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Kurtisso

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  1. Like
    Kurtisso reacted to Jimmy in How I got scammed through "Ebrahim Saadawi"   
    At least give him a chance to give his side of the story
    The guy with the facebook post only has 9 posts and the OP 35 posts, yet it is all being taken as gospel (i'm not accusing either of you of lying, but it can happen).... I'm in no way taking sides here, If he did do it ... He deserves plenty of abuse, but think rationally first. It is not too hard to imagine that there are scammers out there who actively seek out these sort of "For Sale" sub forums and hack the account of the person in their country with the highest post number.
    It is also not unfeasable to imagine that someone could get pissed at an online user for something and set up a couple of account to destroy his reputation around the internet. (Again, not accusing the OP here, just playing devil's advocate).
  2. Like
    Kurtisso got a reaction from Liam in The Anatomy of Story - John Truby   
    Thanks for the input everyone.
    I will add Screenplay by Syd Field and David Mamet's Three Uses of the Knife to the list as well! I'm very interested in learning the pre-existing structure and language of screen writing, so that I can better articulate the nebulous ideas I have in my head, for myself to flesh out concepts and for clients when I pitch and the rest of the crew and talent to inspire better performances and spontaneity. I came across this interesting concept (I really wish I could credit this to where I found it) where you write a script with the intention that everything gets ad-libbed, but you use very evocative language to guide the spontaneity thus getting very natural performances but getting your direction without having to overbearingly direct.
     
    Carl Jung sounds like a great idea, I have read derivatives of his work and found them to be really interesting so I will add that too! IMO Psychology, philosophy, sociology and the like are in my opinion incredibly important to understanding and then telling stories about people, their behaviours and decision paths.
     
    There's so much to learn from Ancient Greek texts. It's too bad that Hollywood has bastardized many of the ancient myths. I have been trying over the last 2 years to revisit Plato's republic in its entirety, but it's pretty dense and often puts me in a sleepy trance. Which is great, because I used to have terrible insomnia.
    I agree that form follows content big time. When I was studying interactive design in school, I hated the "designer" connotation that came with it thanks to fashion. Style over substance is a serious piss-off. 
    That being said, learning doesn't stop with a sentence. Things aren't accidental, and studying and learning how to better do one's craft is a constant pursuit. The music that I compose now isn't classical, death metal, punk rock, hip-hop, downtempo, minimal tech-house etc... but I ingested all those things. I also studied music theory, composition and history when I was younger. I don't open any of those books or actively revisit any of that learning before I sit down to write music but it definitely has helped me a lot and I am glad I had that opportunity.
    In the future here on EOSHD, I'd like to encourage more discussion on non-gear related things, is that something that you guys and gals would be interested in too? 
  3. Like
    Kurtisso reacted to mercer in The Anatomy of Story - John Truby   
    I think what a lot of creative people, who are in the earlier stages of their pursuit, forget is that honing your craft is more important than absolute creative freedom. I have written 4 feature screenplays and a dozen incomplete scripts and it never gets easier. Each script brings on its own set of problems and if it wasn't for the time I spent learning the craft, I wouldn't know how to solve those problems, or even how to break the rules. And I am far from being a professional screenwriter. Writing a screenplay is probably the hardest thing I have ever done. 
    Also, you should probably read Save the Cat, by Blake Snyder as well. Back in the 80s and 90s... And even early 00s Syd Field was the paradigm Hollywood used, but I have seen a recent uptick with Save the Cat and the structural moments he defined as a basis for "good" Hollywod film structure. Also, don't forget "Story" by Robert McKee.
    Honestly, you can go to Wikipedia and search screenwriting and they will give a breakdown of the most famous books written about the craft. If one of them appeals to your sensibilities, give it a buy. 
  4. Like
    Kurtisso got a reaction from mercer in The Anatomy of Story - John Truby   
    Thanks for the input everyone.
    I will add Screenplay by Syd Field and David Mamet's Three Uses of the Knife to the list as well! I'm very interested in learning the pre-existing structure and language of screen writing, so that I can better articulate the nebulous ideas I have in my head, for myself to flesh out concepts and for clients when I pitch and the rest of the crew and talent to inspire better performances and spontaneity. I came across this interesting concept (I really wish I could credit this to where I found it) where you write a script with the intention that everything gets ad-libbed, but you use very evocative language to guide the spontaneity thus getting very natural performances but getting your direction without having to overbearingly direct.
     
