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I've been hearing/reading opinions that the way the story would have been perceived by the audience wouldn't have changed all that much if it featured more traditional cuts, and that the gimmick of the oner was just that, a gimmick, to show off the marvel of technology and the immense talent/coordination of the film crew. (The exception to this being episode 3 with the session between the psychologist and the teen. The continuous take suited that scene the best.)

After visiting the waterfalls, i realized there was some wisdom in having the olympus camera strap attached to the camera... I also came to the conclusion in using the takumar lenses the other day that my old cheap m42 adapter into ef adapter which then plugged into a viltrox mft focal reducer has an issue in use. The viltrox mounts to the e-m1 ok with no discernable play however the ef adapter does have some play. the m42 screw mount part has no play however when i insert the ef into the viltrox there is some play. Enough play that the focus peaking just disappears with any up or down movement of the lens. So a k&f m42 straight to mft adapter has been sourced. It wasn't the cheapest or the dearest adapter, hopefully it has better tolerances. I presume that maybe in part, why i am having issues with manual focusing. The other 90% is more practice, i guess. Not knowing any better, i like the look from the viltrox focal reducer. Moving forward i'm not sure if there's a metabones adapter in my future or not, I'm also considering buying some brass shimming material and tightening up the tolerances that way. I can get 4 different thicknesses of brass for $10 which is alot cheaper than a metabones adapter, so i may try that first. I have spent the day reorganizing my desktop as a couple of speaker stands that have c clamps attached at the bottom have arrived. I don't actually have any speakers to sit on them, but i do have some midi controllers and effects units sitting on them and it frees up some desktop real estate. They also stop stuff from rolling off the edge of the table Which is advantageous. They sit a little bit high but that's ok for now, i'd like to think about it some more before i do anything drastic with a hacksaw. A tether pro 3 meter usb c to usb c cable has also been installed under the desktop and runs along and out to the front to connect to the e-m1 for product photography and i hate climbing under the desktop as i always bang my head on the wire cage that runs the length of the table that's under there to contain the cabling. I have got the em-1 successfully tethered to the computer, however it's getting close to 2 in the morning so i'm calling it a night.

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.

This is a topic that comes up in this forum frequently. I don't think you'll get any argument from the majority of people here that there are a number of sub-$10,000 cameras that will get you really close to Arri quality. But for a majority of Hollywood productions, they're not reaching for this camera. As I said in another message above, it's extremely polarizing among people who have used it. If your use case is shooting an hour-long oner and you can run 14 takes of it to choose your favorite, it may be the best cinema camera on the market. If you're shooting nature, it's a pretty awful camera - lidar autofocus doesn't work that far out and the focus motor can only go about an inch past the lens mount, not to mention that balancing a lens longer than 130mm or so will definitely put you over the 4th axis' weight capacity. If your use case is putting the camera on sticks and using Arri Master Primes, it may be the absolute worst camera on the market. I'm not even sure that they could be mounted, even using the Flex + a cage to add rods. It's a really cool niche camera that is finding success (and will continue to find success, I think) for specific use cases in Hollywood... and in my own short films too. But if people at Arri are losing any sleep, it's not for the DJI chicken head camera.

This new gear is as bare-bones as it gets: cheap camera that shoot 6K and records RAW (for Hollywood) and a very good lens.

Ok, but the whole series was shot theRonin 4D and a Cooke lens. The decision was intentional and reveals they selected that gear not just for the ability to use in very dynamic scenes bc the technical quality of the images is practically Arri level. I seriously doubt they would have shot the entire series with that combo if the technical image quality lessened the final product shown on-screen.

LX10 in photo raw is very nice. If it had 10bit HLG for video, it would be a perfect pocket camera, even moreso with an evf. I don't enjoy slippery phones for taking images, billions of people do though. I love the 24 to 70 F1.4-2.8 zoom on the LX btw. A 24 to 50 zoom coupled with a 1 or 1/1.5" sensor would be nice and a mechanical focus wheel as well. Afaik only a few phones offer the latter. Is that right? Are these your shots? @Andrew Reid Nice images and colours. @Cosimo Colors remind me of GH2 palette when in use of skilled hands. Old school digi vintage look by oldschool 8bit masters like Martin Walgren or Andrew Reid.:) That reminds me how much of imagelovers GH2 users were when creating their pieces. I barely find any good stuff shot on recent cameras. The destruction of vimeo didn't help that I guess.

Nice shots. With the telephoto modules on the 14 Ultra they benefit from 3 things: - Computational side - Fast apertures - Very close minimum focus distances As a result, especially at the closer focus distances the small sensor look disappears. The apertures are fast at F1.8 and F2.4 which for long lenses is impressive especially as they are the size of postage stamps in your pocket. The computation side has also taken a huge leap. On the main sensor there's so much more depth information and a shallower DOF to begin with which helps the bokeh simulation to be much more convincing. On this shot of the car it has just embellished a bit the background separation which was already there at 1", F1.63. It really is an extraordinary shot getter in every way. Fast, tiny, wide range of Leica modes and you can create so many different styles of shot in a couple of seconds with a few swipes. It is the moment for me when I realise that traditional mirrorless cameras and especially the lenses aren't long for this world.

