Jump to content


  • Posts

  • Joined

  • Last visited

Everything posted by D4cl00

  1. This right here. I am not enjoying your rants, Andrew, because (a) it’s a losing game, (b) makes you come across as bitter and (c) doesn’t seem to be your ‘groove’ and doesn’t accentuate your differentiation and strength. Whether you are right or wrong isn’t the point; you can’t change the rules of the game and it doesn’t make for entertaining content. In my opinion, your strength is the intersection point between technology and creativity (I would love to see more of the latter to balance the tech side). You aren’t competing with bloggers, YouTube’s or even cinematographers if you create your own category. And that doesn’t mean you can’t voice a strong opinion as part of your concept. I just would rather see you fight FOR something instead of AGAINST.
  2. Most people don’t know what product they need. They have a problem or goal and the product needs to solve that. Their perception of what the right product is, is often what’s the gold standard (and most of the time a conservative concept that hasn’t essentially changed), until a disruptor changes everything - and revolutionizes the entire industry with something completely new. It’s like everyone wanted a Nokia, until Apple showed up and Nokia was a goner. The problem with Sigma is that they may have created some original, daring concepts here, but it’s not revolutionary at all. It’s just some new ideas within the same old paradigm, the same form factor. Not worth going for. People then just see it as a risk and stay with what they’re used to. The entire traditional camera industry bores the crap out of me. Nothing happens. Just iterations in a shrinking market.
  3. This is a really good point and is certainly the case for me. I don’t really add a lot of “new classics” to my collection but often look back at the ones that I discovered at a younger age, which I’m now showing to my kids, and makes me excited all over again. It is definitely a part of our perception of “things were better in the past”, even if that’s a highly subjective. For me another part is “polish”. Filmmaking and post-(production) technology is so advanced right now that I look back at the craft of filmmaking from times before those advancements. The unpolished editing, camera motion/lens use, practical effects etc, are all specific. constraints that I really love and add to the “rawness”, especially in 70s to 90s films.
  4. One of the other issues not mentioned in the article I think is that writers don’t have the time to properly marinate their screenplays anymore. Quantity above quality. A past example is The Matrix trilogy. The first one had very smart written dialogue and references and fantastic action, the other two movies which had to be created under the weight of the success of the first movie, tried to cover up ‘smart’ with ‘deep’ philosophic nonsense and pointless chase scenes. No single scene in Matrix 1 was unnecessary. I feel a lot of what’s being created today falls into that last bucket, writing wise (which trickles down to direction, time for actors to get in character and editing). Luckily there’s still a lot of true quality out there, but even that starts to feel unimaginative. I compare it with jazz or a complex wine that requires an open mind and acquired taste, versus sterile smooth jazz or a coke. There’s even the problem of what I call “fake creative authenticity” for a lack of better words. Take the show “The Boys” which deliberately delivers a quirky, weird and violent show, but you can just feel it has been choreographed by marketeers. It’s incredibly well produced, slick, but for once I would like to see some raw edged, unpolished parts and a director and writer who truly don’t give a fuck. They’ll have an incredibly hard time realizing to a larger market. The best way forward in this industry is to take something people are comfortable with and mix it up or add something to it - but that’s marketing choreography
  5. I would have agreed with you early 2000s, but not in 2021. You are assuming cinema shooting is still done the same way. It’s not just a marketing trick, and also with AFC, it would sell much better to that “YouTube audience” (which if you like it or not, has become the ‘standard’). “Cinema” is not a static definition. Even Blackmagic positions this as a camera for a wide range of uses including interviews and documentaries, for which continuous AF is terrific, especially when the subject and camera is moving, and the crew is very small.
  6. The problem I have with Blackmagic Pocket specifically is the lack of AFC which I feel is important to have nowadays. Most of us won’t be shooting with a full crew and focus puller. I had hoped this camera would have been equipped with Lidar or another sensor + the software algorithms to keep subjects in focus while shooting. I would gladly have paid $500 more for this.
  7. True, and I have that background myself having founded and run a games studio for over 13 years. However, filmmaking’s strengths (to me) are about human connection, either fiction or documentary. You have to spend a lot of money to copy that when working in real time engines, which are in return obviously great at interaction and non-linearity. To me both can be placed on a Venn diagram where the overlap is cinematography and storytelling, but outside that overlap have clear strengths.
  8. All I have to say as a Dutch guy - kudos for posting Two Unlimited
