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Sean Cunningham

"Conyne Eylandt"

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This isn't mine, it came up in my VIMEO feed.  I'm subscribed to this guy (Diego Contreras) and have really enjoyed his uploads.  I saw this immediately after seing James Miller's "Genesis" and the similar time of day, beach setting, etc. caught my eye.  

 

http://vimeo.com/65144150

 

...and that's only shooting ProRes, which I'd practically written off based on most of the other footage I'd seen originated that way instead of raw.  

 

It really captured the feeling of the location.  I love visiting New York and went out to Coney Island on my last visit.  You get a few brief shots in the city but it's at the best time, with warm sunlight cutting shafts between buildings.

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EOSHD Pro Color for Sony cameras EOSHD Pro LOG for Sony CamerasEOSHD C-LOG and Film Profiles for All Canon DSLRs

Thanks BR - yep it certainly shows that you can't write off ProRes just yet.

I think there's something to be said for a camera that works out of the box - well, if you can actually get the box in the first place!

 

Really hoping that the BMPCC will come out on time.

What ML have done is amazing - so far static shots look great, but any sort of panning looks pretty unusable to me.

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I'm still more interested in the original BMCC but in MFT mount.  Especially now that Metabones is shipping the first Speedboosters in MFT.  Now they just have to release the Nikon and EOS versions of the adapter. 

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Yeah same here for the Speedbooster - hope they get the Nikon & EOS versions out for BM release.

 

2.5k is tempting, but i'll be using Anamorphics with the BMPCC & having experimented with the DNG files out of the Canon, there's definitely wiggle room for upscaling even 1080p - also its small & has a battery you can actually change!

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Oh, you meant the Pocket Version.  I thought you were talking about the Production Camera.

 

Yeah, the Pocket version is definitely intriguing and very awesome in its own right.  With the Speed Booster it'll basically be like shooting with a raw GH3.  I was more considering the original BMCC over the Production Camera for the extra DR and disinterest in 4K but the Pocket Camera has all of these qualities of the original as well.  

 

I was considering the MFT original model for its double duty ability, shooting anamorphic mostly with the camera-as-is, switching to Speed Boosted when doable, and then Speed Boosted for all spherical stuff.  But if the timing works out that the PC version ships before the "classic" in MFT is readily available it wouldn't be a bad choice to get it and just be happy doing everything with the speed boosted PC.

 

It's just sorta hard coming to terms with a speed boosted PC still being MFT size for sensor but now, because of the mount adaptation, no more MFT Voigtlander or SLR Magic lenses :(

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I've got no MFT lenses & the speed booster will be a great way to save some cash - i'm going the Nikon ai-s route for the pocket.

 

I was really happy with the S16 size sensor on the Pocket, as it would mean that a 24mm+Anamorphic would give me 48mm(x1.5) or 36mm (x2) - which is fine either way as i normally shoot with a 50mm lens on a x1.6 cropped camera.

Obviously the speedbooster opens things up & will add an extra stop of light!

 

I also like the size - it will be a really useful put it anywhere cam for some really unusual angles.

 

If i really wanted to spend the extra cash, then yes the original BM in MFT would be the one - don't need 4k or the added compression.

The only thing that slightly scares me is the rate at which these cams are being announced - just makes you ask the question of what BM will announce next year?

 

The latest news is that the ML team are about to crack compression on the Raw pics, so 12bit & 10bit are on there way.

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The new compression schemes, if they can be implemented on the 5DmkII might get its resolution back up to at least a full 1920 wide, though 1880 is still respectable.  That's considered a "2K Academy" scan, believe it or not.  It was rare dealing with them, since more often than not 2K for me meant 2048x1556 but I'd still rather have the option to shoot at least 1920 wide if possible.

 

Yeah, things change fast but you don't have to change for the sake of changing.  Once you can shoot at least 1080P and uncompressed, you have a camera that you can make useful for a good while.  Digital TV is still full of fake HD channels, many of whom don't even have the decency to do a proper uprez through a Faroudja or equivalent, they've only done the bare minimum to meet federal broadcast standards, which, unfortunately, don't specify that the channel can't look like you're watching an old 8mm videocassette.  

 

And movies aren't going to be uniformly 4K for many years.  Arri has the right attitude here, and they've forgotten more about filmmaking and cameras than Sony will ever know.

 

Several of my lenses are Nikkor AIS as well (24mm, 35mm, 105mm).  I have a 50mm in bad need of service (aperture shifts when I focus in one direction) but have discovered that my OM mount Zuiko 50mm, given to me by an aunt,  is fantastic and sharper to boot (I didn't have the preferred 50mm Nikkor to be fair).

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I love Coney Island, I still have HX9V footage from there that I haven't cut...

 

The best thing is it cost him 300 dollars a week to hire! Shit, I wish you could hire one in the UK for 200 pounds a week

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