    Carl Jung sounds like a great idea, I have read derivatives of his work and found them to be really interesting so I will add that too! IMO Psychology, philosophy, sociology and the like are in my opinion incredibly important to understanding and then telling stories about people, their behaviours and decision paths.
     
    There's so much to learn from Ancient Greek texts. It's too bad that Hollywood has bastardized many of the ancient myths. I have been trying over the last 2 years to revisit Plato's republic in its entirety, but it's pretty dense and often puts me in a sleepy trance. Which is great, because I used to have terrible insomnia.
    I agree that form follows content big time. When I was studying interactive design in school, I hated the "designer" connotation that came with it thanks to fashion. Style over substance is a serious piss-off. 
    That being said, learning doesn't stop with a sentence. Things aren't accidental, and studying and learning how to better do one's craft is a constant pursuit. The music that I compose now isn't classical, death metal, punk rock, hip-hop, downtempo, minimal tech-house etc... but I ingested all those things. I also studied music theory, composition and history when I was younger. I don't open any of those books or actively revisit any of that learning before I sit down to write music but it definitely has helped me a lot and I am glad I had that opportunity.
    In the future here on EOSHD, I'd like to encourage more discussion on non-gear related things, is that something that you guys and gals would be interested in too? 
  5. Like
    Kurtisso reacted to mercer in The Anatomy of Story - John Truby   
    Well said. Syd Field was a little unpopular for awhile because a lot of writers thought his "paradigm" was to formulaic when in reality it was just a basic truth about screenplay structure. There are a million ways to tell a story, but if your screenplay is not structured properly, your narrative will fall apart. Of course, not all screenplays would benefit from that paradigm... Especially short screenplays, but all screenwriters will benefit from understanding structure. 
    I also recommend reading some Carl Jung, his ideas on the "collective subconscious" and "archetypes" are extremely valuable for a storyteller.
  6. Like
    Kurtisso reacted to Axel in The Anatomy of Story - John Truby   
    Imo, you can read this as primer and closer. Not, because it is so insightful or inspiring, but on the contrary, because it analyzes something that should be quite obvious for someone who wants to learn how to tell a story.
    In recent years, it has become hip to refer to The Hero's Journey, deducting the roots for all narrations in mythology. Quite interesting read, but if Syd Fields "findings" actually repeat what Aristotle had found some 2300 years before about the nature of drama (completely with 3 to 5 acts and what have you), these books (i.e. The Hero With A Thousand Faces) don't help to understand story, let alone let you find your own narrational structure.
    Reality proof: good stories don't fit those "receipts". Moby Dick, just for instance, would never have been approved by any lector infected by those dogmata.
    There is a hereditary need for human beings to tell stories. In the office between colleagues, to your children, around the campfire. They may be personal, educational, reassuring, unsettling asf. But they have to be interesting. The content as well as the form. Someone offers you a formula? Fine, but someone wise once said the form should follow the content. Find something you find worth telling to the world, and the best way to tell it will be revealed to you by your muse.
  7. Like
    Kurtisso reacted to mercer in The Anatomy of Story - John Truby   
    Truby's Anatomy of Story is a good book. Truby is a great analyst of movies. A good primer for screenwriting is Screenplay by Syd Field. Another great, quick read is by American playwright, screenwriter and director David Mamet called Three Uses of the Knife. 
  8. Like
    Kurtisso got a reaction from NX1user in Opinion wanted ! NX1 footage inside   
    100% agree on the reflector. Bringing down highlight levels in post after they're blown doesn't quite give you the image you're looking for. If only we all had arri alexas!
    I find also sometimes it helps to back off the LUTs / film emulation a touch, they tend to saturate and blotch up the image a bit I find. And if you combine that with adding sharpness and contrast, it creates this strange posterizing effect on the out of focus elements. Maybe the bitrate hack would help with this too, with more information there, the less the image falls apart when manipulating it.
  9. Like
    Kurtisso reacted to NX1user in Opinion wanted ! NX1 footage inside   
    I don't have a side-by-side comparison for you. The videos I saw, I didn't see much difference either. But since the hack was free I installed it. I notice much less noise in shadow areas and less or zero compression artifacts in things like movement over asphalt, leaves on trees on a windy day. etc. in other words fine details.
    The other thing with the NX1 is, like all cameras, it gives you much better results when you light your subjects properly (even when going for the "natural" light look). The NX1, to my eye, has a huge difference in quality between lit and unlit compared to other cameras where I could compare (C100, AF100). ON your subject under the tree, if you had used a reflector or a light, you'd see big jump in quality.
    Try either of the hacks first though, they're free. Try the bitrate around 160 or 180. I, along with others, haven't noticed a jump in quality above 180. You just get bigger files for your computer to choke on. The hack is reliable too, I've filmed 50 or so hours since installing without problems. If you have problem though, you might need faster SD card.
  10. Like
    Kurtisso reacted to tomastancredi in NO!!! Digital Bolex has stopped making cameras!   
    Just bought one, very happy. I hoppe my obssessed quest related to camera acquisition stops for years to come. The image I see coming out of this cam does not make me want anything else while all the others do.
  11. Like
    Kurtisso reacted to Mattias Burling in NO!!! Digital Bolex has stopped making cameras!   
    The D16 isn't retro, the A7, X-T2, GH4 etc are. They look like old film SLRs. The D16 looks like a Cinema Camera

