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TomTheDP

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Everything posted by TomTheDP

  1. I have been considering the Scarlet as well. I do prefer the Epic image. But Scarlet's are so cheap these days.
  2. TomTheDP

    Panasonic G9 mk2

    How did you feel about the GH6 btw?
  3. I am really tempted to get the Varicam LT. I definitely think it is a slept on camera. I guess the Venice really just replaced it. It is sort of like an Alexa mini but with a 4k sensor, dual ISO, and a more run and gun friendly body.
  4. TomTheDP

    2024 Plans

    I just got the Sony FX30 and Ronin RSC2. Going to try to incorporate more moving shots to my narrative work. I will also say Viltrox has a ton of really good and cheap AF lens options. I am considering selling my Alexa and getting a Mavic 3 instead. Really go all out with the small compact approach. It's hard to part with Alexa skintones though. 🤕
  5. Yes film students who I assume many will be the next DP's and Directors. Not necessarily the people I know but just in that realm. I feel with the older generation it was trending more towards use the latest and biggest. Now things are more trending nostalgic. But that is just my random guess I suppose. I read a reddit thread where the author said that it seems like the Venice replaced the Alexa, this was a few years back. I have definitely not seen that. It seems like the LF is the major bread winner on every production. That is easily seen when I constantly look at the specs for a film on IMDB. It is almost always the Alexa mini or mini LF on newer stuff. I don't work in commercial but I have some friends that do and they say it is almost always Alexa. You have a few situations where there is a director who likes RED and they use RED, but it is rare. Now I am also coming from the perspective of someone who lives in the USA. Looking at american films and the commercial industry in New York City. I definitely think LA and NYC an obsession with ARRI. Detroit where I live there seems to be a liking for RED, especially in the music video space. ARRI is getting it's way into those spaces too. I know a production company here that was all RED. But they now have the Alexa mini LF and they seem to use it for their big stuff. Chinese TV is apparently pushing 8k hard so I imagine a most of their stuff will be using the Venice 2. There is Top Gun 2, but they probably would have shot ARRI if they didn't need the Rialto. Obviously it does get a lot of use but not like the Alexa. I am really curious to see if more Hollywood features and high end streaming shows will use the LF or the Alexa 35 in 2024. Assuming the strikes will have come to and end.
  6. TomTheDP

    Panasonic G9 mk2

    The G9 makes sense as you have the glass. I'd wait until it drops in price though. The GH6 is so cheap now used and is practically the same camera. It is the same with the S5 ii though, the original S5 goes for under $1000 now used. Essentially paying a grand for auto focus and prores on the S5X. Do they have sharpening and NR turned off tho? Panasonic usually has some pretty bad processing issues that are fixed in firmware a few months later. That was the case with the S1 and S1H. Both had really bad internal sharpening that couldn't be dialed all the way off. They fixed it a few months later.
  7. TomTheDP

