kaylee

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Clause 18.2 - Importation Location Marking For Overseas Imports
In compliance with AP's standard terms and conditions for procurement, any and all items of equipment supplied under this contract that are not of US origin must be clearly and prominently marked with an easily understood reference to denote the State used for the initial importation into the US. 
In the case of this particular contract, all equipment will have its initial port of entry to be in the State Of New York and should be marked accordingly.
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You can download sample Alexa footage here and here in raw and in ProRes:
https://www.arri.com/en/learn-help/learn-help-camera-system/camera-sample-footage
https://www.youtube.com/watch?v=Xs1dS8pMvRw
I can't think of a softer digital camera in use today.
I suspect this is because Arri was originally looking to emulate a 2K film scan. Which is pretty soft.
But they've since discontinued the film emulation matrix.
And added the 3.2k mode, the LF, etc. Each iteration feels less and less like "film."
And with each iteration, Canon and Sony and Red (and lately Panasonic and Black Magic) look more and more like Alexa. Everything looks the same now!

I just need the bucket. 

Not many people are actually delivering in 8K aside from a handful of YT channels and 1 or 2 TV networks in Japan.
The point of 8K today is really getting great 4K deliveries or extracting stills.
Just like Yellowstone is shooting on an Alexa in 3.2K for 720p/1080i delivery. It's actually oversampled acquisition.
It's not at all about cropping 400% into someones face. Does a medium format portrait photographer on a 100MP Hasselblad publish stills zoomed into the nostril or eyeball of his models? Of course not and the same common sense applies to high res video. 
It's not a bad camera at all, especially if you shoot in RAW. But the h264 4K on it is really soft (whereas the C100 had the best oversampled FHD). C200B kinda sucks too, you'll have to buy the over-priced LCD just to get touch AF, same with top handle and side grip. Then all of a sudden you're in R5C/C70 territory. So yeah I'd wait until it drops some more if you're eyeballing it. EF mount is about to be phased out and all those C cams are dropping in value like crazy.
I don't personally specialise in these type of gigs but what I can tell you is this: the camera itself isn't really where the production costs are: gathering talent, locations, directing, scripting, editing etc however are. shooting with an iPhone can also bring its own share of challenges, the cameras suck at low-light for ex. Which is why sometimes we'll actually use a mirrorless to emulate a smartphone look. Finally the overall budget and profit margins are nowhere near what other big projects may involve, so in short no, not that lucrative. But It's an interesting alley to explore, shooting vertical isn't always as bad as people may think (there are ways to take advantage of it even).

loool no i do agree 😂 no irony i swear
oh i well i find that quite touching. i needed that. thank you very v much
thank you, i wish it was better tbh, but i keep making things.
oh good news: if you get deep into it youll hate it MORE
/ive been making things. the pandemic kinda messed me up BUT
as long as we're talking about art here........
i take my art practice super seriously. im super self critical and it can be paralyzing – im sure many of you can relate
but every time i make a lil film, it gets so much better. and i take these things as defeats, still, because there are inevitable (yet unpredictable) disasters one way or another, but i LEARN SO MUCH that after the shoot and im done licking my wounds i can go back and say Wow im growing as a filmmaker. i just learned not to do 1000 things that ill never do again. and my Big Idea turned out pretty well, i was right about a lot of things, not perfectly executed, far from it – but im getting better all the time. and one day my reach will catch up to my grasp.
so my point is that the only advice i have for any filmmaker is: just keep making stuff. you'll see

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.

Our humanity shines through pretty quickly these days. I suspect it may be covid related, being locked up too much.  threads can wander....  i do agree with you this thread does take some determined intent to get through it. i think i'll hit the bed and sleep on it 😎 

Stranger danger 😀 you been absent a long time. Nice to see you back in the forums. How is your pup going ? although i presume he'/she is the size of a mid sized horse by now ?
actually i'd settle for some comradery and a  group hug 😊 there more than just winning you know 

also @kye i fundamentally agree with your point, as an artist, profoundly
less is more – i did not make that up 😂
but now we're getting into weird territory that cant be evaluated with lens charts
(paintings by chuck close)

kayleerumors is reporting that is was 12k SD

Someone, somewhere, will be asking the question, "what SD cards did they shoot Dune on?"
 

