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anonim

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  1. Thanks
    anonim got a reaction from IronFilm in Olympus sells Imaging Business   
    "Crop factor" usage of cameras with obvious issue from DP's perspective... that found their way to different Cannes 2019 selection sections:
    MAIN COMPETITION (Palme d’Or Contenders)
    - “Sorry We Missed You”
          Dir: Ken Loach, DoP: Robbie Ryan
          Format:  Arri 16mm
          Camera: Arri416 16mm
    DIRECTORS’ FORTNIGHT
    - “The Halt”
           Dir: Lav Diaz, DoP: Daniel Uy
           Format: 4k
           Camera: GH5S Panasonic Camera
           Lens: 18mm-50mm zoom lens Panasonic, 70mm-100mm zoom lens Panasonic
    - “Lillian”
           Dir/DoP: Andreas Horwath
           Format: Digital, 2K, Lossless CinemaDNG RAW — and 4K for the drone footage
          Camera: Blackmagic Pocket Cinema Camera
           Lens: Voigtländer Nokton Series
    - “The Orphanage”
           Dir: Shahrbanoo Sadat, DoP: Virginie Surdej
           Format: Alexa Mini-S16 HD mode/ prores
           Camera: Alexa mini S16 HD mode
    UN CERTAIN REGARD
    - “A Brother’s Love”
            Dir: Monia Chokri, DoP: Josée Deshayes
            Format: Super 16mm, 7219 Kodak
            Camera: Arri 416
    - “Liberte”
            Dir: Albert Serra, DoP: Artur Tort
            Format: 2K
            Camera: Canon C300 Mark ii (crop mode)
            Lens: Canon 11-138 (S16)
    OUT OF COMPETITION
    - “Let It Be Law”
             Dir/DoP: Juan Solanas
            Format: UHD 3840×2160
            Camera: Panasonic GH5
            Lens: Leica 12-60mm 2.8/4
  2. Like
    anonim got a reaction from kye in Olympus sells Imaging Business   
    "Crop factor" usage of cameras with obvious issue from DP's perspective... that found their way to different Cannes 2019 selection sections:
    MAIN COMPETITION (Palme d’Or Contenders)
    - “Sorry We Missed You”
          Dir: Ken Loach, DoP: Robbie Ryan
          Format:  Arri 16mm
          Camera: Arri416 16mm
    DIRECTORS’ FORTNIGHT
    - “The Halt”
           Dir: Lav Diaz, DoP: Daniel Uy
           Format: 4k
           Camera: GH5S Panasonic Camera
           Lens: 18mm-50mm zoom lens Panasonic, 70mm-100mm zoom lens Panasonic
    - “Lillian”
           Dir/DoP: Andreas Horwath
           Format: Digital, 2K, Lossless CinemaDNG RAW — and 4K for the drone footage
          Camera: Blackmagic Pocket Cinema Camera
           Lens: Voigtländer Nokton Series
    - “The Orphanage”
           Dir: Shahrbanoo Sadat, DoP: Virginie Surdej
           Format: Alexa Mini-S16 HD mode/ prores
           Camera: Alexa mini S16 HD mode
    UN CERTAIN REGARD
    - “A Brother’s Love”
            Dir: Monia Chokri, DoP: Josée Deshayes
            Format: Super 16mm, 7219 Kodak
            Camera: Arri 416
    - “Liberte”
            Dir: Albert Serra, DoP: Artur Tort
            Format: 2K
            Camera: Canon C300 Mark ii (crop mode)
            Lens: Canon 11-138 (S16)
    OUT OF COMPETITION
    - “Let It Be Law”
             Dir/DoP: Juan Solanas
            Format: UHD 3840×2160
            Camera: Panasonic GH5
            Lens: Leica 12-60mm 2.8/4
  3. Like
    anonim reacted to kye in Olympus sells Imaging Business   
    I'm following along quite nicely, thank you for your screaming condescension, it is really helping this conversation along!  (Although it's not doing much to make me think that you're a serious working professional who can be trusted to make balanced judgments about an entire industry, but you know, you do you.)
    I agree that when no-one makes MFT cameras any more then the format will be dead.  The issue here is that people still are making MFT cameras.
    The P4K is an MFT camera that pushed what was possible at a given price point when it was released.  The Z CAM E2-M4 was only announced a few months ago (?) and is a MFT cine camera.  The GH5 is still a current model and although it is overdue for a refresh, it's not that much overdue, and there hasn't been any confirmation from Panasonic (that I know of anyway) that their FF line replaces the GH line.
    Ok, so assuming you're telling the truth, your experience might be in the part of the industry that is too high-end.  Anyone who has worked on a Marvel production or on the Netflix approved sets that you reference probably hasn't worked in a low budget indy or web production since before the GH5 was released (or the GH4 for that matter!).
    Everyone has blind spots in their experience.  One of my blind spots is the entire non-english-speaking world for example.  I'm a knowledgable guy, but not about much of what's going on in Turkmenistan.  Blind spots are inevitable, I fear that you're confusing your (probably large amount of) knowledge with the idea that you have a good overview of the entire camera-buying market.
