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independent

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  1. Like
    independent got a reaction from TwoScoops in Canon 1DX-II vs. 1DC - Which one would you buy?   
    Then you should know how hard it is. With a big sensor and a still lens? Do you have any idea how difficult it is to keep unrehearsed movements in focus, while framing the shot and moving the camera?
    No offense, but you're full of shit. It's easy as being a "Cameraman"? Yeah, if you're shooting on a documentary camera - but not something like the 1DC, which is what we're talking about. Ever hear of a "focus puller?" There's a reason why there's a specialized job for this task. A focus puller has one of the most important jobs on any film shoot - it's one of the hardest skills. And anybody who actually has experience on a film shoot would know this obvious fact.
    Either you're talking out of your ass or you're the best focus puller in the world. Or, in your words, just a "cameraman."
    If you've never heard of a focus puller, it's time to start keeping your mouth shut and start learning. 
  2. Like
    independent got a reaction from EthanAlexander in One lens for life...   
    Shallow DOF doesn’t have any drawbacks in of itself. It depends on the intended effect and the technical contingencies. 
    Also, you might find your aperture control affects your depth of field more than sensor size. Try it.
    And, yes, historically, video camera sensors have been increasing in size. Right now it’s at super 35mm, which wasn’t a standard a decade ago (Red One came out 10 years ago).
    Alexa 65 and Red 8k are already full frame. It’s definitely going to happen in less than 10 years, and on the horizon are medium format sensors.
  3. Like
    independent reacted to hyalinejim in No Joke - RAW 4K on the 5D Mark III   
    Here's what we know so far about high resolution RAW recording on the 5D3.
    Technical stuff:
    Maximum horizontal resolution for continuous 2.39:1 recording = around 3.3k
    This is only achievable at ISO 100. If you need to raise ISO, you need to lower the resolution (I can get continuous 16:9 at 2.4k for ISO 3200)
    The 5D3 has around 11.5 stops of dynamic range and a moderate rolling shutter
    It has lovely colour
    Practical stuff:
    The preview has a very low refresh rate when recording, and is mostly low resolution, and greyscale - so it's hard to see what you're doing.
    There's no sound
    As squig mentioned earlier, if you want to see what it looks like, take a 3.3k crop out of a 5D3 still. I also posted a link to DNGs some pages back.
     
    The short in full is an incredible piece of work. If anyone has a chance to check it out at their local festival this year I'd highly recommend it.
  4. Like
    independent got a reaction from Shield3 in 1DC vs 1DX II Shootout   
    Oh the crazy Japanese. Oh wait, Apple does it too. Oh wait, so does any consumer electronics company. It's called economics in the 21st century, with mass production, globalization, etc. 
    Ah, the days when you had two sets of clothes, one pair of shoes, and it cost you 6 months salary to buy that "television?"
    You're demanding a perfect camera so you won't have to buy another camera again for the rest of your life. If you want that bargain, then you'd have to make it profitable enough for that company. Buy that Alexa.
    No? Then you have to deal with compromises and shop at h&m like the rest of the masses and follow the seasonal trends.
    Look, even apple is struggling because the 5s is good enough for too many people. Ironically, their phones became too good, satisfying consumers as well as pushing their competitors. So Apple now has pressure because consumers are spending less money than expected. That's the power you as a consumer wield.
    These are consumer electronics companies, and you are the consumer market. There's really only one way to clearly communicate to the company. Buy or don't buy. 
    That's why blackmagic is a welcome addition. Competition lowers prices and drives innovation. 
    There will never be that "perfect" camera if you have the purchasing power of a consumer. Technological advances and expectations will always keep you wanting.
     
  5. Like
    independent got a reaction from Don Kotlos in Canon 1D X Mark II review part 1 - why superior colour means it's game over for my Sony A7S II   
    Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.
  6. Like
    independent got a reaction from Geoff CB in Canon 1D X Mark II review part 1 - why superior colour means it's game over for my Sony A7S II   
    Preference for either the Sony or Canon's color science is subjective. The A7SII's advantages in low light and the 1DX II's autofocus are not. Each has its pros and cons, leaving it up to the project to determine either's suitability. Both are great cameras. I'd be leery of putting too much of an emphasis on the out-of-box image for either camera. Too many factors play a role in the final image. Neither camera is going to make your movie for you.
  7. Like
    independent got a reaction from jcs in C100 MK II + 5D MK II RAW? Goodbye GH4   
    I'd say it depends on your needs and style of shooting.