Well ARRI already have the 4.5K LF & the 6K Alexa65. So to me that statement was already made a while ago.
Well technically they all needed to be above 4K as their Netflix original content minimum requirements.
This is why so many Netflix DPs dropped the Alexa for RED/Venice. Changed the whole game.
There are real benefits to higher resolution too.
Now wether or not this matters to you the end user watching a show on your 7" iPad is a different story.
 
You're always trying to pigeonhole people in two categories it seems. Very black & white logic. 
Higher resolution is simply an inevitable reality. Tech moves forward. So do requirements. 
That doesn't mean you are directly concerned or that non +4K footage has become obsolete.
Cinema is still 2K, terrestrial FHD and everything goes on the internet..

One of the great cine features that made it to R5C is LUT import support. I use this all the time on my FS7 in order to get specific looks SOOC (Venice, ARRI, Fuji/Kodak etc but also super custom LUTs). This opens up an infinity of SOOC looks as you are no longer reduced to the 5 or 6 manufacturer picture profiles. An essential feature when working on projects with fast turnaround.
Different needs and different requirements.. for example Yellowstone is a a Paramount Network show, meaning it is broadcasted in 720p / 1080i (and in 1080p on streaming network). Meaning the Alexa Mini's 3.2K is more than sufficient. 
Quick search reveals this interesting info:
We shot three-cameras most days, on the ARRI Alexa Mini and the ARRI Amira in ProRes 4444 3.2K, Log-C. We carried several sets of ARRI Ultra Prime lenses, and a selection of Angenieux zooms, including the 45-120 and the 24-290. I am a big fan of the Ultra Prime lenses for their simplicity and gentle rendering. I shot Wind River on the older ARRI/Zeiss Standard Speed primes and have always admired their elegant sharpness and gentle yet detailed falloff. The Ultra Primes carry that same DNA in a more modern housing, suitable for the scale of a production like this one. I find them unfussy and gently flattering, with just enough personality to enhance the natural lighting scheme we were striving for. I viewed on-set--and subsequently completed the DI--through a custom LUT I have been refining over several years.”
Kind of ties in to what I was saying above about custom LUT support being such a great feature.
The hybrid making of Dune is definitely interesting. Reminds me of a big trend in electronic music production which is called analog summing (roundtrip through analog) in order to shave away digital harshness..
"it gave us the feeling we had been picturing a certain texture that’s painterly but feels timeless…The film has softened the edges of the digital. It gave us something that film acquisition couldn’t give us, and it gave us something that digital acquisition couldn’t give us"
 
 
Yeah it is really quite subjective but also depends on the content/medium. Narrative fiction often requires a heavier look, whereas documentaries are much more neutral. 
Again depends on content/medium, but you're certainly right about Gen Z: I can tell you that when contracted to do certain social media content like IG stories,  clients usually insist on using iPhones so that the content appears "authentic". And if you do use an MILC, then you need to avoid shallow DoF, shoot in vertical, avoid LUTs etc. Basically you're emulating smartphones.
A lot of Fashion brands have also switched their aesthetic to shooting online photo campaigns on smartphones instead of FF or Medium Format. This includes the likes of very famous photographers which is kind of a shock and a trend change nobody would have predicted a couple years ago. 