    Thanks - I was beginning to think I knew everything and was becoming omnipotent, but your timely reminder has staved off a bout of madness.
    I am familiar with the RED forums, I'm registered there. I'm also familiar with CML, and have registered there too.  I haven't sought out EVA owners, but there's a few on here.
    I have sought out GH5 users though, and I didn't find any significant concentrations of them, except here.  Which might be why so many people are disagreeing with you and down voting your posts.
    But back to you telling me I don't know anything....
    They're both done with cameras right?
    It's great that we've finally gotten to the point in the conversation where you ask about my background.
    I'm a guy who makes home videos.  I shoot, edit, colour grade, and then publish my own work.  You might then conclude that I wouldn't have the faintest idea about anything, but this would be untrue, because you see, I have been teaching myself to do everything, including colour grade, which leads me to why I might think I know something about this.
    You see, I hang out on the colour grading forums with professional colourists.  So while you might be off making things and only being exposed to one tier of the industry, colourists (who aren't in the upper echelons of feature films) are seeing a wide spectrum of professional work done.  and when I got my GH5 and started speaking to them about how to colour grade it, I learned they regularly see footage from cameras like the GH5 on the low-budget productions that can only just afford a colourist.
    You reference American Pickers, but that's precisely the kind of production that might use a GH5.  That and documentaries where owning the camera would be an advantage instead of having to rent an Alexa or C300 on and off over months, maybe with short notice if events unfold and they need to get to location ASAP.
    I guess this is where we start to question what your definition of a professional DP is, and if it includes professional indy film-makers or you tubers or vloggers, but it actually doesn't matter.
    We're not talking about if the GH5 is currently a major force in blockbuster Hollywood productions.  We're not even talking about if MFT has ever put an image on Netflix.  We're talking about if MFT is dead, and to talk about that we only have to talk about who is buying it.
    This means that we're talking about customers.
    Which means that it does include all the professional indy film-makers and you tubers and vloggers and even little old me shooting little Suzy blowing out the candles on her 3rd birthday cake.
    MFT was never sold as a high-end cine system.  Even when it came out it was for the size of production that couldn't afford to rent equipment or didn't suit the type of shooting schedule involved.
    This is where you've gotten me wrong.  I do see the signs.  MFT is a terrible investment.  So is EF.  If someone was asking on here if they should buy into the MFT system I would tell them to carefully evaluate their options.
    My take on the industry is that:
    Photography always had a FF superiority complex and smaller sensors are basically being eaten by smartphones, and now a Medium Format fetish is starting to emerge Cinematography had standardised on S35 but has recently started shifting to larger sensors The industry is in decline due to smartphones and less players means there will be attrition (which this thread is about) and considering the above going S35 or FF might be the 'safer' option MFT might be a good recommendation if the person asking had a specific requirement, such as a size/weight limitation, a cost limitation, or some combination of things (the way I do) I would also suggest that cameras and lenses are an investment, but you pay for them in $$$ and you get a return in images, not resale value.
    This seems to me like a relatively balanced and nuanced view.  Indicative of pros and cons, strengths and weaknesses, and context playing an important part in any decision.
    On the other hand, there's you saying things like "MFT is dead because companies will stop making the bodies and sensors."  Not particularly nuanced.
  4. Like
    anonim got a reaction from Super8 in Olympus sells Imaging Business   
    Live now, express yourself now. What's the point about just evaluating, calculating, being scared of lose or what will be better money future investment, instead of using any of marvelous option and sharing results? We are at the peak of possibility to do it - maybe mostly grateful to m43 offer. At some point we will not have capability or existence to do it - I know we all know it, but just to remind 
  5. Like
    anonim got a reaction from Zeng in Pocket 4K to Alexa Conversion   
    What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.
  6. Like
