Davide DB

3 hours ago, kye said:

It would be a bit silly though - the brand recognition was part of the value of the company.

I absolutely agree.
You buy and close a competitor company but this is not the case with Red.
The whole deal only makes sense if they keep the Red brand which is their gateway to cinema. 

2 hours ago, ac6000cw said:

There's some statistics up to 2019 here - https://stephenfollows.com/digital-vs-film-on-hollywood-movies/

Exactly what I was looking for.

It's a shame there's not a more recent stat.

Thank you

I was looking for market share data on cinema cameras but only found financial data.
Instead I would be curious to know what percentage Arri, Red, Canon, Sony, Pana share of film productions.
Some time ago I had seen a similar statistic restricted to Oscar films but I can't find it again.
 

But why, did you imagine something different? But really?
There will be a mix of technologies and Nikon puts one foot, or rather two, into the cinema market. Which is the whole point of the operation. 

On 1/28/2024 at 4:52 AM, kye said:

More M4K footage....

Cat video was apparently shot on the Voigtlander NOKTON25mm 0.95, but details are sparse.  The second video has no details at all, and the first simply had "#cat" as the description, but someone asked about the lens in the comments!

the amount of noise in these videos and its ugliness is staggering. Especially the second one. There is no info on the ISO value but it must be exaggerated.

The subscription model is the ultimate suck of suck and yet it continues to spread like a virus.

It's not hard for me to imagine, it's now a classic for the products of our photographer cousins. Adobe is absolute evil.
GoPro is very close to it and I would not be surprised if this model is proposed as a complement to smartphones and computational photography that will probably rely more and more on A.I.
Until the A.I. bubble bursts there will be money to pay for power to the huge datacenters, after which users will have to pay for their own little games.

https://locusmag.com/2023/12/commentary-cory-doctorow-what-kind-of-bubble-is-ai/

How much does a little "free" game like Insta Ace Pro's WARP AI cost in energy terms?

16 hours ago, ac6000cw said:

intoPIX and Fraunhofer IIS are the two major contributors to the JPEG XS patent pool - https://www.jpegxspool.com/ and https://www.jpegxspool.com/s/JPEG-XS-Patent-Pool-Licensed-Patents-01-Oct-2023.pdf  and https://www.tinynews.be/jpeg-xs-intopix-belgique/

From the article:

Quote

intoPIX's rise really began 5 years ago, when the company created its first proprietary compression algorithm called TICO, which was adopted by the world's leading companies. In 2016, the JPEG association, which is part of ISO, decided to launch a call for a new codec. The technology proposed by intoPIX was selected, and since then intoPIX has led the standardization process. For this effort, intoPIX last month received the NBN award (from the Belgian Bureau for Standardization) in the SME category.

Then I saw the patents registered.
But does the fact that it is under the auspices of the JPEG consortium mean that the implementation is free without cost?
 

13 hours ago, Andrew Reid said:

I don't know if it has already been mentioned earlier in the thread but Adobe has already put on hold support for it.

yes few messages ago

On 3/14/2024 at 1:56 PM, Danyyyel said:

because lets not forget, while the Z mount are the most adaptable lens mount, the Z lens are the least because of this.  

could you elaborate on this?

10 minutes ago, MrSMW said:

Same for a lot of us, ie, more idle chat and musing than anything.

Some folks immediately think that because you have an interest in such things, you are unhappy with your current situation and simply believe ‘The Next Thing’ will fix all your issues.

I don’t think that is so much the case here where a lot of our musings are more, “if I was not invested in X, I might be looking at Y or Z” and nothing wrong with that in my book!

And ultimately it’s all harmless!

My signature in another forum is: "your new gear will not make you produce any better art than you already do"

Maybe it was something someone wrote here years ago. I only i could remember, I would credit him 

18 hours ago, EspenB said:

Also, RED is run like a surf shop which now meets japanese corporate culture. What could go wrong.

hahahaha

Yes it's my fault. I was confusing S1R with S1H.

What I meant to say is that Pana will be coming out to market with a flagship model quite some time after its competitors set the standard of what to expect from a hybrid camera today.
So it's tough for Panasonic to catch up and maybe to add to that. A7S4 seems to be behind the corner.

Of course, mine are just musings at the bar with a beer in front of me. I have my GH5M2 and I'm just waiting for this blessed GH7 to come out to change the camera. PDAF is too important for my underwater and wildlife shooting. Panasonic seems to have bad timing in switching from CAF to PDAF in all its lines.
I would have already picked up a G9II if it weren't for the fact that an underwater housing costs 4500 euros so I'm taking my feet easy on upgrades.

Well I hope these are not the features of the future Lumix FF flagship.

The specifications for the video look very basic. 8K@30p 10 bit but only 4:2:0 internally.

It is economy of scale, baby!

