get hit hard by these smaller camera companies releasing bleeding edge features that us mere mortals can afford. I’m sure the C500 Mark II’s price tag won’t look so great at IBC when BlackMagic is showing off their $2500 camera.

The 2.8K mode is windowed? What a waste. With this information and at this price, the P6K enters the rental category for me. $1299 for the P4K is a price that makes the headaches of BM cameras go away, $2499... ehh not so much.

The EF Mount and the 2.8K mode on the P6K is the only interesting aspect of this camera to me. As a side note, Metabones must be pissed off tonight. To add, the Canon 17-55mm 2.8 with it’s IS will be a good option... of course the benefit of an IS Lens will be negated by the battery lasting about 30 minutes or less now.

Pretty crazy, don’t know if I’ll ever need 6K though. Did they announce a shipping schedule, I wish they would release a basic EF model with just the 2.8K mode. And then you can pay to upgrade to the higher resolutions if you want them.

I was thinking the same thing.

I think you have the option, with Amazon to charge a rental/purchase fee or be part of their percentage points (I forget what it’s actually called) program. It’s my understanding that iTunes is the best of the lot, but it’s very difficult to get on there. Supposedly you need an aggregator, or something, to do it for you. I believe an aggregator is a middle man that takes care of the process for you.

My friend tested the process with an old, short film he shot and he said it was easy but laborious. Amazon breaks down everything you need to do, they are just very strict in how it’s done. And it took a couple weeks for the approval process to be completed. After I finish some ADR for my role, he is going to upload his feature film. Here’s a link to his short film on Amazon Prime to see what the final layout looks like. https://www.amazon.com/gp/video/detail/B0793CDL9P

I mean, do you have a promo code set up with Flying Fur that they can give their donors/followers that if they rent/buy your film, a part of the proceeds will go back to Flying Fur?

Also, I think you may be charging too much for your rental fee on Vimeo. I assume it’s an upsell price in hopes they will just buy it but since it is on Vimeo, a lot of people would watch that on their phone, who wants to watch a long documentary on their phone? And if they do, I don’t know if they would want to pay more than .99 cents for it. With the Amazon angle, your title will appear next to other animal programs and documentaries as a whole. And a lot more people watch Amazon on their TVs, so if you decide to monetize your doc instead of the pennies per view idea, you could probably yield a lot of views at .99 cents for the rental, or $2.99 to purchase... but with Amazon you need to go through some hoops like having a closed caption file... Thanks for posting this. As I try to make my film, I constantly think about how or what I will do with it once it’s completed. Unfortunately, the democratization of filmmaking makes it a little more difficult for people’s work to be seen with all of the competition out there and so many people expect everything on the internet to be free, it’s really hard to make any money. I can only imagine. As a filmmaker, I think there’s a constant struggle between making a short film as a showpiece or making a feature for some sort of profit. Sadly, both seems to be a fool’s errand. When was the last time you heard of a noname director breaking through with either? Can you break it down into a web series, if you need to? Check our The Witching Season on IG. They made a bunch of short horror films and released them on Amazon and YouTube as a series. They got such great reviews, they were able to raise Kickstarter money to turn one of the shorts/episodes into a feature. Perhaps you could release the trailer and the first episode and use Patreon or something similar to market the other episodes to supporters of yourself or the cause. Also, are you doing any shared profit promotion with the organization?

Interesting topic, shitty predicament. I know very little about this stuff but I did take a glance at your IG page and I don’t think you’re following enough people. Instagram is a... you “like” my photo, I “like” your photo kind of game. Unfortunately, there are a lot of people out there that will start following you just so you follow them and once you do, they stop following you. You also need a lot more hashtags so people will come across your posts. But you have way more followers than I have, so what do I know. @Mattias Burling has a great IG page and may be able to help. Also, maybe start liking and following posts from people who host animal planet shows. I’d also assume, but unsure, that frequency of posts, may affect where you appear on people’s feed. And finally, you may want to look into putting your film onto Amazon Prime. I believe they have some program where you get paid X amount of cents for every minute watched... or something like that. Otherwise, reach out to different sites to review your documentary. Buy banner ads on those same movie review sites. Sadly, the state of indie film distribution isn’t what it used to be and it isn’t as easy as it once was to make a film and sell it to a distributor and if you do, it’s my understanding, you’re lucky to make your money back... and by make your money back, hopefully you spent less than a few grand on it.

Try emailing Zacuto, they may just send you new screws.

I think ProRes is a minimum for me going forward. I truly can be happy shooting my 1080p ML Raw for the next few to five years if I have to and I still don’t care about 4K that much. You’d think these manufacturers would realize that most Hollywood films are shot at 2.7K and distributed at 1080p... or even 720p... they could use that as a marketing tool to give us nearly everything we want without overheating issues. Otherwise, I don’t really care about the sensor size that much as long as there is an equivalent zoom at a constant f/2.8. Internal NDs and IBIS would be a definite plus. Reconfigured Cameras? Interesting. New side venture? Please include Raw in my model.

I don’t even mind the 1” sensor and I’d be happy with 4K compressed codec and Canon 2K RawLite.

I know I will. I love lenses and all they can offer, but if I could have the a relatively fast zoom on a relatively large sensor on a relatively small camcorder sized body... take my money. Seriously, if Canon released the guts of a C200 in an XC10 body, I’d happily give them a few thousand for it.

Nice light... gotta love golden hour down the shore. How did you like that 70-200mm? I know a lot of people go gaga over it? Was this handheld? And that’s the appeal of zoom lenses. If I’ve learned anything about getting it done over the last couple years, I’ve learned that in the end, the film is all that matters and if a zoom lens can give you a better shot ratio, more efficiently, then they’re worth their weight in gold. Traditionally, one of the reasons you would buy the faster variant of the lens is because when you stopped it down to slower lens’ maximum f-stop it would be sharper than the slower lens. Take the Nikkor ai-s 50mm 1.2 for example. Wide open it’s a dreamy mess but by f/2, it’s the sharpest, manual, 50mm lens, Nikon made at f/2.

Hey, I like webrunner... he’s a solid guy. We just had a disagreement. I don’t like to criticize anyone on a public forum... especially one involving artistic endeavors. There are way too many places to get knocked down in this world and one where people share their work shouldn’t be one of them. With that being said, I shoot with a Canon 5D Mark iii and Magic Lantern Raw. I’m a hobbyist, narrative filmmaker that may complete my first film by the time I retire from my real job... lol. Let us know how those cinema lenses work out with your Z6.