    anonim got a reaction from Jonesy Jones in Pocket 4K to Alexa Conversion   
    What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.
  7. Like
    anonim got a reaction from jackch2n in Pocket 4K to Alexa Conversion   
    What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.
  8. Like
    anonim got a reaction from wyrlyn in Pocket 4K to Alexa Conversion   
    What a honest and noble behavior - not just to admit similar quality, but also to further explain it. Hat down, sir.
  9. Like
    anonim got a reaction from ade towell in Panasonic GH6   
    But as far as I notice, cutting edge technology nowadays in respective field (and market) is always coming  first to m43 format and just with delaying time (not so non significant) to FF? Aren't you quite obviously in a proper or best topic - so not by chance - for such quoted preference - because of well founded expectation that GH6 will be first camera from some future best technology offer? Or, in another words - it seems to me that exactly weighting leading technology as particular aspect of interest, in last decade m43 is The system that regularly leads in that sphere and has to be in special favor for such primarily preference. That's why we are in GH6 topic, expecting that it will be the again the first with some combination (not just one isolated spec) of new technology offer with higher level of usability?
    (And btw, just because of mentioning of usage of vinyl recording as retro in the same time with cutting edge quality - in term of high(est)end quality (that was idea of quoting), vinyl recording is not surpassed with digital (at least at classic music field that I was sometimes called to judge)... Unfortunately I have no similar opportunity and experience with highest quality film based camera vs digital to suggest if it could be the same case, at least in some spec.
    Imho there are some limit in creative art that solely technology can reach because of nature of human perception, and after that limit it becomes obtrusive and need self-establishing propagandist ideology to be really accepted.
    At the end of the day there's no modern manufacturer that can approach near close to quality of Stradivarius or Guarneri violins. Even Steinway's pianos have been perfected about 15-20 years ago (to the last little drop, but actually much earlier) and there's no necessity nor expecting regarding further developing  without impossible destroying innate human audio perception. So, as far as I can see, we are in the middle of trend of serious democratizing creative opportunity, and it is at least one reason to feel privilege to leave today and to read such greatly elaborate research contributions as Kye's - that discussed how close we are in approaching natural perceptive limit for truly artistic usage - in topic about 3000e cameras.
  10. Thanks
    anonim reacted to kye in Panasonic GH6   
    Not ideology..  we're all chasing an image that's as high-end or highest quality as we can.
    The issue that we have here on this forum is that we are very out-of-touch with what techniques are used to get the images that we admire, from large budget productions, or from classic films anyway.  There is a lot of stuff that isn't spoken about online, and it kind of exists outside of the internet, or at least is hidden behind paywalls.  It's easy to spend a long time consuming content and interacting with people online without ever really knowing that this stuff exists, especially now with social media 3.0 actively creating echo-chambers.
    In order to move out of the realm of ideology completely, let's look at some data.  I'm going to assume that you know how to read an MTF chart, since you seem to value resolution so highly.  If you don't then I'd highly recommend you look into them, they're invaluable.
    One thing you may not be aware of however, is that lenses don't have a "resolution".  To say one lens is 14MP and another is 16MP is oversimplification to the point it's misleading, because it's not that simple.  The resolution of a lens will blur detail, which essentially has a softening effect, lowering contrast of that detail.  Yes, there does get a point where if the detail is fine enough then the lens has lowered the contrast of that detail to zero, but the transition from it being very sharp (ie, high contrast) to very soft (ie, low contrast) is actually a progressive one.  MTF charts show this softening effect by measuring contrast at varying lines per mm, lp/mm, and obviously the higher the lines per mm you use to measure, the less contrast a given lens will have.  This is an important distinction, as we will see later.
    Amongst the most popular workhorse cinema lenses are the Zeiss CP.2 primes.  Here is how they measure: https://www.lensrentals.com/blog/2019/06/just-the-cinema-mtf-charts-zeiss-cine-lenses/
    Here is one of the MFT charts:

    This indicates that with fine detail they have very low levels of contrast, ie, low resolution.  
    Here's a chart from the Xeen testing article: https://www.lensrentals.com/blog/2019/05/just-the-cinema-lens-mtf-charts-xeen-and-schneider/

    This is even lower resolution again.
    Lets compare a 50mm Zeiss CP.2 to a high resolution lens:

    The Zeiss is obviously inferior in resolution terms to the other lens by quite some margin.  Also, that other lens also happens to be an MFT lens.  
    So why are cinematographers happy with such poor resolution.  Well, there's two factors that I can see, one is that digital video has been low resolution historically, and the other reason is that cinematographers actually like lower contrast lenses and will go to reasonable lengths to lower it.  Remember when I said above that a "lower resolution" lens is actually a lens that has relatively lower contrast on finer details than another lens.  Have a read of this article: https://www.provideocoalition.com/the-secret-life-of-behind-the-lens-nets/
    This article talks about how cinematographers are deliberately putting netting / fabric between the lens and the camera, in order to lower the contrast of fine detail.  ie, to lower resolution.
    Some examples from that article...  A close-up with no net:

    Black sparkle mesh:

    Silver sparkle mesh:

    Cropping is indeed a thing now, especially on lower budget productions where multiple cameras or multiple takes with different focal lengths are beyond the budget, and in this case, people may now move to controlling image softening in post.  Film halation effects also do this.  
    To go one step further, softer light sources do this, especially for skin texture, which is where the desire for lower contrast is typically expressed.
    In photography there is a very strange set of behaviours:
    Insatiable desire to get the highest resolution lenses and the highest resolution camera and the highest quality image format (RAW) in order to capture the finest details, then.... Get the model to put on makeup (which lowers the contrast on larger skin features like lines, wrinkles, etc - it's called "concealer" for a reason) Cart around ridiculously huge soft boxes in order to smooth the skin (lowering the level of contrast across all detail sizes) Now we go into photoshop and we: dodge/burn with a brush (lowering the contrast of medium sized details) paint over skin areas with filters that lift shadows, or similar (lowering the contrast of all skin details) and then potentially we do frequency separation, where we literally seperate the frequencies, which correspond to small, medium and large detail, and then basically eliminate medium sized detail What is left after all this contrast reduction (lowering resolution) seems to be that we have the models eyes and hair rendered in glorious detail, but skin at detail levels approaching 720p with a Petzval lens.
    I'm not sure about you, but in the context of all that, I've kind of lost the logic as to why we need a wide angle lens that is 36MP wide-open (8K resolution).  They do exist, but go have a look at DXOMark and tell me how many lenses there are that exceed 30MP that anyone here can afford.
  11. Like
    anonim got a reaction from kye in Panasonic GH6   
    Actually, it was Aristotle in book 2 of The History of Animals.
    But for that (as famous ironical) quote is responsible B. Russel from the first/second page of his The Impact of Science on Society,  But in defense of Aristotle, it has to be said that final inclination of Russel was not quite true - because Aristotle indeed study that "teeth problem" - so is not example of non-scientific or, better, non-observational philosopher - but in rush derived his conclusion from animal world that he actually very deeply studied.