    If you're in a sound-controlled room, yes you can get away with a quality mic into a quality recorder. 
    But when you increase the number of subjects/actors, or need better isolation because of the shooting environment, or meet the expectations of the client or studio, then you need more tools. in many situations a mixer would be essential - regardless of how good a cameras preamps are.
    In the end, that's why you really do need a person for location /production sound, for the majority of shoots. You need experience and the tools to capture sound in the most appropriate way.
    Can you shoot without one? Sure. But it would have to be very limited to a specific situation, or your results will be compromised. Maybe that's ok - I know eng guys often use a mic with a wider pattern and just shoot close with a wide lens. Depends on your needs and limitations.
    But for a more dynamic single operator you should have a mic with decent reach and rejection, and two sets of wireless mics. And a mixer with quality preamps.
    Even for a single subject interview in a treated environment, I would send a lav into one channel and the mounted/boomed mic into the other, for safety. Again, clipping, self-noise, batteries, too many potential problems, avoided with not much more effort.
    It depends on the project, but sometimes getting out of the way and letting the story come through means doing things right, which can mean hiring a sound guy. Even if that sound guy is your buddy you roped into holding a mic for eight hours.
     
  8. Like
    independent reacted to jcs in C100 MK II + 5D MK II RAW? Goodbye GH4   
    Haha I love audio. Here's a big pile of ego: for my day job I wrote real-time audio DSP software for years and wrote the real-time audio engine for MySpace Music's Karaoke software. Also play acoustic and electric guitar and compose on keyboards (basic stuff using Logic X for our video productions; now hiring more experienced folks as I'm not fast enough at my skill level). Familiar with signal processing theory (and applications writing low level code) through music theory and intuitively understand what sounds good by ear.
    Years ago a friend put a pair of Stax electrostatic speakers on my head through a Carver Magnetic Field Amplifier after utilizing certain plant compounds and it blew my mind! Later I listened through Stax headphones at NASA Ames Research Center through a Convolvotron 3D VR system with a Polhemus 3D tracker- another level of audio mind-blowningness. Finally, hearing Bowers & Wilkins Nautilus Speakers and similar in prepared rooms (including an anechoic mixing room at GTE Imagetrek) topped out the high-end audio listening experience. As time progressed, consumers got used to and were OK with highly compressed MP3/AAC audio on comparatively very low quality headphones and/or home speakers. I realized the 99% of people didn't care about ultra high quality audio and would never hear audio at these levels of quality. Additionally, listening to crap audio helps keep the high end stuff sounding killer. Otherwise there's a never-ending chase for more quality. Steve Martin summed it up here with the Googolphonic (note the proper spelling before Google bunged it up :)).
    After years of software and product development, I'm focused on creating and using the simplest systems possible, where quality is balanced with cost and system complexity. For our own productions for Cosmic Flow (my current day job, software tech is now part time), in-camera audio is ideal. C300 II preamps are good enough, and so is the $500 Audix (I use it with the Schoeps for two channels vs. 2 Schoeps). Even the A7S II's preamps are good enough when using the Sennheiser G3 wireless on location. For separate audio I wouldn't use anything less than a Sound Devices 702 (and would hire a sound person). I used to use an RME Fireface 800 for computer audio, then replaced it with a $140 FocusRite Scarlet 2i2 (v1) which actually has better sounding preamps. After many years the budget 2i2 hardware crapped out and I replaced it with a Sound Devices USBPre2 I had purchased as a tool to get high-quality preamps into DSLRs years ago. The USBPre2 doesn't turn off when the computer is in sleep so I had to purchase a USB switch (not a big deal but was surprisingly hard to find a USB switch that cut power and handled data lines properly too- that was the only one I found that works).  
    After so many years of going deep in tech, for the final product, and in the case of video, the story and emotion are far more important.
    The C100 II with an Audix, Shure, Audio Technica, or Rode mic, and a Mogami or similar quality cable (tried budget cables- not worth it), will provide a perfect balance of good enough quality, low system complexity, and highly versatile usability to be just about perfect for the OP and others wanting to get things done quickly with low effort, low cost, low headache, and least time to produce something cool. Ultimately, we want the gear to just work and get out of the way of the creative process.
