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  1. Braw works really smooth. Prores for that matter as well. Really happy for the latitude when grading and the lack of macro blocking too. Resolve is your friend. Otherwise it is hard to get the most out of the camera. Especially with the lack of adobe support for braw. I was really impressed with the sharpness of cdng raw. A pitty it got axed. Not that I was using it that often. But nice to have the option.
  2. It took E.T. ages to be released for vhs/laserdisc back in the day. I was doomed to dark for viewing outside a theater/darkroom. So it got a ‘tv’ grade to make it more watchable in the living rooms. But it took 6+ years...
  3. I think it is a petty that the show is to hard compressed. HBO in my region introduces a lot of macro blocking and banding. And it is not my line (600mbit). This particular episode suffered more from that in my opinion. It doesn't seem like 1080p and the compression is quite below dvd quality. On the other hand availability has unfortunarely always won over quality since 'digital' got introduced...
  4. 3.1 is (was) 64m /500GB (4K Dci 24p)...2 hours pre-braw on 500GB has never been a possibility in 4K
  5. Braw - variant of ‘brave’ (according to google)
  6. I haven't lost recordings either. The times that the battery depleted during recording the files were alway there and working after a automatic camera shutdown.
  7. The Panasonic EVA1 can be had for a considerably lower price: https://www.teltec.de/panasonic-au-eva1.html?listtype=search&searchparam=pana eva1 kamera - €2600 less Not sure if it is a black friday promotion
  8. not on mac (haven't tried on pc)
  9. So. Things sorted out. The reason for the strikes being that the label - one of the biggest on the planet - had an internal mixup of who directed the spot. So in about 72h he will have his vimeo account online again. So no. the agent didn't do anything wrong or stole anything. But for music videos going forward he needs to have the director double check the credentials with the label and even written permissions just to be safe. It is important to remember that just because you are a big company basically with license to bully it doesn't necessarily mean that you are right. And when you do mess up your lack of carefulness has consequences that hurt people. I have no issue with bots scanning through videos to flag for potential copyright infringers as long as it is used as an internal tool and not as a mechanism that automatically puts all the work on the 'innocent until the opposite is proven's shoulder to clear her or himself. Making a takedown notice you have to be sure beyond doubt that you actually have a case. Maybe the (in this case US law) law says something different? Does anybody know how explicit the paragraph in the DMCA is regarding wrongful / headless / loose blacklisting ? - so the rights-holders need to be just as sure in their case as the accused when countering their claim ? Oh well. stopping my mini ranting. I still do like vimeo's service. just not this part of it.
  10. Yeah - a clips like that was the reason that YouTube had 25% of all music listeners online coming by. And YouTube earning money from commercials at the same time. No wonder the labels went for YouTube’s head
  11. the agent of the director is stealing using directors work handed over by the director to the agent?...well. They are definitely stealing his time. This agent is not promoting his business he is hired by the director, creative. Author of the visual part of the music video. I know where you are going putting things on a stick. But we are not speaking about a random person taking a random song from a random music store making a video. We are speaking about a particular case where a known agent representing a known director hired by a big label to make a music video for a known band. There are a difference. A rigid lawyer may dissagree. Anyways it is a sensible area - music online. But in the case I described things are moving forward albeit slow. Agent/former agent speaking with director speaking with label speaking with rights organisation. There are no dispute between director and label. Things are sorting out moving towards acknowledging the right of use getting the last strike removed and the account reactivated. The other two are still in process. Obviously this agent is not a music pirate and should not be treated as such.
  12. in these cases they where official music videos paid for by the labels themselves... With 500+ videos/films over 6 years and now suddenly the music videos gets flagged systematically...I don't have the big picture - but a few years ago youtube was in a similar situation as far a I remember. so we all should alljust accept it and assimilate 😉 because history never repeats ? 😉
  13. Nobody stole nothing! That was the point I was trying to make. They were the creaters ( and not dumbasses )
  14. Andrew is spot on with his perspectives - If it would just be 'pirates' using vimeo then 99,99% would understand and not complain about the new policy- But I find it sad that Vimeo has given up the benefit of the doubt of its long term users and letting the vultures skinning their corpse. I.e. lets say you are an agent representing directors. And you i.e have been using vimeo pro since launch. One day you sign up a new director that also makes music videos for artists signed with 'the big 4' labels. He gives you a few music videos for his reel and you upload them to your vimeo account and embed them on to your webpage. All good. Suddenly you receive an email from vimeo's legal team about a takedown notice of exactly those music videos. Strike One! Ifpi London that represents the right holders wants the videos down unless you can prove you have a explicit permission to add them to your vimeo account. But unfortunately that email ends up in your spam folder so you have no idea. In the mean time the director changes agent you take his reel offline and you sign up new directors. Later some also with music videos...Strike2...Strike3... One morning a client calls you complaining why the links you send doesn't seem to work. Entering on your website all video links are dead. Your account on vimeo suddenly isn't there. You try contacting vimeo. You are desperate. No phone numbers. nothing. just a webpage where you can fill out a form. Vimeo comes back to you noting that they tried contacting you but are unable to do anything to help you other than giving you 1 week to download your hundreds of videos and giving you the contact info to the right holders if you wants to try get your strike count down to '2' in order to restore your account. Your years of trust towards a technical partner suddenly goes haywire. Sure. Very unfortunate not to have seen the strike emails. But disconnecting your business because of a technicality. 3 to be exact. It seems like a vey dystopic future. Especially since your aren't new on vimeo. The years spend trusting (and paying) vimeo. Actually representing 50+ filmmakers that are part of Vimeo's the core demographic using vimeo for showing their work to agents worldwide. Spending xxxxx€ integrating vimeo even closer with your publishing tools etc. All worth nothing when somebody is knocking on the dmca door. Then your have to prove your innocence. With the right to get disconnected. Later you spend months with letters, emails, phonecalls to get the right holders to understand that you represented or represents the guy or girl they hired to make the music video in question. But for some reason one director wasn't credited internally as director on one clip although he developed it and produced it because he send an AD abroad for a few takes... Well. Obviously it is not a made-up story. But the reality of a friend on mine. I think his situation could have been less dire if he would have seen one of the strike emails. But the very limited help and understanding from vimeo is quite surprising ( they actually mentioned that it happens to quite a few not receiving the notifications ) I find it quite distasteful that they doest at least offer a phone number to speak with a special dmca help line to give guidance. After all deactivating an account could easily mean hurting others businesses. People get shocked and stressed. No doubt that music rights is a hotter theme than ever especially since the big record companies have regained their power and are getting comfortable in the digital world. But the world still isn't binary (yet)
  15. Sure, If that is the objective. or sending a link with Dropbox, google drive or WeTransfer
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