Evgeniy85

Hollywood shoots ProRes for the most part, except for VFX plates. 

Hollywood shoots ProRes for the most part, except for VFX plates. 

Hollywood shoots ProRes for the most part, except for VFX plates. 

One of the best books that I read about color theory is The Art of Color by Johannes Itten. It can be found on ebay for cheap. 

Jesus Christ these youtubers are insufferable! The thing hasn't even come out yet but it already destroyed stuff? Gets a click I guess. 

Jesus Christ these youtubers are insufferable! The thing hasn't even come out yet but it already destroyed stuff? Gets a click I guess. 

Probably…
Back in the day, rangefinders for film photography were the thing.
To some they still are, but perhaps these days in a digital format such as the Leica M8/9/10/11, Q2/3 and the rangefinderesque Fuji X Pro-1/2/3 and X100 line.
In recent years, they have become video capable, often to the same level as their mirrorless ‘SLR’ style siblings, but are they the best tool for the job?
Probably not but will either work in a pinch or can be made to work…
I’ve had a string of the Fuji X cameras from the Pro1 to the Pro2 and all of the X100 cameras except the the V, ie, all of them except their most recent incarnations which are the most video capable.
I personally would not choose any of them for video work regardless of capability because unless rigged out, they don’t work very well ergonomically for video compared with their siblings, ie, I’d take an XH2 over an X100V as a video tool every time.
For stills though, either with a built in pancake or interchangeable compact lens system such as the X Pro line or the Nikon Zf, they are nice to use.
For stills, in my career, the two cameras I have enjoyed the most have been the X Pro1 and X Pro2, the second version fixing the somewhat tardy AF issues of the first version.
I never went to the 3 because though I would have welcomed a tilt screen, the one they went for was not for me.
So the Zf is a return to that style of shooting (stills) for me and with a fixed lens approach as another…and perhaps my favourite ever stills camera, was the original X100.
The 35mm focal length was/is pretty good, but 40 is better still. 12mp back in the day was OK, but 24/25 is far better. And it has excellent AF and all round operating speed including start up from cold. And then there is fantastic class leading IBIS and almost the same level of video capability as my S5ii.
Almost because it doesn’t allow for 6k shooting though technically could.
But would it make a decent or even good video camera?
Actually yes, for my needs at least and this is something I will be exploring in 2024.
In standard format, it’s ergonomically shit for holding out in front of you style video, but the Smallrig grip improves things considerably.
I don’t think it’s the kind of body to be using bigger zooms or longer lenses on, but I will be interested to see how it handles with my (adapted) Tamron 70-180mm when it turns up, but again, more from a stills perspective.
But as a pure video camera? Probably not. For one thing, it doesn’t really offer anything you’d want to shoot externally so whilst you could add a cage, handle, monitor etc, why would you? That would possibly be a case of forcing a tool to work better for you than it otherwise might, but more suited tools exist in the first place.
But compared with the Z6ii, it’s moved the game on in the AF and IBIS department so it sits between it and the Z8. Kind of. At least capability-wise, though not ergonomically.
I’m looking forward to using mine more. I never saw it coming but when it was announced ‘out of the blue’, knew instantly it would be a good fit for me.
There’s quite a bit of hype, both positive and negative, around it right now, but that kind of thing doesn’t influence me, - it either works for me or does not and for me, it’s the 2023/2024 version of the Fuji X100 I always wanted.
Criticisms so far…
Only one and that is I would rather it had a tilt screen than a flip out but understand why they probably went this route, - to try and please 2 markets.
Market 1 being the casual video shooter/content creator and Market 2 being ‘The Photographer’ who can turn and close the screen and use the viewfinder only and never use the video function.
It’s not for everyone, but it is for me.
Which topic is this again? Z8 I think… 🤔😉
Still sitting on my fence over that one…
It depends on if Nikon pop out a Z6iii any time soon and how that 70-180 works on my Smallrig gripped Zf, but otherwise leaning back towards the Z9 for the following reasons in no specific order:
A. It’s arguably more ‘pro’.
B. It’s undeniably ergonomically better and a better larger lens platform.
C. Better cooling.
D. Longer battery life.
E. Twin CF Express card slots.
The negative is it costs more than the Z8, is heavier and less discrete, but these compromises do not outweigh the sum total of A-E for me.

If anyone is interested how Nikon ZF compares to Z8 in UHD
 

Cinema is not about being smooth or representing reality, otherwise anamorphic lenses or color grading wouldn't exist. 

I've been wanting to play with digital bolex for a while. Hard to find free time and come up with the project that would justify the rental cost but I'm hoping to get one before they all disappear. 

I've been wanting to play with digital bolex for a while. Hard to find free time and come up with the project that would justify the rental cost but I'm hoping to get one before they all disappear. 

I've been wanting to play with digital bolex for a while. Hard to find free time and come up with the project that would justify the rental cost but I'm hoping to get one before they all disappear. 

It does. 
It's free and can be used as OFX plugin and as a standalone. 

https://gyroflow.xyz/

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.

 

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.

 

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. 

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

The false color is now available on Sony's via a LUT
https://www.cinematools.co/false

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. 

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. 

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

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. 

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.