    Any who, its all just a shame. Ive seen it happen with other cameras as well. People get hung up on some pseudo thing and it doesn't catch wind.
    The BMCC and BMPCC did as well.
    Before the "Fire sale" they where the most hated and talked down cameras on the internet. Totally trashed by reviewers because of their "odd shape" (non retro/DSLR). "Where is the viewfinder", "No stills", "NO bla bla bla".
    Then the price drop and people actually used them, the rest is history.

    I just hope we get another cinema camera that is as complete and low cost in the future. Sony, Blackmagic, Red, etc have all failed so far. They can deliver cameras with a good image and some cool features. But not all at once.

    Luckily time and technology moves on so there will be plenty of cameras to love and hate in the future
     
     
     
  12. Like
    Kurtisso got a reaction from tomastancredi in NO!!! Digital Bolex has stopped making cameras!   
    Yes!
    Seriously though, why do most mirrorless cameras being made today still follow the form of SLR's? 
     
    Also I would urge most people who haven't tried the D16 but seem to know a lot about it to actually try it. It is an absolute joy to use. There is nothing that can do what it does at that price point. Don't even start with bmpcc ballwashing. It's a great cam too, but they are NOT the same beast. I'm sure Mattias can attest to that, he actually has tests with both!
    Also, s16 and 16mm are lovely formats. So are s35, ff35 and medium format. I wouldn't cut sushi with a hammer, but I wouldn't say a hammer is useless. Aranofsky makes some pretty cooool films no?
    PS: I think super shallow depth of field needs to retire with wedding videos from 2012. Her eyes are in focus but her nose is soft, and everything is a giant piece of high shutterspeed jello... why man...
  13. Like
    Kurtisso got a reaction from TheRenaissanceMan in NO!!! Digital Bolex has stopped making cameras!   
    Yes!
    Seriously though, why do most mirrorless cameras being made today still follow the form of SLR's? 
     
    Also I would urge most people who haven't tried the D16 but seem to know a lot about it to actually try it. It is an absolute joy to use. There is nothing that can do what it does at that price point. Don't even start with bmpcc ballwashing. It's a great cam too, but they are NOT the same beast. I'm sure Mattias can attest to that, he actually has tests with both!
    Also, s16 and 16mm are lovely formats. So are s35, ff35 and medium format. I wouldn't cut sushi with a hammer, but I wouldn't say a hammer is useless. Aranofsky makes some pretty cooool films no?
    PS: I think super shallow depth of field needs to retire with wedding videos from 2012. Her eyes are in focus but her nose is soft, and everything is a giant piece of high shutterspeed jello... why man...
  14. Like
    Kurtisso got a reaction from Mattias Burling in NO!!! Digital Bolex has stopped making cameras!   
    Yes!
    Seriously though, why do most mirrorless cameras being made today still follow the form of SLR's? 
     
    Also I would urge most people who haven't tried the D16 but seem to know a lot about it to actually try it. It is an absolute joy to use. There is nothing that can do what it does at that price point. Don't even start with bmpcc ballwashing. It's a great cam too, but they are NOT the same beast. I'm sure Mattias can attest to that, he actually has tests with both!
    Also, s16 and 16mm are lovely formats. So are s35, ff35 and medium format. I wouldn't cut sushi with a hammer, but I wouldn't say a hammer is useless. Aranofsky makes some pretty cooool films no?
    PS: I think super shallow depth of field needs to retire with wedding videos from 2012. Her eyes are in focus but her nose is soft, and everything is a giant piece of high shutterspeed jello... why man...
  15. Like
    Kurtisso reacted to Mattias Burling in NO!!! Digital Bolex has stopped making cameras!   
    I just don't get why people care about looks. Blackmagic, Canon, Red, they all look like absolute crap. But they do their job so I couldn't care less. My only interest is in usability and image.
    Here is the manual from one of my Bolex Film Cameras that I use today. Does this mean that its an unusable camera and that I should trash everything I've shot?  Should I call the lab and cancel the develop? Should I sell the all my rolls of Fujifilm? No, it doesn't mean jack.