loool no i do agree 😂 no irony i swear
oh i well i find that quite touching. i needed that. thank you very v much
thank you, i wish it was better tbh, but i keep making things.
oh good news: if you get deep into it youll hate it MORE
/ive been making things. the pandemic kinda messed me up BUT
as long as we're talking about art here........
i take my art practice super seriously. im super self critical and it can be paralyzing – im sure many of you can relate
but every time i make a lil film, it gets so much better. and i take these things as defeats, still, because there are inevitable (yet unpredictable) disasters one way or another, but i LEARN SO MUCH that after the shoot and im done licking my wounds i can go back and say Wow im growing as a filmmaker. i just learned not to do 1000 things that ill never do again. and my Big Idea turned out pretty well, i was right about a lot of things, not perfectly executed, far from it – but im getting better all the time. and one day my reach will catch up to my grasp.
so my point is that the only advice i have for any filmmaker is: just keep making stuff. you'll see

I'm hanging in there, thanks.
Well played with the "100% agree." Well played.
Thanks for the link. I don't remember it sucking at all. I remember it showing a strong artistic hand crafted it.
5 more films?! That's great news. I admire your work ethic. Did you pitch a producer? I am so horrible at pre-production. I just want to write a script and shoot it. I hate casting and funding, etc... you know all of the things that make a movie happen. 

hey lol im good. how are you?
oh i agree 100%
awww, sure, but it sucks lol. thank u tho. ill pm u
ive been working on a bunch of new stuff. i made a funny pitch film to fund my next 5 lil films or so, and now im trynna get that out there. never give up

hey lol im good. how are you?
oh i agree 100%
awww, sure, but it sucks lol. thank u tho. ill pm u
ive been working on a bunch of new stuff. i made a funny pitch film to fund my next 5 lil films or so, and now im trynna get that out there. never give up

hey lol im good. how are you?
oh i agree 100%
awww, sure, but it sucks lol. thank u tho. ill pm u
ive been working on a bunch of new stuff. i made a funny pitch film to fund my next 5 lil films or so, and now im trynna get that out there. never give up

Hey Kaylee, how in the hell are you?
I don't think you're wrong at all... but neither is Kye. In fact, I think his point is being missed here. Higher resolution is fine... to a point... but it's completely unnecessary when you consider that it's all the camera manufacturers are giving us.
Two years ago when 6K was popping up, most people here were saying that 4K is more than enough and we'd rather have higher bit depth and better DR. Instead, they give us more resolution and now some of those same people really NEED 8K.
I can't tell you how many times I have almost bought a Sigma FP because I thought I needed 4K raw, but at the end of the day, I still haven't made enough with my 5D3 and ML Raw. I'd rather have 14bit color and internal 1080p raw than 4K raw, a bunch of new storage and a computer upgrade. I actually don't think any upgrade, shy of a Komodo, or better would be worth the trouble at this point... especially when you consider the OG Alexa Mini is probably still the most used camera in Hollywood. I, mean, Yellowstone, the highest rated TV show still shoots with the Mini... and nobody could say that's and outdated image... that's gotta mean something.
But everybody has different needs, so YMMV.
Btw... can you send me a link to your short film? I've been wanting to watch it again.

With a name like Cycling Ben I think I will pass lol. 😬

I think so also...
I don't think people outside of the industry have much say in regard to the aesthetic and nor do they/we have much say over the content other than voting with our feet and wallets in regard to the latter.
Plus our all important keyboards of course.
I just watched Dune this weekend and was blown away by the aesthetic.
Best movie ever? Well that one is debatable and in regard to the aesthetic, is it all 100% real?
Of course not, but that combination of real + manipulated, the lighting both at the time of capture and fiddled with in post, the tonality of each scene etc...
Shot on digital, transferred to film and then scanned back to digital in order (in their words) to combine the best of both for some kind of crossover look.
It appealed to my aesthetic anyway!
 

Oh shit! Did they digitally crop for an artistic intent? Amateurs!

Nikon Rumors has jumped in to the discussion with more posts coming. 
 
https://nikonrumors.com/2022/02/05/this-is-why-craig-quit-canonrumors.aspx/

Its that hypocrisy that gets me.

 

Such a good song and video clip.  The time backwards and forwards reminds me of this: