PPNS

9 hours ago, mercer said:

I'm sure I'm in the minority here, but I could not care less about Red's patent.

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?
 

9 hours ago, mercer said:

It held up in court and I am a firm believer in intellectual property so whatever.

here's a value judgement from me: lol

1 hour ago, mercer said:

What would be the point then?

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.

On 3/3/2024 at 4:04 PM, kye said:

So the GH5S is better than the GX85, but is larger and has worse DR than the P2K, so it's sort of wins and losses in comparison.  Considering I already own a GH5 and a P2K, it's a tough sell to buy a whole new camera for essentially no net benefit.

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

On 3/3/2024 at 4:04 PM, kye said:

So the GH5S is better than the GX85, but is larger and has worse DR than the P2K, so it's sort of wins and losses in comparison.  Considering I already own a GH5 and a P2K, it's a tough sell to buy a whole new camera for essentially no net benefit.

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

42 minutes ago, IronFilm said:

I remember when that latter film came out, Pixar made a huge deal of how difficult it was to create the ultra-complex texture of a monster’s fur as the creature moved around. It took all of Pixar’s wizards months to get it right. OpenAI’s new text-to-video machine … just did it.

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

8 hours ago, PannySVHS said:

I really enjoyed your material and quality you achieved as a dp. The editing imo does not show that to the fullest potential. Editing reels is a pretty thing and art by itself, of course. Your cinematography still shines through. @PPNS

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

11 hours ago, PannySVHS said:

Anyone shot any narrative work besides @PPNS ? Are you allowed to share some footage?

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.

10 hours ago, PannySVHS said:

My experience with shooting under tungsten light and wanting a warm cosy look is not to use a clinically correct manual WB but rather a higher color temperature like 4200K. Unless an Aces workflow will change that completely I found it close to impossible to reproduce that warmth in post after a technically correct WB, even with 10bit cameras. Merry Christmas everyone. 🙂

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? 

On 12/18/2023 at 2:34 PM, Fatalfury said:

Yada, yada, yada - 24 fps looks great and that's why it's still 99.9999% of filmmakers choice even if they aren't technologically limited to use it. At the same time we are still limited to 50/60p, should higher frame rate is needed, but...

....look at this (the effect is especially noticeable when viewed full screen):

For comparison, same director.

Isn't it obvious? 

Here is Gemini Man in 24p if anyone would like to compare:

_

Yet interestingly, Gemini Man was shot in 120p. Would really love to see for curiosity sake but it's not available anywhere in 120fps. Is there even a video player that can play 120fps in real time, available at all in 2023?

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.

14 minutes ago, gt3rs said:

Just search the forum I posted tons of frames over the last few years....
Btw you don't seems to get the point here: why you are judging others skills and needs? This post is the same you want to judge my skills and how arrogant it is. Did I ask yours? No
I'm just saying you seems arrogant in telling others what is enough for them. 

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)

damn completely misremembered that i guess. 

I dont disagree with you either here kye, i think we’re both somewhat in a camp of having the most image quality for the money. i’m not entirely sure if i technically paid off my p4k, lenses, etc with freelance work for example.

at the same time, 10-15 years ago something like an fx3 seemed pretty crazy to imagine probably. I think the first bmcc came just out for slightly more money (without adjusting for inflation even)? 

6 hours ago, kye said:

Do you think the FX3 is a consumer camera?

i guess prosumer is more correct, but its kind of an arbitrary distinction imo. its a technically ‘good video camera’ that you could buy in most camera stores for not that much money. Ive never had a pleasant time using it, but some people made a movie with it, so my opinion is irrelevant. 

its a marketing stunt obv, and nothing will change because of this movie, but it’s still a cool accomplishment to shoot an ambitious feature length film with a consumer camera. I wish i was shooting features.