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Everything posted by independent

  1. If that marginal difference in image quality were more important than features, than why not go ursa mini 4.6k raw, which has even better image, color, and codec.
  2. I appreciate the test. But it is somewhat exhibiting the lowest common denominator. They would all seem close if that's what you're aiming to do. What would be neat is another test of the three cameras showing their strengths in challenging conditions. High contrast scene testing max dynamic range, low-light testing noise, a moving subject to test autofocus, etc. But, appreciate the test nonetheless.
  3. How do the continuous AF compare between the two?
  4. I'd be surprised if the successor to the 5DIII has both dual pixel af and 4K.
  5. Really interesting lowlight video. I think we do need a bit more information about the video side, rather than the stills. We'll get it in the next few months. But the combination of features, the lowlight, weather-sealing, reliability, the 4K, and dual pixel autofocus make this offering pretty attractive, even if other cameras are superior is some categories. As far as feature set/pricing, I think the Sony a6300 at $1K, the Sony A7RII at $3K, The Canon 1DX II at $6K, and the Canon C300 II at $15K are probably the most flexible, all-around video cameras at those price points. T
  6. Shots fired! But I would say in the independent filmmaking scene, a Director or DP should know his gear or equipment, both for aesthetics as well as technical reasons. Not unusual to see a Director op, let alone a DP. What you lack in funds, you make up in knowledge.
  7. Too risky for long form interviews and events, but for most other things why not roll out with two of these? You can just hand off the entire camera to your DIT or assistant to offload the footage, swap the battery, and let it cool while you use the other body. It's good to have a backup body anyways. You also have the option for 2 cam setups, or have one camera with a wide lens, another with a long. Or one on a gimbal, the other on sticks. Less setup. I guess a half hour limit doesn't seem like a huge problem because I remember when I had my RED w/ handle and it would l
  8. Never used a 1DC, but I have read that some users avoid c-log because of banding issues, presumably due to the 8-bit codec, similar to the 8-bit Sony's that share the problem. Either way, there should be some reasonably flat picture profiles that would yield good results.
  9. I would like to see this hooked up to a Leica SL, which can actually output 4k 10-bit.
  10. 4K 10-bit Prores - This is what the blackmagic ursa mini 4.6K is about. It's the only one that does that in the price range. It lacks the lowlight and autofocus, but those are specific features (some would say niche) for other cameras. It has a few bugs, but so does every new camera that pushes boundaries. Some of you are looking for a perfect solution for features, performances, and price, and it doesn't exist. You demand it like some God-given right. "Why can't X, why can't Y" - because these are companies that operate in a market, as do we, in various segments, and these products also must
  11. Here is a good example of how to use this camera. Limit camera movement. Don't shoot handheld while running. No whip pans. It looks good. Also, regarding color science, skin tones etc... most of the videos have been graded with a desaturated and cool look. But this one looks fine, with just some adjustments in camera and post. The color and skin tones look pretty accurate to me.
  12. This looks like the best image you can get under 10K without buying into Red's ecosystem. This, coming from a former Red owner and operator - and I sold that once I saw how the very first blackmagic camera handled low-light noise. The Rolling Shutter, oh so what. Hey look, I'd rather have a company that tries to do something really amazing and fall short, rather than a company that intentionally cripples cameras to sell you the next model 6 months later, or are trying to protect their tiered market strategies. There is no false advertising or bait and switch. Because you technicall
  13. This looks like a great camera to pick up B-Roll, cramped locations, run/gun, especially when you can't fit/get/get away with a focus puller. Or even a Director's viewfinder; the sensor size is close enough to all the other close-enough cinema 35mm. Great for DP, scouting locations too. Some of you have ridiculous expectations. It's a $1K camera. Obviously it's going to involve compromises. Those drawbacks might not work for your project, but that's on you if you somehow expected a perfect camera for $1K. "How could it not have X, how could it not have Y" ... because these aren't pr
  14. Actually you could look at it the other way around...for 1K, you pretty much get the best of the video features of the A7R2, minus the stabilization. That being said, the A7RII seems to still best all around camera for the most complete set of features, on paper.
  15. I saw it on 70mm here in NYC and was disappointed. Not because it was 70mm, but because the film was essentially a stage play. Like Reservoir dogs; most of the movie was in one location: the cabin. 70mm for a single interior location? Was it cinematic? Sure, in a specific retrospective way, or nostalgic, which is his general style anyways. But what did it accomplish? Would it have been less cinematic had it been shot on 35mm or Alexa, Red? No, it still would have looked like a great cinema movie... and perhaps the smaller format would have been even more effective for the (small) st
  16. Cinematic isn't a misnomer at all. In all my posts, I make this distinction myself, between the terms cinematic and filmic, because cinematic today has moved beyond what film can achieve. And I don't believe "cinematic" it's a dumb word at all. In fact, it's an exciting, dynamic concept that is changing and evolving with technology and creative vision. Cinematic won't look the same 10 years from now. But it is useful as an idea and a term. Filmic, on the other hand, is a specific term within the broad idea of cinematic, and I believe the OP was referring to "filmic" when he said "cinemati
  17. Yeah, but you're missing the point; are they choosing cameras based on what looks the most "cinematic" or what's right for the story, the production, etc.? I'm not sure what the point about Walking Dead is - why wouldn't you shoot it on Red Epic? Would it be less "cinematic" than 16mm? It's one thing if they decide upon a certain aesthetic. But what's the likelihood that they all sat down and picked 16mm film because it looked the most "cinematic"?
  18. I'm not demeaning the role of cameras or differences between them, just that certain cameras do not necessarily look more "cinematic" than others, for a variety of reasons that I had stated. Agreed, everything is really important, including the camera, but not solely the camera. The issue is, what makes something cinematic? I haven't seen hail caesar, but Deakins was quoted as saying he didn't think shooting with an alexa or film would have made a difference. And that wasn't a glib comment - alexa dominates the industry because it looks filmic. And you might have loved it because you l
  19. Lighting, grading, and lenses make a huge difference (often in that order). I think most cinematographers when surveyed cite lighting as the biggest factor in cinematography, rather than the camera. As far as complaints about Sony color, a lot of Hollywood thrillers/horrors intentionally have that "Sony" look, graded more towards green and yellow. None of their skin tones look "rich" or "beautiful." David Fincher's films look pretty Sony. Even House of Cards looks Sony. And Fincher has shot a lot of RED, or exclusively RED for the past decade. Roger Deakins shot Prisoners, which is somew
  20. You can easily rig a DSLR for your shoulder, but you can't make an Arri or shoulder cam the size of a dslr. There will almost always be this tension...bigger cameras will be better and more expensive. Smaller cameras will come with some technical limitations but be cheaper and more flexible. These arguments have been around since the 5DII came out.
  21. Actually it's the autofocus / face tracking that's really the selling point. If it's good, you get more usable shots. At the end of the day, dynamic range, 10-bit color, 4K, all that stuff is wonderful, but if the shot isn't in focus, then those matter much less. At the end of the day, for most formats, lighting, framing, focus, camera movement all matter much more to cinematography. Imho. Controllable and accurate autofocus will really open up creative possibilities and much more efficient shooting. Blocking matters less, actors are freed up from hitting marks, fewer takes due to missed shot
  22. I wonder how the continuous autofocus / facetracking compares to the Sony A7RII.
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