I see nothing mysterious in this. Nikon just before the move to mirroless was almost given up for dead (it had just lost a very important piece of its business in lithography of electronic components). Now it's out of the picture, but I don't think its Z line has changed things all that much.

So in a very high-tech market with a very small (declining) number of units sold, it is increasingly difficult to find the funds for the necessary technological investments. Sony has a diversified business and can rely on revenues and technologies from so many other markets.

Red in my opinion did not fare any better. It remained a mystery to me how such a small company could make a living in this industry. Where was it getting the money for technology investments. By the way, in Europe Red was getting progressively gnawed off the market by Arri.

So big fish eat little fish. It's a win-win deal for both of them even while keeping their respective brands separate.

The exchange of technologies will be there. Even without fantasy Red by Nikon stickers or the like.

Nikon acquires several patents and technology (raw and global shutter) and enters the cinema market.

Red accesses Nikon's technology and more of its production capacity.

If in a few years we essentially have a Nikon camera inside a Red cube marked Red no one will ever know. Then of course there are a whole series of probable ripple effects in the patent war and on trade agreements with other brands.

33 minutes ago, kye said:

How long did the fight go on for?

I don't know exactly. Here some comments from the author 

https://waterpixels.net/forums/topic/715-fight-crab-rough-box-crabs-fighting-away-in-east-bali-lumix-lx10/

Underwater LX-10 in 4K (with less glass in front of the lens)

I know that video and the author well. yes it's shot in 4K.
To achieve such extreme magnification he used no less than three additional wet lenses (diopters) stacked together. AOI UCL-09 closeup lens, Inon UCL-165 closeup lens, Backscatter Macromate Mini closeup lens. It is inevitable that the image will degrade, especially at the edges. Especially the last lens is the result of desperation to increase magnifications. It is a GoPro-specific lens.
Surely with just one or two stronger lenses the quality would have been better, but one tries to make soup out of the ingredients one has 🙂
Still, the shot is exceptional for the ethology of this species.

The photography is very distinctive. Very documentary-like.

The underwater shots totally without contrast. It must be a stylistic choice but the underwater ones are unwatchable.

 The BBC sleeps soundly

42 minutes ago, Davide DB said:

 

the film (3 minutes)

On 11/7/2023 at 7:16 PM, Eric Calabros said:

Famous Sony footnotes kicks again:

Sync speed with "External" flash is 1/500. With base ISO of 250, its the same as 1/200 with ISO 100.

Where did you get this info?

This test shows it sync at any speed:

https://www.cameralabs.com/sony-a9-iii-review/#:~:text=While most modern cameras have,shutter speed of 1%2F80000.

About 8K, from Camera Beta:

The news about the previously registered Leica new machine has been updated: it is rumored that the new machine uses a 60 million pixel sensor, which can achieve 240 million pixels, equipped with 6.5 levels of anti-shake, equipped with phase focusing, a continuous shooting speed of 9 frames per second, and supports 30 Frame 8k video shooting.

I saw it almost twice because I have a friend who works at a theater where they were showing it and I went to catch it. The script is nothing much and it gets lost in the end. Just another movie.

Let's face it: it was discussed so much for a very simple reason: all independent filmmakers and the kids (including white-haired ones like me) je***ng off with their little cameras in the backyard thought: if he made a blockbuster with my own little camera, so can I.

But picking up on the thread title "Will The Creator change how blockbusters get filmed?" I venture to say that This was a whim of a very particular director (his resume proves it) but the film industry doesn't give a shit about the camera used for the film and nothing will change.

As I said 8 pages ago, if there is one reason the film will be remembered and may change the way these blockbusters are shot, it is the visuals.
The film is a visual treat. But not because of the camera or the lenses used but because unlike 99% of other similar films they chose not to create everything by computer but to use real locations as much as possible to which, in post production, the necessary modifications were applied (mainly for budget reasons i suppose). There are scenes shot in real Buddhist temples in Nepal, ruins in Cambodia, hotel, train station, and Bangkok airport, to which they added futuristic details. The futuristic lab you see in the trailers is a real nuclear accelerator in Thailand. the result is mind-blowing. The locations are real and fuck if you can see it.
The visuals have a great scope that the Star Wars productions look like South American soap operas in comparison.
In short seeing the total CGI reconstructions of entire landscapes in other much more expensive and famous films you get the impression that perfection has been achieved. Then you see this film and knowing the technique used (I would almost call it augmented reality) you realize that there is still a long way to go.

Here, in my opinion, this will be something that will change the approach of other productions.

Nine pages of comments... Who saw the movie?

52 minutes ago, gt3rs said:

To me the camera on the ronin is a Sony and I would guess is A7s III

You are right. It's a Sony. Could be A7SIII or R or A1. Without seeing the upper part, it's hard.