User

Edit.

Not so fast there cowboy, what if it's a 'supermoon?' It'll be fun trying to enlighten telephoto lens buffs that 'compression' is what happens when they train any lens on anything. I guess it makes sense somehow... but. "I compressed some perspective and AoV while on vacation."

- I found myself scratching my head on this: "If you use the same perspective (camera postion) and same AoV on two different sensor sizes, you'll have the same compression. Compression is not an attribute of the sensor size, but a description of how a filmmaker sets up a shot (like: do we back up with a narrower AoV or go closer with a wider one)." I though compression was something achieved through the use of telephoto lenses, where the foreground and background distance was compressed via lens magnification. Hmmm.

Amen.

I have little interest in working on or seeing films that repeat tired narratives. Maybe it's the same for you? This gem puts a wonderful spin on films about workers and factories: See you in the smelter

Last year I met a burned out Western cinematographer spending time at a monastery in Dharamshala. One evening, as he walked through the garden, he tripped over a Arri 65 that a foreign crew had forgotten there while doing a piece with the Dali Lama. Seeing the man fall, several novice monks moved to help set him upon his feet again. Once there, he thanked the novice monks and began to marvel over the Arri. He was reminded of his days as a top globe-trotting dop and proceeded at length to describe the inherent nature of the large format sensor to the young and curious monks. Field of View, spacial relationships, shallow dof and circles of confusion filled the garden air. As the man finished there was a pause, and the youngest of the monks stepped forward and in a soft voice asked, "How will all this make us happy?" Last I heard, the man had left he monastery and was back in L.A. Working at a camera rental office. ?

Oh great, now I feel like a bit of a bozo for posting this nonsense... One thing for sure is that the skilled folks who do have access to these limited and expensive cameras, went ahead with them for a reason. Somehow I'm willing to bet it was more than just urban legends... now where is my snorkel? ?

- I'm really not the best person to comment on this, but if I had to take a stab, it's as simple as having the extra sensor size and the field of view it affords. Na? .... well then that certainly sells it all the more. See you there...

From the article: "In other words, the large format allows you to see wider, without going wider." “A camera three feet away from him, which also has a real psychological effect of connecting you to a character and feeling that sense of intimacy, but now we didn’t need to shoot it on a 21mm or a 24mm.” “You get a sense of the environment, but you’ve isolated him in that environment with this shallower depth of field.” the relationship of foreground and background, or a character and the world around them. very interesting compromise between depth of field and size of the frame,” background and foreground appearing closer together. “You could get these beautiful vistas, but not making things feel like they’re super far away,” “You have the same sort of presence of being, of seeing like you’re in a close up of someone, but now you also see much more expression, and much more of the physical performance someone is giving,” “So it just feels like you’re really close in a moment with a character, within the character’s space, in a way more traditionally we would be seeing just less of the performance. It’s like you kind of get this sort of intimate close up feeling, when watching a scene with a 50mm lens, but now we’re seeing much more of that person. That performance and how the character is framed in their space is just different, in a way that’s almost trippy at first.” If I 'get out' it'll be to a small island in Micronesia At the end of the day, it's more about narrative for me and I absolutely want 'proper' video camera that helps me get the film shot, so this most probably puts me in the 35mm sensor space. Recently I saw Honeyland, it was shot on on a couple of Nikon dslrs and has done quite well as a 'story'. Worth a watch. Alrighty... back to the front...

Some insightful info here laid out in plain English with good examples: https://www.indiewire.com/feature/large-format-cameras-arri-alexa-65-film-language-joker-roma-midsommar-1202179944/?fbclid=IwAR2fUA2vrI9dvj50_-mMrLFtEqdEt0eMb3azO2qu_8DjimOtDQWDLIo3J4M On a personal note, I'm in the edit on a doc with mixed footage... 1/2 inch, 35mm and full frame. Recently I've been back to making selections from the full frame (5DMkII) footage and when the conditions are right, it can really 'stand apart' from the others and I'm not talking shallow dof. More spacial relationships. That Arri 65 must really be a god king. Anyway.

3000 images, razor blades not included

DPAF ok. But what about an important practical aid like focus peeking? Any info on audio?

Just found and heading into this:

Yes 12k is coming. And the first one off the production line has been marked to shoot part two of this with even greater peace of mind and clarity:

An insightful and fascinating examination of sound design in film, featuring legendary sound. Website: https://www.makingwavesmovie.com Good for sound?

I see you point, though I certainly appreciate and celebrate folks who run contra the herd in their approach and style. I'm reminded of - though I've never been - concerts where one is given a bag that they have to put their phone in... because they have no respect and/ or self control. Perhaps one of the these bags needs to be made for... films/ serials? Can you imagine the wave of indignation?

And because one good turn often deserves another...

In the Queen's English, Emanual implores each and every one of us to bump this insightful thread - and Werner's consciousness expanding discourse contained there within. Which you @kaylee inadvertently did - "There ain't no iguanas."

To offset the tech-orgy, it's my duty to bump this thread.

Well said Kye. Thanks. And on the subject of seeing things the way he does, I've sometimes been left scratching my head as well, but there is also plenty of things that line up, and that makes me smile. I guess, at the of the day, he can say whatever he likes (making up quotes etc) because he's stood the test of time and is as prolific as ever... and that in a business that is so difficult to stay relevant and keep one's head above water. That says quite a bit. The thing I like the most about his masterclass talks (and there are quite a few out there) is his steadfast and dogged nature to the point at which it become comedic... this is one of my favourite "... There will be no talk of shamans, of yoga classes, nutritional values, herbal teas, discovering your Boundaries, and Inner Growth." And I like your Soviet lens challenge... imposed limitations for the sake of breaking new ground. If I wasn't drowning in this long haul doc I'd be happy to jump on that train. Keep it up amigo.

If ever anyone finds themselves in need of inspiration, a kick in the pants or a good laugh... thanks God for this poetic battle tank of a filmmaker!!! "Perseverance is where the gods dwell."

With that autofocus, it seems Sony has finally built a full frame replacement for my PD150. Nice.

T3.1? I guess they needed the majority of space inside the lens for electronics rather than light transmission. Pity. But hey, good thing for those cleaner ISOs. The autofocus on the FX9 is impressive, no doubt this lens is aimed at that. Though I wonder how long it will be until we see their ad campaign hailing 'a return to the basics' offering full manual focus lenses?

I'm quite disappointed at how hard I've worked on personal projects - and what it takes to get into position to capture incredible moments of reality - only to then walk away with heavily compressed images on shitty codecs. I guess it's how it goes in the learning process and on limited budgets. Documentary film. Dream (camera) kit Camera: Arri Amira Lens: Arri Alura 15.5 - 45mm T2.8 Realistic (camera) kit C300MkII Lens: Sigma 18-35mm, Canon 70-200mm - And in both cases a 'buggy whip'... as a subject motivator.