    (Moreover, problem about this quote looks different with keeping in mind that in further original text Aristotle mentioned so called 'wisdom-teeth' and slight differences regarding period of its maturity in case of male and female, as some foundation for his claim...  Sorry, that's some sort of second profession of mine :)
  12. Like
    anonim got a reaction from HockeyFan12 in Screw buying new cameras, after salivating over cine lens tests I'm spending real money on lenses   
    Since I had and thoroughly used whole sets of Leica R and Zeiss Contax lenses, maybe it's not too unworthy to mention that there are also pretty big differences between lenses in either of lines. Precisely, above quoted Leica R 35mm f2 is indeed, without doubt by far the best lens between R's (even not just at pixel peeping level), following, I'd say not so close with 60mm f2.8 and 90mm f2 - but such combination of sharpness and mellowness at the same time is unique even for R's. (Even every last revisions of famous 50mm's need higher aperture  to avoid noticeably even center softness on modern sensors.) So, comparing best of the best of whole line, with edge focal distance of an zoom, actually is compliment for Sigma 18-35.
    Interestingly, from my experience, if I have to choose similar unique character for one single Contax lens, I'd choose Distagon 35mm f2.8, even rather than Hollywood 28mm. (Also Contax 35-70 is surprisingly great, but for me not as much as its cpair Leica 35-70... Also very 'cinematic' SOOC result with modern cameras could be achieved with pretty underdog cheap, but mechanically brilliant R 28-70.) R's also have lesser focus breathing than Contax's.
    Another similar remark  is that R line is mechanically on level upper to Contax line, and age deterioration with proper care even with intensive usage is remarkable close to zero, which couldn't be said in term of 1:1 for Contax's (although they are at the same high league in comparison with often confection-type of modern lenses).
  13. Thanks
    anonim got a reaction from Emanuel in ...bedside table feature films of your current life   
    "An Elephant sitting still".... Beside profound and tragic tone and breathtaking (and technically quite indie-achievable) cinematography, one of the most exceptional usage of tracking (walking) shots for cinema/story language, as also totally natural lighting. About both these aspects, maybe to someone could be interesting interview with DOP
    https://filmmakermagazine.com/107340-at-the-mercy-of-the-sun-cinematographer-fan-chao-on-shooting-an-elephant-sitting-still/#.XllD1KhKgxv
    https://filmmakermagazine.com/107089-its-inspirational-that-he-creates-a-language-to-tell-a-story-thats-his-own-hu-bos-an-elephant-sitting-still-discussed-by-dps-ed-lachman-and-philippe-rousselot-and-critic-adriana-prodeus/#.XllFb6hKgxv
    https://www.imdb.com/title/tt8020896/
  14. Like
    anonim got a reaction from graphicnatured in Blackmagic Pocket Cinema Camera 4K   
    Short shot with Pocket 4k and Dzofilm 20-70mm Parfocal Cine Zoom T2.9
     
  15. Thanks
    anonim got a reaction from Emanuel in Blackmagic Pocket Cinema Camera 4K   
    Short shot with Pocket 4k and Dzofilm 20-70mm Parfocal Cine Zoom T2.9
     
  16. Like
    anonim got a reaction from thebrothersthre3 in Blackmagic Pocket Cinema Camera 4K   
    Short shot with Pocket 4k and Dzofilm 20-70mm Parfocal Cine Zoom T2.9
     
