PPNS

I’m gonna add this opinion: i dont like any of the of the stock r709 profiles or luts from any cameras, including arris. so what’s the best sooc looking camera? None of them imo. I almost always shoot with a custom LUT because of that.

you realise that this is contradictory, right? in those situations people shoot with amiras,fs7s/fx6/9s, or even the big bulky ENG cams with a r709 profile and just kinda let it go that it looks kinda shitty. that's part of the trade off if you shoot in these conditions/that kind of turnaround. while it would probably look a bit different, it would also not look very desirable if you were to shoot that exact shot with an amira. sensors aren't magic, and even the best don't handle random street lights at night very well.

im going to be very honest, i think its crazy you can see the difference between cameras with their stock 709 lut. To me they all look samey, boring and bland.

what else would you call it?

you don't have to, your value judgement is irrelevant. the fact is that nikon now gets to control red's patent, and now gets to decide who gets to use "compressed raw" on their terms: either we get more more cameras with internal raw from other companies, where nikon will be profiting from the income of licenses (imo unlikely) or nothing changes. instead of red going after other companies in court, it's going to be nikon, and thus having another source of income by claiming damages (imo more likely) this was red's business model after all. nikon probably doesn't care all that much about making products or entering the cinema market. my prediction is that red as a brand, as well as their cameras will cease to exist in a few years. nikon will probably keep making hybrids with a focus on photography, and i doubt that any of the red tech will trickle down. why would it after all? Who's going to buy a nikon branded camcorder in a world where sony dominates the market? reds are kinda dead in the european high end rental market, why would nikon even start? here's a value judgement from me: lol

Now nikon gets to be the patent troll. Red will probably get to pretend to remain a company for 2 years and then nikon will probably fire the entire workforce, and we get to hear about “the constantly changing landscape of media” in some press release justifying the gutting of the company.

does the gh5s have worse DR than the P2k? it uses the same sensor as the p4k/micro studio

does the gh5s have worse DR than the P2k? it uses the same sensor as the p4k/micro studio

theyre marketing themselves in a way that makes the tech seem special to try and gain infinite investor money just like any other tech company does

thank you. i dont disgree, i think reels are hard to do, and im not sure what to do with them other than combining a bunch of pretty stuff in a timespan that doesn’t bore people.

finally finished that reel.

share some of your work man

I’m working on a new reel and website. I had a weird year. Jan 23: got fired from my full time job feb - sept 23: got fairly depressed due to being rejected after around 350 job applications. at the same time i tried out freelancing while searching for a new job, done a little decently paid corporate work, a lot of barely paid and unpaid work as a dp, gaffer or colorist on short films and music videos. oct - dec 23: got lucky due to a cinematography bootcamp i followed and ended up working as a DIT on a feature. income wise it ended up being almost the same as 2022, so hopefully the freelancing thing will pick up more steam. I’m going to try making some spec ads with some directors i know this year, so we could get work that way.

you’re performing the correct task in this case. if you were to set your WB to 3200, you would neutralise your tungsten lights to white, which is almost never really the point of tungsten. By setting it somewhere between 4000-4800, you’re opening up the possibility of color contrast within a shot where modern sensors tend to perform the best. Everything with a lower color temp than 4000 will be some degrees warmer than your neutral point, and everything with a higher color temp will be cooler.

getting things right in camera is one of those things im not sure how to interpret. Ive posted this still before on here, to put it in context, it was shot around blue hour, but it wasnt quite as blue as it was here. I maxed out the white balance, to get it this blue. is that getting it right in camera or am i being a hack?

goddamn it looks bad in 24fps, but it looks truly dogshit in 60

I would still like to see the 2 forum members who were fairly dismissive towards my suggestion their video work or ideally their reels. I’ve seen some stills of Tom’s work and here and he is more than able to produce great images, so I think his opinion is definitely worth reading. to clarify my suggestion, which imo, I shouldn’t have to do to this extent, my reasoning is simple: - op was considering an fx9 originally, and i think ironfilm recommended an fx6 at some point. - We know that the p4k uses a sensor from the same family of sony dual iso options, and that they perform about the same in non raw codecs (and you can easily find that on cined too). - braw has a highlight recovery option, which can yield you an extra stop of highlight data, which means its actually better performing than both those (and i can actually speak from experience. Way easier to blow a highlight on an fx6 than a pocket cam). The DR argument is now invalid - in regards to rolling shutter: from what i’ve read, the p4k performs about the same as the c70 from what ive read. The fx6 performs better, and the rolling shutter on the fx9, which is what op originally considered, performs way worse. so what’s the point of bringing this argument up? - what is the point of a bigger sensor if you want more reach and don’t care about super shallow dof on wide angle lenses? Its easier to get those results on mft. - why are you already thinking about upgrading to different lens mounts? This person might quit within the year? What end result is a potential upgrade going to bring? i dont have any experience with canon cameras. Im sure the c70 is great, but it seems like a waste of money unless you’re a docu DP who already has a bunch of bigger canon cameras and you needed a slightly smaller one as a bcam.

^ in that case i can still safely recommend a pocket 4k

im not yelling? i could make the argument that this consumerist driven attitude is more toxic? i think the 50/100k arri/venice setups are actually necessary for the context theyre made for, and i think there’s a decent argument to be made in regards to getting those and making a profit from renting those out. Almost every camera now performs almost exactly the same. this means that theres no little to no difference in image quality between the lower budget options (pockets, fx30s) and the mid tier (canon c-whatever, fx9, red). you’re not going to see that price difference in the end result. if you’re going to be shooting basic stuff in nature where you dont need a bunch of bells and whistles, you might as well get the lower cost options that let you record in a good or decent codec, which also happen to be light. your back will be much happier afterwards. you can save some money with which you could buy a decent set of lenses, nds and a great tripod.

you are also doing that (and judging quite poorly imo). i can only find your stills which is why i’m asking for your reel of moving images. i think spending more than 4000 on a camera is a bad decision for people who make money using cameras, so i think that decision is even worse for those who dont do it professionally. Theres literally millions of things in life on which money could be better spent.

lets see your reel @gt3rs

If this helps, you technically wouldn’t be using the full potential of the pocket 4k either, you would just be wasting less money.

i think anything more than a pocket 4k will be overkill for you

i’m dit-ing a european co-produced feature rn. Theyre shooting on an A35. Almost every feature and tv show here is being on this thing now from what ive heard. The last commercial i was pa-ing on was miniLF.

just an interesting sidenote: basically every belgian dp agrees that the standard arri r709 conversion is way too tame. thats why they always shoot with a custom lut (usually per project)