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mrtreve

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  1. If they work to teach you the architecture of the program then I say go for it. They won't teach you to art of being a colourist however... and I'll say that many paid, in person training falls well short of this too. I think once you learn the basics of how the program works, the best thing you can do is practice and find a community that shares knowledge. If you can, find someone better than you and sit next to them while they grade. I personally think whatever certification they offer is worth diddly-squat. They're teaching product features not experience and skill. However, it's
  2. Haha fair point. The upside is things tend to sail through postproduction because they look so nice. It's no fun being in editing jail, that's for sure.
  3. The DR of the Mini LF is definitely worthwhile. Because of the small size, these are used all the time on shoots with small-to-moderate crews. I used mine yesterday with nothing but 2 camera assistants. One occasionally jumped in with a poly board for fill, but mostly leaning on the DR to let me expose for the subject and letting the clouds etc roll of to where they may. It's a real get out of jail free card if you are thrown into challenging settings where you still need to work quickly and come out with nice results. The new smaller cameras are getting close though which is also gr
  4. Well lets be honest, they really need to deliver something great to maintain the £10K+ market. Very decent 4K+ is now the norm for under £5k. In my view the footage simply has to look a level above the current generation to tempt people to upgrade. It means they can't miss on codecs/dr/noise/sensor readout speed/colour. Everything now counts as the image on a 4th gen product has to be stellar. The processors also need to deliver with no caveats on output capability. If it does X frame rate, then everything has to work. No dropping proxies at certain frame rates or limiting
  5. Good point, it could be an add-on at some point. That would be great for people who need it. It's kind of rare that any hardware add-ons are ever released after the fact though. They're usually caught up in making the next product. I agree, third party evfs never really work on cams this small.
  6. You can see how this product came into existence. The internals of the A7S III gave a good framework for a more video-focused design, but all of the meaningful additions edged the price too close to the FX6, so it ended up being a tarted-up A7S III. There is something cool (but superficial) about having a fleet of the grey Cinema Line cameras... it sort of suggests they all play nicely together. Even though there's really no difference to the A7S III. It's just a real shame they had to lose the EVF. It's one of the best things about the form factor.
  7. It'd still be like 2 stops shy of the Alexa if the Alexa is having a bad day. Blackmagic do great stuff, but it's not like it's a Jesus camera. It's a fairly standard sensor in a box with some decent codecs. Everyone selling Pocket to Alexa luts are snake oil salesmen who prey on this kind of wishful thinking.
  8. I think it's a bit overstated how good the highlight rolloff is on the P6K. I think the colour science is a bit Arri-like but the sensor is nowhere near as capable of holding bright highlights. I will say that from my limited testing, the C70 is no slouch due to the DGO sensor. I can probably test it at some point if I rent a P6K. It'd be interesting to see where they all land.
  9. I think the new features are nice. It's easy to nitpick on certain things but you have to remember how cheap it is. The addition of better battery, screen and EVF show you that they really want people to start using these without extra rigging. I wonder how successful this will be. I suspect a lot of people over-rig the camera for fun as much as they do to to overcome practical problems. The gradual bloating of this line shows that perhaps the design needs a rethink at some point. It was quite far from being a pocket camera with the 4K model and it's only gotten larger. Perhaps
  10. I've got a C70 on order and might get an R5 for photos and occasional video. I'm going to try not to chop and change systems as much as I have in the past, just trying to keep things simple. I've actually currently only got one cinema camera and one mirrorless camera, so I'm not doing too badly from a hoarding point of view. I'd also quite like a new MBP with Apple Silicon when they release the larger ones. That quite a lot to spend in all, but I suppose the theme is it's workhorse stuff and not exotic things like anamorphic lenses or buying 3 different mirrorless cameras on a w
  11. Keycard all the way (take a picture of it and store it in the cloud / your email). That way you can activate on any computer if you need to. I'm sure they also got bored of dealing with people who lost their dongles, so it's easier for everyone. I've been enjoying using Resolve to edit in due to the performance and obvious superiority in colour grading. I still use Premiere for certain types of jobs (e.g. lots of graphics, lots of audio tracks, linked After Affects comps etc). I guess their argument is you use Fusion and Fairlight for that, but that's a real learning curve to face wh
  12. I've got one on order as it ticks a lot of boxes for me. I agree with everyone criticising the awkward form factor of the older Cinema EOS cameras. It felt like they had gotten better over the years and the C200 size and shape is quite reasonable, however this feels more like the final form of this line. If they can cut size and weight, they should. I used to travel a fair bit and breaking down a C300 or C200 into a carry-on Peli was always a squeeze. It's funny how they tried everything out along the way, including the monstrous C700, in order to come back to something very similar
  13. Sweet. I've never made a product, but could the copper part be sent to a manufacturer as a prototype? I would happily use this mod - warranty be damned. I probably wouldn't even bother with a fan as it'd likely cover my needs as a B-cam on its own.
  14. I do think this is real. When I see RED images I always think they look so thicc (sometimes not in an entirely pleasing way, but thicc nonetheless). Perhaps this comes form the trend in flat grades that came about with the widespread adoption of log in digital cameras. Then you couple that with the poor 8 bit codecs that break when you put contrast back in past a certain point, meaning people with Sony A7's etc got used to putting out thin or muddy looking images. Then I think you can lump in camera inertia, rolling shutter & motion cadence. I think these can add/subtract the fee
  15. I did notice that the C200 raw had less artifacts than the C300II X-AVC. I would shoot them side by side when I owned both and the CRL codec is much cleaner when you really dig about in Resolve. However the performance of the CRL codec in Premiere was always pretty bad. I'd always end up transcoding so I could work smoothly. I used my C200 for the first time in ages last week and my new Mac Pro still struggled . I'm guessing this is an Adobe thing? The main thing I like about the Canon RAW is that if you're happy to transcode, it's more or less writing a fat prores file to the card
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