PPNS

Dunno if anyone’s posted this on here, but i saw this on my instagram because i followed the DP a while ago, looked pretty good, with some unfortunate highlight clipping here and there. wont help you guys because you cant really shoot.

I’m not complaining about the new, i’m fairly indifferent towards it. It won’t really affect my life very much either way. I just fail to see if this is an interesting topic compared to a labor market that keeps getting worse and whatever capital is trending towards now. The complete devaluation of quality in arts (and even commerce fwiw) and the tendency to constantly cut corners by automating tasks, or even straight up skipping the entire process and straight up generating content from large data models has had an extremely negative impact on my life, as well as others. The fact that no one with any political power anywhere wants to regulate it and just sees it as a given is also bad i think.

i worked more days in construction this year than i have in the film and commercial industry. sorry but who cares about pushing boundaries and constant releases of new means when there’s less and less work to use the means on?

sounds to me like you’re doing a shoot that’s meant to be done by multiple crew members as a 1 man band. i already think you’re setting yourself up to fail. Depending on what you’re invoicing and whatever budget you’re going with, you might even skew expectations further for clients and other workers in the field.

lmfao

I mean he’s pretty good at framing. Nothing super spectacular here imo I mean probably because it’s a very watered down imitation of one of the most stylish movies ever and ultra wide handheld is instantly a super engaging look when done correctly. when’s the last time you dared to grade one of your videos that green or that ‘unnatural’? Good looking moving images are the result of not just having intention behind as much as possible, but also trying to stick to certain daring decisions (that might fuck you over) imo.

no one gives a rats ass about anything and most people in the industry have side hustles to survive or pay the bills.

incredible seems a bit overstated. decent maybe

ive asked this before, but why not logC4/AWG4?

prepping a no budget feature. here's some stuff that i like somewhat from the past year and a half or so:

hmm to be fair this theory of “everyone who is involved and interested in this clearly terrible product is a pedophile” makes more sense than anything i can come up with

when’s the last time you’ve shot or made one? this comes off as jealousy that you couldn’t maintain your position as a reviewer-influencer.

i mean the fairly obvious answer to the question is quality of light. other than the second to last set just generally being too dark and contrasty, you can just tell by the highlights hitting the road and the sharp shadows that you're dealing with very hard light. during sunset, the sun becomes a way softer source, which is why everything suddenly looks way nicer. compare your references: Perfect Days (which is btw set in Tokyo lol): the first still has fairly harsh sunlight, but that creates that fun tree shadow on the toilet. all of the other stills you chose from the movie are during overcast weather where the sun is naturally diffused and gives you a more low con look. The last medium close still from Kill Bill is a great example tbh. Do you think it looks natural? Because to me that super harsh light hitting the background dunes and car certainly doesn't, if the light that's hitting the actor is modified to such a softened and bounced back degree. the matrix: tiny bits of hard light as edge lights around the character, but everything else is lit super soft, and some intended contrast ratio. same thing with the killer. Super soft first still, the virtual paris background has some harshness but our character is in silhouette in the second, and the last one is mainly soft, but has a hard edge light on the side. i like this one, but i dont like how hot the highlights are on the right side. i would either try to power window the exposure down there, or use a diffusion filter for blowing these highlights out and making them feel a bit magical. you can see some great examples of that in wong kar wai's films. up the exposure and lower contrast slightly on that second to last set, try to power window whatever's distracting to curate the viewer, and they'll look pretty decent. this is what i can do with about 10 minutes of work by putting your thumbnails in resolve. basic fixes for legibility, but still going for contrast:

what people who are not in the industry (and that is not to say that i'm some bigwig or whatever), is that this is just not a concern in the first place. the arris work fine 99% of the time, but for this gimmick show, the dji was going to be more efficient to work with, as you can see in the BTS where a bunch of specialised crew members all carry the camera in some specific silly way. which brings me to my point: - a mini lf or a35 rent for about a 1000/day without any discount (and if you're shooting 20 consecutive days at least, you're getting a big ass discount per day). multiply that by 3 and thats the your camera package with lenses accessories, a van, a magliner, etc. - now look at the imdb page for adolescence, and look at the camera and electric dept, look at the quantity of people in there. those people don't get discounts, you will probably have to pay them overtime, and can they ask somewhere between 300 and 1500 per day each. - now look at the quantity of the rest of the crew. if you do a bit of math it seems to me like that camera package is fairly insignificant on the budget of an 'industry' production.

What’s the point of the arri 709 lut at the end? Why not just convert dwg to 709 and have more control over rolloff etc?