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Everything posted by barefoot_dp

  1. Keep in mind that run-n-gun does not always equate to small and light. In fact, often quite the opposite as more weight = more stability when shooting handheld. So often those run-n-gun shooters don't mind the weight that comes with a proper cinema camera. Funny, I'm the total opposite. I want my footage to look obsolete in 5 years, that way the client has to hire me to re-shoot the exact same thing. The big problem there is patents. You can't just take the Prores Raw (or some other similarly compressed format) and put it inside a camera, because Red's patents d
  2. Oops, double posted.
  3. Unfortunately you find yourself in a small niche that not many of the brands are likely to cater to (due to my previous comment of it making the products prohibitively expensive/complex for the majority of users). I think you're likely left in a position where you need to decide whether you actually need the things you think you do (ie raw, 10-bit) for what you're doing, or whether they're just imaginary goalposts you've put up. What exactly is it that you think you're missing from the current generation of cameras, that would be better if you were shooting raw?
  4. Doesn't Sigma kind of do this with some of their telephoto lenses? They have a 'Sport' and a 'Contemporary' version?
  5. This is why you should buy cinema cameras, not photography cameras. Can they put those things in the cameras for an extra $1000? Yes, absolutely. But why would they when they majority of their target base won't use those features and don't care enough to pay the extra $1000. I see a lot more potential for Panasonic to sell full-frame cameras than m4/3. The Panasonic full-frame system has only been around for a couple of years - and already I'd say it's got much more of a stronghold than the m4/3 system did two years after it's introduction. Plus, with all the Youtubers push
  6. I'll just add that I am in no way looking down on people who aren't in the 'actual' film/commercial industry. Most of the time I am not there either, and I'm doing corporate work or branded content for local businesses. The resources and gear available today make it possible to create amazing content even as a solo shooter. However when it comes to improving, those times when I do step in to a larger crew - even if it's just a 1 day TVC shoot, are without a doubt the times when I learn the most.
  7. In the example I gave I'd be pulling focus. You said I can see when someone else (ie the operator or DOP) miss focus.
  8. Yeah... again, I think you've kind of missed the point of my posts. My point was that, even as a DP, still working as an AC lets me see how other people do things, where they were more efficient or more effective, and where they were less so. There's many ways to skin a cat and if you get caught up in your own ego and think that your self-taught way is the best and only way, then you're severely limiting yourself. You can go out and shoot endless films by yourself but if you're doing the same thing over and over and over you might just be getting better at doing things in a less effe
  9. I think you've both missed the context of my post which was that working as an AC does allow you to see the mistakes in real time. I wasn't talking about watching youtube or reading blogs to hear about other peoples experiences. I was talking about being there, seeing the decision making process (even being a part of it), seeing the outcomes on screen while you're pulling focus and again at the DIT station, and seeing the final edit later on. You feel the weight of the mistakes because they impact your role as well (eg the DOP wasted time on one shot, so now you've got to work twice as fa
  10. I don't care who makes the sensors, I just care about whether I can get a good image from it. If you can't get a good image from the current generation Sony cameras ("good" meaning it will suffice for most professional work), then the camera is not the issue.
  11. Watching other people's mistakes is a great way to learn. Much better than making those same mistakes yourself.
  12. Of course you're going to get better at something if you're actually out there doing it, rather than examining endless resolution/DR tests or arguing about film theory or which camera has better colours science online. Rinse & repeat. Rinse & repeat. That said, the jobs I learn the most from are the ones where I'm the 1AC. It's much easier/quicker/less painful to learn when there's someone better than you to learn from (of course this means checking your own ego in at the door).
  13. If it's putting money in my bank account, it's not redundant.
  14. What a f**king roller coaster. I was sitting in a broadcast truck editing packages for an international surf event in early March when the first Gov "recommendations" came through. At about 10am, producer comes in and says "we just got word, we're wrapping this today to be safe", which meant they ran through the final 2 days of the competition in one and had about 14 hours live on air that day. Driving home the next day (8hr drive), every time I pulled over and checked my phone, another Gov update and another job cancelled. $80,000 of bookings gone by the time I got home. 2nd child o
  15. barefoot_dp