  9. Like
    independent got a reaction from Jaime Valles in C100 MK II + 5D MK II RAW? Goodbye GH4   
    The 1DX II isn't a video camera? It shoots video. It's a video camera. We're past the time when a dedicated camera necessarily means a better image capturing machine. As far as dynamic range, most of the good dslr's have about 11-12 stops (s-log3 is problematic for sony's 8-bit codec). Blackmagic does give you more usable dynamic range, and they have excellent noise control/grain structure. But some people have their issues with them.
    Now does the c100 II have a better image? Well, no.
    The 1DX II gives you high quality 4K with low rolling shutter and great out-of-the-box color. Also, the best video AF w/ touchscreen. And the c100 would not give you any practical advantage in dynamic range, color, low light, noise, etc. Even the 1DC's advantage is way overblown here...c-log has limited use because of the 8-bit codec, and you need to shoot at native iso, in many/most situations you'd probably be using a different picture profile. 
     As far as audio, yes the C100 does give you XLR inputs, but the quality of the preamps aren't even as good as the consumer Sony PCM-10 (<$250) or the newer Zoom products, which give you far more options in a compact package. Unless you absolutely need the super low bitrates of the c100.
    Also, the 1DX II is a world class stills camera. 
    Why would you be investing in an old video camera and an old stills camera when their combined price is pretty much the same as the 1DX II? 
    The 1DXII is both a quality 4K video camera + top stills camera. 
     
     
  10. Like
    independent got a reaction from jcs in C100 MK II + 5D MK II RAW? Goodbye GH4   
    You must definitely be a video guy, raw dogging a schoeps into your dirty camera's xlrs. 
    I previously owned that mic, and it's beautifully clean and transparent. But it can sound thin and it's pickup pattern is both forgiving and promiscuous. No mic can read your mind. Not a problem in a studio, but like you noted, on location it's different, you really need to maximize that s/n: mic placement, proper gain staging, etc., and you need the right tools. You really need to raise the gain if you can't boom tight enough, which is often on an indie set, where challenging conditions (lack of noise control, short crew, limited takes, etc.) calls for quality mixers and recorders. 
    And I'd highly recommend redundant audio for a one man band, for safety. Doesn't have to be complex. 
  11. Like
    independent got a reaction from andrgl in Should I sell my 5D MKIII and pay the difference for a used 1DC?   
    Nothing shot on the 1dc would be identifiably unique. It's just a camera.
    What is far more recognizable is style of lighting or grading. 
  12. Like
    independent got a reaction from Davey in Canon 1D X Mark II user reports and 4K crop   
    Of course it looks good, it's pretty close to the 1dc, clog be damned.
    But slow motion (and cute music) are naturally crowd pleasers. A bit of a cheap trick, really. 
    24P, under challenging light, with movement, capturing motion - those are the stress tests. 
  13. Like
    independent reacted to John Brawley in Ursa mini...is this the end of blackmagic?   
    Hi.
    You may think I'm a brand ambassador, but lets examine what that would actually mean. It would mean that I get paid to promote and generally aid the cause of Blackmagic and their brand awareness and experience with their users, is that right ?
    I am not a Brand ambassador for Blackmagic, mostly because I don't get paid to be one, and I'd rather speak my mind openly in public forums like this.  I've believe I've been honest in my views of the pros and cons of their products.  I have a personal relationship with many of the people that work there and I've had a lot to do casually with helping with test shoots, iterations of changes to fundamentals,  which again, I'm not paid for.  In return I get to be involved with the development of cameras, furthering my own understanding of how a camera is built from the ground up, I get to see some of my input make it into the development cycle and I get some cameras.  Blackmagic once flew me to IBC to help with the launch of the MFT version of the 2.5K, a version I strongly lobbied for internally with BM.
    None of my involvement with Blackmagic has EVER lead to me getting work as a DP, or increasing my profile.  If you think that's what producers go for then you'd be wrong.
    If you don't think I'm polite enough then it's really your problem.  I would much rather remain independent and be able to speak my mind frankly.  It's exactly because I'm not a Blackmagic Brand ambassador that I can do this and the more I do this job, the less patient I get with armchair experts like Kino.
    I feel like I've earned the right to be able to speak on that which I know something about and I don't really have the patience to argue points of fact with someone anonymous like Kino who has no ability to back up his claims nor legitimacy in his identity.  Anyone who's been on camera forums knows me and my history and has that posting history to inform them.  I have been on CML since nearly the begining, on C.com for many years and DP review, REDUSER, DVXUSER  all long before Blackmagic came along.  I have a blog where I try to write meaningful and helpful work and share my very own camera tests from actual shows with anyone who wants to see them without monetising it or having any kinds of adverts or kickbacks.
