anonim

Malick and Lubezki certainly would agree with you: "Song to Song" (in enormous quantity) and even "Knight of Cups" are full of wobbling handheld shots. And there it was not even intentional pseudosymbolic usage (as, say, in chasing to describe distorted perception) - they simply and really didn't "give a shit about little wobble" mesmerizing spectator in constantly flowing, poetical, juxtaposed, surreal movement. Actually, there's no more rules in movie language. Moreover, probably never were - except to now how and where to cut across them in most efficient way. Personally, I think that creators of that war movie obviously use wobble with purpose, as much as colors and light leaks.

Really don't know... maybe you didn't check posted BTS clip which explains shooting process? Obviously they think about, see and value result different.

Let's me to try to be useful Lenses: T2.2 might not be enough flexible (as exclusive in arsenal); 25mm and 16mm are too close Filters: That one is pretty expensive and slowing shooting process solution Monopod: Maybe to try first with some UW lens and see how you manage handheld shooting with it regarding style and possibility

Yes, words saying that size actually doesn't matter but DR consoled me through all my life

One of the most beautiful and skillful cinematography I saw in last 10 years belongs to "Lore" by Cate Shortland director and Adam Arkapaw as dop... they used exclusively s16 in it. I'd dare to recommend that movie to everybody who yet didn't see it - at least just to take one breath relaxation/inspiration from hard battle of sensor's size/capability fascination. https://www.imdb.com/title/tt1996310/

Hi, I'm curious: if I, after reading remarks to @Kye's post made after his awakening, confirm that 4/3 sensor is not even super35 size and that Hollywood cinematographers are moving toward full frame sensors - so consequently Z6 and S1 are more recommendable camera than GH5 - would you disagree in something with me?

Yes, because it is so obvious that it's impossible to shoot feature films with IBIS, as well as any part of it because every spectator immediately leave theater when notice that ugly micro jitters on screen.

In taming IR effects maybe could be useful to check Captain Hook's solving efforts via usage of his lut http://www.captainhook.co.nz/blackmagic-cinema-camera-lut/

Thanks, test confirm me my one experience: difference is pretty obvious even in exposing just one snapshot. RAW has noticeable better 3d definition, more details in the ground, more DR in left part of the clouds which seems to keep same form and position through shots. Watching footage flow without web compression makes difference even more pronounce. Prores HQ might be sufficient for somebody, not enough sufficient for someone else. For me, personally, having possibility of RAW shooting is exclusive quality and reason why to choose BM cameras instead others with better ergo, IBIS etc.

@mercer vs Paolo Sorrentino: The Young Pope, episode 9.

Just to note or remind: in case of additional (and crucial) highlithts recovery possibility (that thebrothersthre3 mentioned in post) there's no need for examples: with RAW you can do it on rec.709 timeline, with ProRes you can't. As simple scenario, shot same scene with both, intentionally making clipped highlights. With ProRes you can't bring them back. With CDNG do such settings in Resolve CameraRaw menu Decode Using: Clip WB: As Shot Color Space: Rec.709 Gamma: Gamma 2.4 ... and picks of highlights are coming back from void (and such view has metaphysical impact on me), so you can further mold distribution of DR as you wish.

1. I'm afraid there is more IR with ND filter. 2. I think it is irrelevant where to put IR filter. (If you in aesthetic choice chase for little bit of vintage look, IR pollution actually might be useful.)

I have to disagree from my experience with BM cameras - not strictly taking notion of DR (that after all debates seems to me too vague), but simply true RAW vs PR HQ looks better or made such impression-feel even at first glance. Not day and night, but there is a visual difference as I can see. Of course, my eyes are not at all ultimate judge, it might be result of autosuggestion - so rather call for everyone to try and compare. (I don't know how BRAW stay in comparison.)

Prores raw is editable with newest Edius 9.4 version.

I know about offer - but I just supposed that noble counter offer was: post of CEO or nothing, because they didn't choose right, as through all history all Canon-ized smart asses... so to say while mr webrunner5 is still awake to quickly correct me in my indian-american try.

I see... That's probably also answer to (I think logical) question why Canon yet didn't choose to hire mr @mercer from EOSHD for its ambassador.

Looks brilliant to me. Surely I'm naive, but I can't quite understand why Canon can not simply repack, say, that 5D II + ML Raw sensor/codeck solution and sell it as some sort of its own Digital Bolex version to so many devoted Canon indie/moviemakers and admirers?

Thanks... Is the screen that bad for your usage? There are pretty different information from reviewers. Also, I suppose ou know it, and know better than me, but just to remind - actual power of BM camera line lays just in these magic sliders at the left in Resolve when using raw files It is so mystical exciting to me to see how blown highlights getting back their picks, how truly molding is WB... I can't resist to feel that something similar maybe it is still possible with my life: bring back to life picks of hopes, totally change skintones of my destiny...

For sure there are so many different aspects and layers to reckon in it, but back to the topic... I'll get in wednesday Moza Air Cross - it has interesting unique feature of expandable plate space, so I'm curious if P4K can fit in it without additional accessories. Strange, I didn't yet manage to find anywhere if somebody has that gimbal working with P4K. Although it has 1.6kg payload, it is still enough for that camera and yet very light (under 1kg). Air Cross could supply power for GH5 or Sony cameras via dumb battery, and I think that the same easy could be possible with P4K and Canon LP6 with maybe just changing jack in... I bought it for Micro cinema camera so will see...

Sorry, it was contrary. After that movie he received whole support... But that pre-Stalin era was (just in term of creativity and indeed revolutionary ideas) totally different from usual manner represented in West: some of the greatest painters, writers, directors were offsprings from initial enthusiasm of pure revolution, before it degenerated in Soviet version of controlled state.

Oh no... Maybe you are thinking about Sergei Eisenstein? Dziga Vertov filmed Man with the Movie Camera in exile in Ukraina after he lost job in central Sovkino at Moscow because of criticism of mainstream line of Party (he than refused to make pure propaganda approach of Advertising and the Soviet Universe for the State Trade Organization). But because of success of it - yes, they hired him again and made mutual creative parthership

Actually, Dziga Vertov was all alone (I'd dare to try after your leading: alone as ass of hell?)

Yes, well, me personally more and more did this (but with luxury to choose) stuff for money But it doesn't matter... Recently I watched again some De Sica's movies - what a richness and uncanny taste in framing with his than-a-days modest BW cameras! What perfection in evolving scripts through language of visual evocation of emotions! What a usage of perspective plans with totally absence of shallow DOF! Whole give-me-just-Alexa-color-science-and-nothing-else and flying crans mumbo-jumbo are smashed to trash in front of mind that experienced, suffered and searched enough and have something to convey about it... Excuse me for digression, back to the topic: De Sica, or even Dziga Vertov, had not any gimbal, but shoulders are always with us

Yes, but, from the other side, as pretty serious intruder from plethora of creative realms, I'm so often shocked how "shallow", one-dimensional and lacking of (time and knowledge and inner peace for) truly original perception/ideas are people strictly learned for film making... And how restricted are with their instruments, as fundamentally deprived in capability for play, for empathy, for seeing different angles and perspectives... What I deeply regret is that I saw such enormously talented men and women at vimeo, with some so deeply original ideas and concepts that are high above of resulting artistic level (or lack of it) of regular movie productions... but those talented people, being poor and outside of mainstream connection, will stay forever anonymous