  17. Like
    anonim got a reaction from heart0less in Lenses   
    Dzofilm 20-70mm Parfocal Cine Zoom with Pocket 4k
     
  18. Like
    anonim reacted to Juan Melara in P6K to ARRI Alexa - Resolve PowerGrade   
    Hey guys, late last year I bought a P6K to work alongside the Alexa I normally shoot with. The goal was to have smaller, lighter camera that would live on a gimbal or could be used in situations where a full size Alexa wouldn't work.
    Knowing that both cameras would need to intercut seamlessly, I set about profiling the P6K using the same process I had previously used to profile the Alexa sensor and various negative film stocks. This process generates approximately 14,000 data points per camera. I then took the visual form of this data into Resolve and created a PowerGrade that accurately matches the P6K to the Alexa.
    After several requests, I've now packaged up the PowerGrade and added it to my store. You can check it out here: https://juanmelara.com.au/products/bmpcc-6k-to-alexa-powergrade-and-luts
    The PowerGrade
    At the heart of a PowerGrade is a custom 3x3 matrix that aligns the P6K's colours with the Alexa's. Because this is done through a matrix in linear space, the result is actually closer to a technical transform. The benefits this brings over a LUT is that it's non destructive, there's no danger of clipping or clamping data. And if you really wanted to, you could fully reverse the transform with zero loss in quality. This is because it doesn't break Resolve's 32bit float space like LUTs do.
    Probably one of the best features of a PowerGrade is that is fully editable and customisable. But since editing a 3x3 matrix isn't the easiest thing in the world, I've also included a Hue vs Hue/Hue vs Sat curve approximation of the matrix which is far easier to customise. 
    And because it's a PowerGrade you can see exactly what is being done by each node, which means that I'm not able to hide snake oil like you can with a LUT.
    The LUTs
    Speaking of LUTs, knowing that a lot of people actually prefer to work with LUTs, I also created a LUT version. It's the exact same transform but in LUT form.
    One of the biggest limitations with most LUTs is that they clip any information that exceeds the top of the waveform, so basically any value above 1.0. This is a big issue with BMPCC footage as enabling Highlight Recovery or working with any ISO above 400 pushes valuable information above 1.0, where it is permanently clipped.
    With this BMPCC specific requirement in mind, I developed the LUTs to accept and work with values exceeding 1.0. So no matter if you enable Highlight Recovery or push the ISO to 6400, the LUT is able access and process all the information extending above 1.0.
    Anyway, check it out and let me know if you have any questions or comments. I'm keen to get feedback from any users to see what can be improved or expanded on.
    Comparisons
    Here are a few comparison images shot with the P6K mounted on the Alexa's top handle. The Alexa was using a Zeiss Milvus 35mm, the P6K was using a Zeiss Milvus 25mm, then cropped in post to match the FOV. The Alexa images are untouched, the P6K images feature minor exposure adjustments only. Check the store link for more images.




  19. Like
    anonim reacted to barefoot_dp in Camera company staff dramas on GlassDoor   
    Swappable lens mounts? Over-sampled sensor (4.6K) for better 4K quality? Recording straight to affordable SSD drives (either via USB-C or an integrated module)? Cheapest camera to use V-Locks natively? One of the best viewfinders available today? Internal compressed raw recording that avoids Red's pesky patent? One of the best UI's of any digital cameras ever? Larger internal displays (though admittedly the one on the Pocket is not that good - perhaps even as bad in daylight as the one Panasonic put on the EVA1)? Prores recording to SD cards (appeared first on the Video Assist monitors)?

    It's ok not to like their products. They've certainly had their issues over the years. But it makes you look rather silly when you ignore everything they've done and denigrate all their achievements because of some grudge.
     