  16. Like
    Kurtisso reacted to Zak Forsman in 1080 vs. 4K: What is REALLY necessary?   
    I traded in my GH4+Odyssey combo for a Blackmagic Micro and couldn't be happier. My days of wrestling with a camera to do what I want are behind me.
  17. Like
    Kurtisso reacted to Mattias Burling in 1080 vs. 4K: What is REALLY necessary?   
    For me resolution is nowhere near the top of the list of what makes a good image.
    When I compared the 4K NX1 and RX100iv to the 5Ds HD Raw, the Canon won.
    The BMPCC or Bolex runs circles around GH4s and Sonys, imo.
    Same thing happens with still cameras.
    Plus I don't know how many times I've done blind tests and not even the biggest 4K evangelists of this and other forums can tell the difference.
    Now, if we have HD vs 4K and all else is equal, both shooting Raw, wide DR, nice color science, etc.. Then 4K might come in handy. But its not needed for any of the work I do personally. Not until its a standard, and thats years from now.
    So with that said, I still buy HD cameras and have gone back and forth from 4K many times.
  18. Like
    Kurtisso reacted to PannySVHS in 1080 vs. 4K: What is REALLY necessary?   
    Hey Jason, I think 4K is good for some of us who need a nice HD image with consumer equipment. For Pros great Arri 2K, for indies Digi Bolex 2K is nicer than
    4K from Panny and Sony consumer cams. But that Panny and Sony and Samsung 4K ist just so nice for us to shoot it with that affordable tech.
    Though the Big Screen shows every single digital flaw to the image, but digital projection on 20 feet wide screens looks nice with consumer 4k downscaled HD.
  19. Like
    Kurtisso reacted to Mattias Burling in Lenses   
    Quick snap at f1.4.
    Whats up? by Mattias Burling, on Flickr
  20. Like
    Kurtisso reacted to Zak Forsman in BlackMagic Micro Cinema Update?   
    From today's shoot with the Micro in bright california sun. Still amazes me how much detail is retained, especially with all that white in the frame. This is for a client so I can't leave them up indefinitely, but for now...


  21. Like
    Kurtisso reacted to mercer in BlackMagic Micro Cinema Update?   
    I can't believe how amazing that looks... Mind blowing. Does it say in the manual that the micro will make people look like Greg Kinear?
  22. Like
    Kurtisso reacted to Zak Forsman in Your favourite 1080p 60fps image?   
    The Micro makes shooting fun. Very happy with it. This was shot earlier today at 59.94fps with my niece who was on pooper scooper duty. 
    password: micro
     
  23. Like
    Kurtisso reacted to Andrew Reid in The Digital Bolex just got False Color   
    Damn I miss those high end CCD sensors... magic.
    F35, M8, Kodak (Digital Bolex) was probably the shortest lived golden era of digital there ever was!
  24. Like
    Kurtisso reacted to Mattias Burling in The Digital Bolex just got False Color   
    Now that's what the Magic Lantern team should do. Hack the APS-H M8 or the FF M9 CCD cameras and give them video with Leica/Kodak/DB Mojo I would pay anything
    I'm very pleased with the colors straight from my M8s sensor.

    I know it won't happen and is probably impossible, but still....
  25. Like
    Kurtisso reacted to Andrew Reid in The Digital Bolex just got False Color   
    That film is damned talented, a great find, pressing all the right emotional buttons with just images and sound alone, no words, just really nice audio/visual poetry. Loved it.
    The Digital Bolex also has one of the most 'emotional' images in the same sense... incredible colour, dynamic range and a sensor size perfectly matched to pre-1980's Super 16mm vintage lenses.
    I just wish the D16 cost $999 and was available in great quantity... but that in a way is not the point of it. It is a camera that has a habit of getting into a disproportionately high number of talented hands, which means they're building a really special community around it.
    Also, it's one of the few cameras you can shoot jerky handheld footage with and it still looks great, for whatever reason - the CCD and global shutter having a hand in that magic motion candace of course.
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