Evgeniy85

5 hours ago, newfoundmass said:

My biggest issue with gyro stabilization right now is the increased processing time it adds in post. It's not ideal for fast turn around and long takes. BUT the potential is HUGE and could be a total game changer, especially as processing power in cameras increases. We're not that far away I bet from it all being done in camera, which would be huge. 

If you're in Resolve, you can use Gyroflow. You don't need to create new media, just drop the effect, save the preset and apply it to all clips in a timeline. It might involve some tweaking but it's much faster than using Catalyst software.

 

Too many options these days.

13 hours ago, gethin said:

I just shot my first couple of things in nlog.  Can anyone point me to alternative luts I can check out?  The nikon lut is contrasty, and the skies are a bit fluro-turquoise.  I've just had a go at grading it myself without the lut and I need something in-between mine and the nikon one.   I'm in premiere for now.  I've tried turning down the intensity and tweaking the HUE/HUE controls in premiere but its a bit limited. 

https://www.cinematools.co/nlog-z9

The false color is now available on Sony's via a LUT

https://www.cinematools.co/false

Having music constantly playing over dialogue also didn't help. 

1 hour ago, IronFilm said:

I don't like your odds @MrSMW!

Benefits from having a physics degree to follow along with it? 

I don't think so.

It was hard to follow because there were a lot of characters, and it was cutting between different timelines, which made it hard to follow. I was expecting a different movie. 

I watched Oppenheimer yesterday and I wish I went to Barbie.

Half joking of course but the movie is very long and hard to follow at times. It looks and sounds great, as expected but it could've benefited from tighter editing. 

Only union productions are affected, everyone else can continue working. 

On 7/17/2023 at 8:43 PM, kye said:

High budget feature films / flagship TV series
These have the budget to use high resolution RAW capture, high-end cameras and fancy lenses, significant budget for professional colour grading, to promote the film they get lots of media attention and interviews etc.  The process is overseen by professional folks who know how to extract every ounce of quality.

I worked on medium-sized productions and have friends who worked on high-budget shows for HBO and Netflix. They only film RAW for VFX plates and everything else is in ProRes. 

All manufacturers LUTs are pretty bad but Nikon is on a different level of bad.

I'm using Cinema Tools for both Nikon and Sony and quite happy with them. 

I was hoping for sub $1000. Silly me

6 hours ago, gethin said:

I bit the bullet and bought a z8.  I've done a bit of testing and couple of shoots.  First impressions are not great.
I need to do some more scientific testing this weekend, but the highlight rolloff and lack of dynamic range make the 10 bit h.265 look worse than my 8bit z6ii.  

H265 looks worse than ProRes HQ or N-RAW but only in terms of texture, the dynamic range should be the same.
I haven't done any side by side tests but it looks like the DR in N-log is the same as on Z9 or Z6II.

Are you shooting in N-log? What are you using to transform the footage to REC709?

The official LUTs are pretty harsh, even the updated ones for Z8. That might be your problem. 

1 hour ago, PannySVHS said:

My two cents. (five cents for the jar box for phrase dropping:) I don´t see anything impressive image wise. OG post from 0.57 to 1.02 looks gruesome, other shots still just fine compared to well shot 8bit 709 HD on Lumix and other old hybrid cameras. Above example shows very nice locations and light and sufficient framing and shot design, though not far off from being generic imho. So, well done by the creator. Nothing less but nothing more neither.

This is the so called film look without a costly plugin. It was shot on an almost 7 years old pocket camera, a Lumix LX15 in Rec709. To my eyes this is very beautiful and a nice achievement for out of your pocket cinema verité:

 

 

There's a bit of post-processing involved in this video too but I do agree it does look great and miles better of other examples posted in this thread.
There's a difference between a DP and a person who likes tech and pretty images. 

Had Z8 for a spin and it's such a great camera.

I wish more companies will go for internal RAW/ProRes recording because h265 doesn't cut it. 

Looks pretty good to me. 

I'm still a fan of catalyst browse stabilization, although I hate the workflow. 

4 hours ago, markr041 said:

S5 is great. But, an APS-C crop in 4K 60p and really bad AF - it loses focus, and it goes back and forth. Also the 4K 60p crop is in S5 ii and iix.

Do you think that the mic quality is good enough on ZV-E1 to not use an external mic? 

5 hours ago, newfoundmass said:

If you're dropping $2200 on a camera you probably should be able to in 2023.

 

There are plenty of cameras in that price range to choose from. The main perk of this camera is the size and that comes with limitations. 

@TomTheDP interesting.
That's a very specific niche though, general audience is still watching mainstream films for the most part. The last microbudget film that was popular and made a lot of money was One Cut of The Dead as far as I remember. 

10 bit is a must if you shoot in log, in normal profiles you won't see a difference. 

Do people expect to film 2 hour interviews with it? 

But who watches these films? 
I mean it's pretty easy to distribute your films these days. A bunch of stuff that I worked on is on Amazon prime and Apple but nobody watches those and I don't think that they made any money.