Davide DB

The cinematography of the frogs part is stunning

Hi all, Is it a R5C used here? A C70? O neither of the two? ISO 12800

I agree with what you write, and even here in Italy I see that rental services are focusing so much on Sony FX and more and more independent productions are renting Arri. But for what is my passion (underwater documentaries) and nature documentaries I see that REDs are still the most popular. Even looking at the BTS of big productions (BBC) in nature footage there are almost only REDs. I am not very experienced but maybe because of more availability of high frame rates. BTW I read that the latest episode on the African jacanas was filmed with a remotely controlled "Z-cam". BBC rarely mentions camera models and they are usually only seen in BTS footage. https://www.bbc.co.uk/mediacentre/mediapacks/planet-earth-three-episode-4-freshwater

I see that in the reviews everyone uses the 12-35 or the 12-60 or telephoto lenses. I'd like to see how it performs with older lumix lenses. I use the 20 mm F1.7 and the Leica 45 mm F2.8 macro a lot. They have terrible motors and are very slow in focusing. I don't know how they will behave with PDAF and whether Lumix has released FW updates yet. If they haven't, they would be junk.

In the meantime, in a galaxy, far, far away... https://ymcinema.com/2023/08/24/panasonic-develops-a-variable-built-in-electronic-nd-filter/ I don't know if the choice to go on a larger "uni-body" could help to have this feature on all lines... I think this feature could go live on a next S1H II

My GH5MK2 uses the same battery. No problem so far. After two weeks it loses maybe a 5%. My Wi-Fi is always off. never used. IIRC the camera creates Wi-Fi network of his own, does not connect to your Wi-Fi. BTW if your camera is connected to your WiFi network you should see it on your home router admin page.

Regardless of Petapixel, what's your feedback? GP11 submerged in a 10°C water (so no overheating problems) lasts about 1h filming continuously at 4K@50p

Which version do you have?

Yes, a robbery indeed. it could have been a simple FW update. I'm using several GP11 for scientific diving and an improved (real) battery duration would be nice. 10-15% doesn't worth it.

I'll stick with the 11s then. Thanks

In the meantime, somewhere in Japan... https://www.43rumors.com/ft3-new-gh6-successor-with-phase-detection-af-is-in-the-works-and-will-be-named-gh7-and-not-gh6ii/

https://petapixel.com/2023/04/12/sony-fx3-and-fx30-get-anamorphic-de-squeeze-dci-4k-at-24fps-more/

This film is a 20th Century Studios > Disney production so Sony competitor. CGI is by ILM, Industrial Light & Magic, same owner.

@markr041 how does a battery last? It is true that it's doubled from GP11?

I'm not a pro. On screen it is very pleasing. Many scenes shot at night or otherwise with a dark effect. Flares very very controlled compared to other films where the flash effect is almost sought. Unfortunately, the weakest part is really the story. Trite concepts, dialogue that is at times impractical and some holes in the script. But visually it is really a joy to watch. P.S. At the end credits I discover that the soundtrack is by Zimmer. I didn't even realize there was an original soundtrack. The main theme is Debussy's Claire de lune and here and there are pop rock tunes by different artists. For me, a gray-haired kid, remarkable is a scene with Apocalypse Now-style airborne assault troops with Radiohead's "everything is in the right place."

https://uproxx.com/movies/gareth-edwards-the-creator-visual-effects/

I just saw the film in a good theater. Not Imax but latest technology. I believe that, before continuing to puzzle over the whys and wherefores, one should see it 🙂 Long story short: There is so much CGI that having Atlas Mercury and P+S Technik lenses AND a good DOP, the film could have been shot with a GH2 🙂 No Spoiler The plot is not bad and the movie is not bad. IMHO if you like sci-fi, it deserves to be seen if only for not being yet another Marvel crap or third-hand Star Wars junk. The script occasionally swerves but I can live with that. There are scenes without CGI, of course but the cinematography is nothing much. IMHO the real beauty are the CGI scenes and the worlds imagined by the designers. Some of the landscapes are really striking. The futuristic Nepalese Buddhist temples are outstanding. I haven't seen such fascinating landscapes since the second Blade Runner. They reminded me of some of the gems among the DUST channel shorts. By comparison, the sets of the various Star Wars spinoff series are South American soap operas. Bottom line: perhaps we underestimate the quality that the cameras we keep in the drawer (in the right hands) can express.

Sorry I meant Venice II From: https://www.xdcam-user.com/2021/11/sony-launches-venice-ii/

Advertising aside, this series is really interesting to get info on the choices of the various DOPs https://pro.sony/en_GB/cinematography/cinematography-tips/scene-deconstruction-homepage

Does Sony A1 (IMX610AQL) use same senor of Venice?

Yes. From some BTS photos it seems they even went lighter than that https://www.provideocoalition.com/did-the-creator-use-the-sony-fx3-as-an-a-camera/

I would have the box/brain with some assignable function buttons and then more fine/direct controls on the optional handle. On Hassemblad the handle is completely separate from the body. I imagine a control handle which becomes part of the body itself. P.S. In my design team I would add a Lego engineer 😉

I would take the industrial design team and lock them in a room with: - A Hassemblad 907X 50C kit - An Insta360 One RS kit - An old Zenza Bronica with grip. Essentially I would want a camera consisting of: A squared brain with buttons, inputs and outputs, and a minimal display (like a ZCam or the front one of a GoPro) that would allow me to configure the machine. A high-resolution 3.5 inches display module to attach to the rear that can rotate as we are used to on a GH5. I am not talking about an external monitor but a module that adheres to the butt of the brain and forms a complete body capable of controlling and configuring it like an integrated display. The whole thing a parallelepiped like an FX3. A Hassemblad-style handle/grip complete with controls and wheels to add to the brain and get the ergonomics of a current camera. Throw in an adapter with ND. Put the pieces together and you have a complete camera suitable for photo and video. If you just use the brain you have a komodo/zcam/BS1H style stuff that you can configure as a cinema rig. add display and handle and you get a complete camera. Hassemblad 907X 5C has everything (but the touch display is built-in) P.S. Choose which piece costs 2K 🙂

Sony FX3, Atlas Mercury and P+S Technik Evolution Lenses (source: IMDB) recorded on a Ninja V. other bits here: https://www.provideocoalition.com/did-the-creator-use-the-sony-fx3-as-an-a-camera/ From trailer it seems all the movie has a extensive VFX work. From what I understand in my ignorance: - the camera is the least of the costs in a large production/blockbuster. - It is not the camera that makes the look of the film but the lenses. - In a big production, where a serious DOP can afford to give vent to his fantasies about lighting, the technical characteristics of a camera are less important. Ultimately, if Fraser/Edwards chose this camera, it is more because of their fixation on being minimalist as pointed out in the opening article. About minimalism.... I still remember in 2009 when Howard Hall first took an IMAX camera underwater for the documentary Under the Sea. Minimalist to the point 🤣

This seems to me to be a very lucid analysis. I imagine Lumix executives reading this article secretly in the restroom.