    Because I like to be able to speak my mind when I wish to. I'm not building a profile with this audience because I am not tied to you guys for money.
    JB
     
     
  14. Like
    independent got a reaction from Asmundma in Canon 1DX-II vs. 1DC - Which one would you buy?   
    Then you should know how hard it is. With a big sensor and a still lens? Do you have any idea how difficult it is to keep unrehearsed movements in focus, while framing the shot and moving the camera?
    No offense, but you're full of shit. It's easy as being a "Cameraman"? Yeah, if you're shooting on a documentary camera - but not something like the 1DC, which is what we're talking about. Ever hear of a "focus puller?" There's a reason why there's a specialized job for this task. A focus puller has one of the most important jobs on any film shoot - it's one of the hardest skills. And anybody who actually has experience on a film shoot would know this obvious fact.
    Either you're talking out of your ass or you're the best focus puller in the world. Or, in your words, just a "cameraman."
    If you've never heard of a focus puller, it's time to start keeping your mouth shut and start learning. 
  15. Like
    independent got a reaction from zetty in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  16. Like
    independent got a reaction from Kingswell in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  17. Like
    independent got a reaction from Jonesy Jones in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  18. Like
    independent got a reaction from IronFilm in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  19. Like
    independent got a reaction from sudopera in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  20. Like
    independent got a reaction from Flynn in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  21. Like
    independent got a reaction from AaronChicago in Ursa mini...is this the end of blackmagic?   
    Give Blackmagic credit. First, they're a relatively tiny manufacturing operation. They deadlifted their chances of success in a tough market. Samsung left, for crying out loud. Digital bolex, done. A few others tried too, and failed. 
    Blackmagic brought innovative products at an accessible price point - many of us are direct beneficiaries of that. Years ago, I replaced my red scarlet with the fresh BMCC, which had a better overall image with far less fuss. And the camera was ready to shoot at a cost 1/10th of the price of the red scarlet, which itself was the cheapest real cinema camera at the time.
    And even if you don't like their prroducts, you still benefitted indirectly from that. Blackmagic is an industry disrupter. They put a lot of pressure on a lot of companies (Red immediately responded with a failed 4K for 4K campaign) and raised the quality and features of competing products. 
    Don't forget the fact that Blackmagic also offered a class grading software free with Davinci resolve (again disrupting the industry) as well as integrating a NLE into it (again disrupting the industry). 
    All their moves have helped the independent filmmaker. 
    Yes, they've had delays (not nearly as bad as RED) and some minor flaws (that other companies had too), but these are the growing pains of a small company. They don't have the resources that Canon and Sony have for QC and supply chain management. If they raised prices that would obviously help, but they're intentionally pricing their stuff very aggressively.
    They're probably operating at a loss or very slim margins to stay in the game. If they go under...that would be a painful loss. Because they are approaching products with an intelligence and practicality that are sorely lacking in the competition. 
    The ursa mini 4.6k is not for extreme low-light situations, or autofocus, or drone work, but for traditional filmmaking, there is nothing out there that provides a comparable image at its price point. 
    This forum has a lot of dslr/mirrorless users, who complain a ton about their image. What's funny, so many of their complaints are answered....with blackmagic cameras. Color science, simple straightforward menus, no overheating, motion cadence, filmic, thick codecs, etc. It's all right there. 
     
  22. Like
    independent got a reaction from Jn- in 1.74x - A Crop Odyssey - Canon 5D Mark IV officially announced   
    I'm not surprised. Aside from the unreliable promo videos, with questionable grades, I expect the actual quality of the video to be similar to the 1DX II, aside from the difference in crop and frame rates. Then again, the 1DX II is almost double the price of the 5D IV, so it's reasonable to expect some differences.
    The 5D IV is at a similar price point to the Sony a7r II, which has its own drawbacks. Color science versus crop factor? Either will be a deal breaker for some, or minor obstacles for many others. 
    Still, the 5D IV has the best implementation of video autofocus on the market, quality 4K (despite the crop), good colors out of the box, rugged body and proven reliability, and of course the widest range of available lenses. 
    Right now, there are only two small cameras with usable video autofocus that doesn't have some MAJOR operational limitation (a6300): The Sony a7r II and the 5d IV.