  9. I think Nolan is hypocritical in respect to this situation. (And somewhat overrated as a director, but let's set that aside) https://io9.gizmodo.com/oh-this-is-rich-christopher-nolan-1845833185 Ps: I had the opportunity to work with him on some games related to his films, and he's a really nice guy. I just didn't care about his later work myself. And honestly, I find your article very sour and negative, Andrew. Plenty of awesome talent out there. The fact they are developing for the "small screen" has nothing to do with their creative abilities. But if you cherry pick only some really bad ones for your article, it sets a very negative toon unnecessarily.
  10. I’m actually not sad about overpriced square footage and thousands of people walking around in noise halls eating crappy food. I can watch a product intro just fine on my computer and wait a month to see product reviews from sources I trust. I rather would like to see more community interest group events - actual users and subject matter experts. Socialize, learn new things with the tools we purchased.
  11. It lacks certain design aesthetics, values. It is the layout, grouping, hierarchy, how and when you expose information, contextual aware design, affordance, terminology, interface design etc that is wrong. Different font sizes, pixelated menus, overload in terminology, too many irrelevant options, no clear understanding of the user, etc... Japanese companies often are “tech/engineering first”. Their engineering mindset echoes in the user interface and user experience. Which is weird - look at Japanese gardens, modern Japanese interior design and architecture; they are minimalist and balanced. Look at their cuisine; minimalist, simple yet rich, delicate and artful. Almost the opposite of tech hardware design. An evolution of ingraining their (beautiful) cultural design values into their cameras still needs to happen. It requires their companies to be structured differently and I fear their traditional org structures and formal approach prevents them to keep up with modern times.
  12. The problem is that these companies usually don’t have Design Thinking processes and user experience designers on board. They have technical engineers on board who may survey end users for feedback but the lack of these essential roles prevent from any real innovation to happen. To me these cameras look exactly the same as in the 1990s, except the recording media has shrunk. That’s really a sad state of affairs.
  13. The irony is, the reason why it’s so impressive is because of that closed system. If you control all variables, you can create the perfect equilibrium. If everything‘s open, you don’t.
  14. That is great as it’s unbearable on my MacBook Pro 17” 2017. The M1 GPU might be relatively slow (2.6 TFLOPS), but it’s acceleration like this that may lead to a completely different real world use, unless I ofcourse would focus heavily on 3D. I’m also curious how much their ML acceleration will be used over time and how this will impact our work.
  15. I’m actually more interested in how the M1 performs when importing video and NOT transcoding to Prores. It would be great to save space on my drive by just having H265 files.
  16. I think Panasonic will jump straight into LiDAR in combination with their existing DFD technology, and I wouldn’t be surprised this is going to be introduced next year. LiDAR is free from nasty Sony patents and I have seen really impressive results utilizing this technology so far. DFD will remain really important for ‘understanding’ the image; LiDAR is just ‘depth information’ so they’ll work together to provide (continuous) focus.
  17. Why was compared against the Sony A7 III instead of their latest A7S model?
  18. Ps: Sony just actually announced the new A7S. @Andrew Reid go check sonyalpharumors.com
  19. Okay, too bad, not buying this camera. Why offer 8K if it's overheating and creating storage issues that force me to throw away source data? Why didn't they license ProRES or BRAW? It's like building a Tesla with a huge battery and amazing performance, but then equip it with 1" tires.
  20. I would add the following to the list: 1) Considerably improved user experience. Japanese manufacturers need to hire user experience designers to completely rethink their menu systems and visual design, greatly simplifying the user interface whilst only exposing detailed settings when the user desires to. Think about what the user wants to achieve (“do you want to film today? Okay, removing all photo related settings completely”). Blackmagic has done a great job of that (ofcourse they have an easier job since they don’t focus on pictures). Think about the pleasure of filming or taking pictures, and build UX + device intelligence around it. 2) Finally implement an electronic ND filter, as well as a setting that prioritizes keeping the same shutter angle while the ND adjusts automatically to make that happen, with the users given f-stop.
  21. A first step for Sony could be is to ask: “do you want to film or take pictures”? This could be a hardware switch. Then the UI only shows what’s relevant to that choice. Things like that. Rethink the bloody UI from the ground up. Involve UX designers who aren’t filmmaker experts, involve filmmakers and photographers as subject matter consultants. Keep engineers away from UX.
  22. Why does Sony not realize that throwing more pixels and bells and features at it isn’t the right way to innovate anymore? I’m more enthusiastic by Sigma’s recent announcement. Although the specs aren’t as good, it looks as if they rethought the camera. What do you want to do? Shoot film or photos? One dial, the interface adapts and remains minimalistic. Sony: one mess exposing everything. Aesthetics, shooting pleasure, ditching features and ignoring conventions, looking at what people want, that’s what matters. Sony needs a stronger product positioning team and hide the engineering from its end-users.
  • Create New...