    I think this is my biggest gripe with these types of charts: They actually end up putting opposites together in some cases. Eg, if one filter is an equal balance between high contrast and high resolution, and another is an equal balance between low contrast and low resolution, then they would both be mapped in exactly the same spot (ie halfway between the contrast and resolution corners) even though they do the exact opposite of each other. This is why I always find these charts so confusing! But hey, they look pretty!
  16. barefoot_dp


    I can never understand these types of charts haha. The Ultra contrast and Low contrast filters are right next to each other in the contrast corner, so what does that mean? Shouldn't the low contrast be mapped as far away from that corner as possible? And do the "resolution" and "contrast" corners mean "your image will remain sharp/contrasty with this filter" or do they mean "this filter will effect your resolution/contrast so it will be soft/milky" Filters are confusing haha.
  17. barefoot_dp


    Don't believe everything you see on the internet! They've even added digital lens flares to the "before" images. The picture with the sun in the frame would be exactly the same in the before/after in real life, which shows that not only are they flogging junk, but they don't even understand what their junk is supposed to do! Yes, please tell me more about how I can digitally add back the shallow DOF and motion blur that is lacking if I shot outside at f11 & 1/400th without ND's! As for diffusion filters, it's generally much faster (& therefore cheaper) to get the effe
  18. Can I spend zero dollars FOR someone else to do it?
  19. I'd steer them towards either a C100 or an FS700. Either of those cameras are a steal for the prices they go for. They'll save money on audio and ND filters because it's all built in. And they'll learn how to use all of that stuff properly with minimal fuss. FS700 is more versatile with lots of frame rates, option to record 4K externally, etc. Canon has a better "straight out of the box" colour profile but is limited to 24/25/30fps @ 1080p. C100 also has auto-focus if it's had the firmware update, but learning to focus manually is best for any cam. If they're going the budget ro
  20. Recently I thought about picking up a DSLR just for stills, as I've got plenty of EF lenses already. I do have an a6400 purely for use in a surf housing with the kit lens, but I don't like the idea of investing in a whole new set of lenses just for the occasional times I want to take some photos. I had a look at what used DSLR's were around, and was astounded to see that Canon 60D's are going for more now than when I sold mine about 6-7 years ago. As for cinema cameras, the current used market makes a pretty good case for not buying a Red. All those folks who dropped $60-80K+ on a Re
  21. The different contrast levels are probably due to data vs video levels. Not sure if your particular camera lets you choose which to use over HDMI, but if not you can fix in in your NLE. Resolve has an option to swap between video or data levels, and in Premiere you need to add a fast colour corrector with output set to 16-235 before you add any other colour effects. You might not always notice the difference when you're editing, but those times you do, you'll be very thankful. It also helps you reach minimum requirements for a lot of broadcasters and agencies which means more work opportu
  22. I guess that is essentially the space that cameras like the DVX200, CX350, UX90 and Z150 fill. Camcorder style, 1" sensor (or 4/3rds for the DVX200), with zoom lenses covering around 9-120mm. Of course they generally lack things like raw, log, 10-bit etc, but that essentially comes down to market forces. Anybody who cares about maximum image quality is also far more likely to favour a larger sensor cinema camera. You might be in the minority who feel otherwise. Red cancelled their original Scarlet concept ("3K for $3K") for similar reasons - once DSLR's started recording video, they
  23. No, it is 120fps. If you play back the 60p file, it will be at 50% of real-time speed. If you interpret it to 23.976 fps then it will play back at 20% of real-time speed. Not sure about the a7sIII but many cameras let you choose what the files get saved as - so if you don't want to interpret the footage every time you import it, you might be able to set the internal file to record at 23.976.
  24. I think you made a good choice - a solid set of sticks will last for decades and might never be redundant. LED lights, however, are changing so fast that there might be something better available for half the price or even less within a few months. I'm seeing lots of listing of people selling 300D's and 120D's at the moment, trying to recover some value before all the latest LED releases become available and the used prices plummet. It's hard to justify putting several thousand dollars in to a single light right now.
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