    Glad to see more tools out there. 
  23. Like
    independent got a reaction from Hanriverprod in Which Camera Today for Indie Feature?   
    If you're shooting in an apartment, you have control over lighting, movement, blocking, etc. So your priority should be the best image quality. For low budget, I'd say it's the Blackmagic Ursa Mini 4.6K. It does have a couple issues: don't shoot past f8 to avoid magenta corners (but you control lighting so no big deal) and some reports about noisy audio preamps - but that doesn't matter, because you should be using better audio for a feature anyways. Even a couple hundred bucks will get you better audio than what's in $10K, $20K cameras.  
    Just remember, all of these cheaper cameras have drawbacks. But for a feature? The URSA Mini 4.6K will be the easiest to get a filmic and cinematic look for its price range. It does not look like "video" because of its dynamic range, motion cadence, grain structure, thick codec, etc.  
    Personally, I think even the Canons DSLR's don't quite look filmic or cinematic. Even the 1DC. It's praised for skin tones among the small cameras, but you should check out how the ursa mini 4.6k captures people's skin. Obviously as human beings, we're tuned to those details more than the whiskers of a cat. And the blackmagic just takes it to another level as far as transparency, detail, tonality - it hangs with the big boys like RED and Alexa. You should get a high quality monitor or the best 4K TV (hey you're in Korea ;)) you can find, and check out the footage. We did, and we were blown away. But it's not the best camera for any situation.
    But it comes down to your story, crew, and your own preferences. 
    In fact, I would spend a few hundred dollars to rent a couple cameras for even a weekend....Have the DP, camera op, DIT, even editor, and of course the director, to figure out what works the best for you guys.
    Go on a date before getting hitched. Could save you a ton of money down the line.
  24. Like
    independent got a reaction from Jonesy Jones in Which Camera Today for Indie Feature?   
    If you're shooting in an apartment, you have control over lighting, movement, blocking, etc. So your priority should be the best image quality. For low budget, I'd say it's the Blackmagic Ursa Mini 4.6K. It does have a couple issues: don't shoot past f8 to avoid magenta corners (but you control lighting so no big deal) and some reports about noisy audio preamps - but that doesn't matter, because you should be using better audio for a feature anyways. Even a couple hundred bucks will get you better audio than what's in $10K, $20K cameras.  
    Just remember, all of these cheaper cameras have drawbacks. But for a feature? The URSA Mini 4.6K will be the easiest to get a filmic and cinematic look for its price range. It does not look like "video" because of its dynamic range, motion cadence, grain structure, thick codec, etc.  
    Personally, I think even the Canons DSLR's don't quite look filmic or cinematic. Even the 1DC. It's praised for skin tones among the small cameras, but you should check out how the ursa mini 4.6k captures people's skin. Obviously as human beings, we're tuned to those details more than the whiskers of a cat. And the blackmagic just takes it to another level as far as transparency, detail, tonality - it hangs with the big boys like RED and Alexa. You should get a high quality monitor or the best 4K TV (hey you're in Korea ;)) you can find, and check out the footage. We did, and we were blown away. But it's not the best camera for any situation.
    But it comes down to your story, crew, and your own preferences. 
    In fact, I would spend a few hundred dollars to rent a couple cameras for even a weekend....Have the DP, camera op, DIT, even editor, and of course the director, to figure out what works the best for you guys.
    Go on a date before getting hitched. Could save you a ton of money down the line.
  25. Like
    independent got a reaction from bunk in jerks and jitters   
    The key difference between this and a monopod is that the monopod is fixed to the ground at point of contact. That's where it gets its stability, which is fine for photography, and for static shots in video, e.g., photo/video journalism.
    But for motivated camera movement? Then yes, you would need something like this, or an easy rig, steadicam. The latter especially for heavier loads or long takes. 
    It's a clever setup for light loads or short takes, as is the monopod on belt variations, brings back memories of stick-on-my-dick jokes that stopped being funny when you were sporting bruises in your groin.
     
    But I love the DIY approaches. Who cares what you look like, or how goofy it is. Christopher Doyle was running around shooting with a pillow taped to his chest to stabilize his camera.
    Jennifer Connolley was strapped with a heavy, ridiculous-looking, crazy-ass rig for her selfie take in Requiem For a Dream. And she had to perform like that. That's the talent looking ridiculous for the film, not the crew that nobody gives a shit about. 
    Get the shot. 
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