  20. Haha
    anonim got a reaction from Juank in Canon EOS R5 - What Panasonic, Sony and Fuji can do to fight THE 8K BEAST   
    Ajouter à la liste d'envies... envy
  21. Like
    anonim got a reaction from alsoandrew in Canon EOS R5 - What Panasonic, Sony and Fuji can do to fight THE 8K BEAST   
    My greatest impression - thanks to @Django - is that now we have option to check I wish it button at one of the official selling page. Moreover, that button being located somehow under title information about Being developed (without info when, no really what, except misty alluring descriptions)... It's so funny that, in all market uncertainty, giants started to behave at crowdfunding  manner or as political opinion polls before elections.
    When at march  2018. Blackmagic made their announce for 9 month in advance, it was for me like very cheeky behavior conceived to prevent buying cameras from other manufacturers (I noted that it will open Pandora's box of announcing) - at that time it was commonly to all (not just camera, but computer etc also) industry to announce full specs and fixed date 3-4 months ago, not so rarely even publishing preproduction tests or - symbolically - showing body under the naive, pure, poetic veil as Eva1. Do you remember those not far away days?
    Now such behavior, when Petty went out with preproduction model showing how BM writes to USB-C disk and full list of promises seems as fairy tale. Look at us - actually we are talking about our own assumptions build over assumed possibilities judged by Canon previous strategy... inside of topic that call for our assumption of what Panasonic Sony etc can do regarding these assumptions squared chaos. Imho little bit as specs-addicted-zombis in some Twilight zone 
  22. Like
    anonim got a reaction from kaylee in What Visual Effects Editing Software Do Most Filmmakers Use?   
    I think that everything starts with inspiration as motivation - so, my suggestion would be to watch tutorials about manipulation and effects in 3D space done with Fusion, Nuke, Flame (how to change background, tracking components, even how to make enough visually suggestive simulated 3D objects from 2D images via projection maps etc). Although great and best for fast 2D effects, AE is not as much suitable for proper 3D, but has tone of ready made templates, great plugins. Also, for everything higher than several layers/intervention, nodal structure or 'tree'  becomes more and more suitable.
    So Fusion for obvious integration with Resolve, Nuke still a bit more if you really plan to get a job into big industry players, Flame if you like to feel yourself as noble and elite member as it could be. UI logic of Flame is for me pick of the software aesthetic. Of course, there's also powerful Mistika, but it becomes, I'd say, nowadays more exotic than really differentiated.
    Besides, I found that nodal thinking in accomplishing 3D tasks is the most interesting encounter of logic and creativity in all software's usage. (If you wish to happily lost your mind in endless possibilities as, say, top chess players - than go into cosmos of Sidefx Houdini.)
  23. Like
    anonim got a reaction from Zach Goodwin2 in What Visual Effects Editing Software Do Most Filmmakers Use?   
    I think that everything starts with inspiration as motivation - so, my suggestion would be to watch tutorials about manipulation and effects in 3D space done with Fusion, Nuke, Flame (how to change background, tracking components, even how to make enough visually suggestive simulated 3D objects from 2D images via projection maps etc). Although great and best for fast 2D effects, AE is not as much suitable for proper 3D, but has tone of ready made templates, great plugins. Also, for everything higher than several layers/intervention, nodal structure or 'tree'  becomes more and more suitable.
    So Fusion for obvious integration with Resolve, Nuke still a bit more if you really plan to get a job into big industry players, Flame if you like to feel yourself as noble and elite member as it could be. UI logic of Flame is for me pick of the software aesthetic. Of course, there's also powerful Mistika, but it becomes, I'd say, nowadays more exotic than really differentiated.
    Besides, I found that nodal thinking in accomplishing 3D tasks is the most interesting encounter of logic and creativity in all software's usage. (If you wish to happily lost your mind in endless possibilities as, say, top chess players - than go into cosmos of Sidefx Houdini.)
  24. Haha
    anonim got a reaction from Django in Canon EOS R5 - What Panasonic, Sony and Fuji can do to fight THE 8K BEAST   
    Ajouter à la liste d'envies... envy
  25. Like
    anonim got a reaction from IronFilm in Poor Olympus E M1 Mark III video specs   
    It would be so nice if they could make some joint venture or so deal with Blackmagic. At least they share for the moment some influential ambassadors.
    It seems as that, for some reason, they are not allowed to put at least one 10bit (24p) recording option. Having IBIS that now reach gimbal level but with more natural movement,  being best waterproof in a whole with lenses (plus not so extremely expensive underwater adds) , Olympus could be very special and unique tool for indie's just with base 10bit solution.
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