    Panasonic G9 mk2

    Z-cam is developing a new M43 camera that they claim has a true 16 stops of dynamic range. This is more than what they have listed for their large format camera. I wonder if that sensor will be used in the GH7. Internal 444 and high dynamic range would make it an instant buy. I am close to buying the G9 MK2 as it already has everything I want though.
  8. I think it's a combo of the DSLR craze and new filmmakers coming from that mindset of using 35mm photography cameras. Combined with the only 4k ARRI option being LF. All the younger people I know gravitate towards film and more classic cinematography. I think things will trend in that direction more. Though I imagine a large amount of stuff will always be shot LF going forward. It is awesome to see ARRI continuing to be adamant on not needing more than 4k and S35. The original Alexa mini still gets a lot of use on higher end stuff. For the last couple years really big budget stuff is pretty much dominated by the Alexa LF. It will be interesting to see when and what productions choose the Alexa 35 over it.
  9. I had always noticed the HD was subpar coming from the S1H but maybe that is only in full frame mode. The GH5 HD looked just as good as the 4k. Which is something I have noticed when downsampling 4k to HD, even zooming in its hard to tell a difference.
  10. I have noticed that some very soft lenses designed for 35mm stills camera are too soft on M43 but look acceptably sharp on S35 or even better on full frame.
  11. I totally get shooting with a modern lighter setup compared to a full cinema rig. However FX6 vs FX3 is pretty silly. The slightly heavier FX6 is not significant enough to matter. Yet you get things like SDI which are pretty damn important. I bet the AC's hated the FX3's lol. What they really saved on is lighting when shooting at 12,800 iso. You can get away with much smaller lighting setups and utilize practicals a lot more. I'd not question their decisions to much as they successful made it happen. I did see pictures of 6 cameras A,B,C,D,E,F. I suppose 6 FX6's would be a good deal more to carry around vs the FX3. However I would still think you'd use the FX6 as the A and B cam, and the rest use the smaller setup. For daytime stuff you'd save a lot of weight and time using the internal ND's over a matte box. It looks like most of the movie was shot at night though.
  12. Things will change. The FX3 is still a far cry from an Alexa 35, but it isn't that far. A few cameras down the line and the different will be even less noticeable. Really their budget savings were in lighting. You can use really small lighting equipment when shooting at 12,800 iso. It feels gimmicky to me though. The movie was funded by Sony. Why didn't they use an FX6? Same sensor but you have SDI outputs and a more rig friendly body. Maybe because advertising the movie was shot with the more expensive FX6 won't sell as many camera bodies?? I am sure the FX3 was a nightmare for AC's to deal with.
  13. Perfect camera for vintage glass. You get the full 35mm field of view plus L mount. I am guessing it has the same dynamic range and capabilities as the S1H, which is fantastic, nearing RED Raptor quality. Only downside is the sucky rolling shutter.
  14. It will probably be more like 13 stops max, but will be interesting to see if I am wrong. It doesn't appear to be the GH6 sensor because it is 6k. Very interesting.
  15. Music videos have the most creative liberty. You can do a lot of funky stuff and it just doesn't matter a lot.
  16. It is that way for all forum communities. Facebook for instance has groups that are pretty popular and everyone goes there. Everything is definitely more watered down now. Facebook groups don't have the type of info this forum does. Less people buying cameras now doesn't help either. Not everyone needs DSLR when a phone does such a good job. I also discourage people from buying a ton of gear. From my experience it is just waste of money unless you are a making money on it. Even the people making money are usually spending too way to much on equipment that barely benefits them. It's one thing if gear is your hobby. However I have seen a lot of people that were artists and then become gear heads and lost sight of actually creating.
  17. This looks great man. Honestly if you exposed the subject any brighter I think it would look unnatural.
  18. thank you sir! this looks great!
  19. I also think the sensor matters a lot more than the codec. The Alexa looks great in Prores 422, but its still reading out at 14 bits and getting most of the dynamic range. One of the reasons I prefer prores to RAW is because you can downsample. This saves you data without losing much resolution. Downsampled 2k on the Alexa looks about as good as the full 3.2k resolution, but you use way less space. I have downsampled 6k to 2k on the S1H. The 2k side by side with 6k is almost indistinguishable unless you are really cropping in a lot. Shooting in 6k resolution is super data heavy. The last film I worked on we shot on the URSA 12K in 12k. Crazy data rates. I wish the Ursa 12k had an option to downsample from 12k to 4k prores. The in camera 4k RAW on the URSA 12K is noticeably less detailed than the 12k. Down sampled 12k Prores would look insanely sharp. Of course you can always shoot in whatever codec and transcode in post, but its just nice to get it in camera, throw it on your computer and it's ready to go.
  20. Honestly rent both and see what you think. There is a lot more to using a camera than simply looking at a dynamic range chart. I like the out of the box Canon looks more than Sony regardless of dynamic range. Plus there is ergonomics and all that to consider.
  21. The ones that don’t have clog2 kind of suck dynamic range wise. All Sony cams (mostly) have slog3 which can contain all the dynamic range the sensor can put out.
  22. Thanks! This was a Kodak 500T lut a DP friend of mine made using Dehancer.
  23. I think maybe they work better for weddings where you are sniping shots. I have to do focus pulls on dollys and such for take after take so more precision is required maybe.
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