I have said before on here and I'll maintain it, DJI's taking one of the smartest plays here. Especially on mid-high end productions, regardless of any other factors, it's going to stay primarily Arri. If you make a traditional camera and try to compete, you'll have a huge uphill fight. On the other hand, if you make a camera that takes something that's a pain in the ass, whether it's Arri or another decent camera system, and your thing makes it really easy, your camera might get used in parts of films that are shot on Arri or Burano or similar. Putting cameras on a gimbal is legitimately annoying. Wanna have that gimbal-based camera track subjects? Time for hacks like putting a second camera on the gimbal and needing to use multiple tools to track and monitor. One of the Ronin 4D's real superpowers is integrated tracking based on what the camera is seeing. Today, a friend and I shot some tests with mine while between blocks at a local film festival. In the first, I experimented with an "impossible" shot where I tracked her walking and then had her pause while I pulled the camera back, planning to do a faux dolly zoom by reframing in post. It's imperfect, but with some practice and a less ambitious distance, I think it could play. For the second, I recently got a Hydra Alien and wanted to see how it would work. My car is a worst-case scenario for rollers - the Wrangler has an extremely stiff suspension. Yet, after 40 minutes of stumbling around with putting the Hydra on my car for the first time ever, I mounted up the camera and had my friend drive while I operated. There are some micro-vibrations, certainly, and I might experiment with the alternate/softer shock plate, but it's kind of amazing how turning on autofocus + tracking on a random car on the road resulted in such great footage. The last shot was to see if I could do a Tarantino-style shot spinning around the subject. If doing this on set, I'd want to set up something to ensure a consistent distance to the subject(s), but similar to the others, given the results after doing no planning or setup, the results are a bit unbelievable for just getting to the parking lot and saying "Hey, I bet we could do this. Let's try!"

Greetings All, I've created and uploaded some cool new seamless ground textures. They're completely free to use in your projects with attribution, just like my thousands of other assets. You'll find them on my TXT - GROUND- TILE-ABLE page: https://soundimage.org/txr-ground-seamless/ _________________________________________________________________ Ad-Free and Community Supported My website is completely ad-free and I pay for everything myself. If you can, please consider making a small contribution on the site to help support it . You can do this by: Making a small donation here: https://soundimage.org/donate/ Purchasing one of my Ogg music packs here: https://soundimage.org/ogg-music-packs-2/ https://soundimage.org/ogg-game-music-mega-pack/ Or hiring me to create custom music for you: https://soundimage.org/custom-work/ Thanks in advance for your support. And, as always, please stay safe and keep creating. 🙂

Weren't a lot of the most influencing and creative films ever made done with equipment significantly less sophisticated than all of this modern stuff? So... I don't get too wrapped up in the new fangled gear. It's all rather incredible, realitvely, tbh.

I think the thing to remember (and hence not to get too carried away) is that the camera choices in Adolescence were led by the story and the way in which the creators wanted to tell it. You literally couldn't have done it using full size cinema kit without massively increasing the budget - and maybe not even then. Likewise, Civil War was mostly shot on Venice, but used the Ronins when the story demanded it. So it's great that big budget movies are doing inventive stuff with non-traditional camera systems, but they're doing it when it's required, not for any financial savings or because they think those systems are overall better.

Yeah, it's an industry, as you well noted. But I can't shake the feeling some share-holders will see the praised garnished by Adolescence and start to ask why they can't use "cheap" equipment like that in every project since it looks as "pro" as any Hollywood film out there. Blair Witch it is not. The last major breakthrough was the Sony FX3 camera for the big budget Creator movie. But that was one piece within a huge industry-like production process. Adolescence take a different route and seeing all the positive press it's garnered I expect 1,000 copy cat movie makers to try and imitate it.

Yup. All those things. Brought in as an editor after 6 years into the production. Just didn't have a decent director. Or producer. Or a writer. Or a DP. So yeah, a few issues. Things happen. It's a wierd business. Sometimes you end up working with people a bit over their heads.

Thanks! I've literally used the same saved powergrade for each set, adjusting it a little perhaps but not by much. I think I backed off the halation on that set, but I can't remember making any other change. They do look nicer though, so maybe it's just the exposure levels, or maybe it's just the subject matter? Sunset and blue hour always has a certain magic to it.

I see your contax 85mm 1.4 and raise you a super takumar 85mm 1.9 Very windy day here. No good for videography, i did get few nice images with the takumar however i struggle a bit with the focus peaking and it wasn't much fun, with the wind about. So i swapped to a 60mm oly lens as i wanted a comparison of how both lenses did sunstars. The next few images are the oly 60mm macro lens. I massaged the exposure to suit my preferences, however the colours are sooc

I think that last set is nicer, although i can't tell you why. i know its night and i expect it darker. I'm not entirely sure that its being down to night is the only reason they are nicer. You've done something different in your approach to grading or the initial video i think.

1+8 pro with Helios 58mm on a steady tripod, 226mm FF equivalent.

Defocus Test: 1+8 pro with Vega20mm @f2 wide open (78mm FF equivalent) Vs canon 5D3 with Lomo 75mm @f4

Just had a look at some stills from it, and yes, much darker than my other references. I looked through all the John Wick franchise, as well as some other action series too, and one way they can make these things all look dark is just have them all set in night-exteriors or interiors without visible daylight. I think there's lots of tricks like this. For example, I read an article on how movies often look "larger than life" which has many factors, but one was that there were almost three times the number of shots that were taken below eye-level as those at or above eye-level, so most of the movie was literally looking up at the characters.

Nah, they will pass, but then these are night shots rather than day so would expect them to be darker 😝 I re-watched The Batman yesterday. Last time was big screen with French subtitles 🥸 but at home on this occasion and that movie I think is a great example of ‘dark’ for reference.

Just came out of watching Sinners in IMAX. What can I say? Its a good movie, I really liked it a lot and I would highly recommend it. Cinematography 12 out of 10. Acting 10/10 Story 9/10 - I would give this 10/10 if I didn’t think it was slightly inspired by dusk till dawn. If you don’t think so… 2 criminal brothers flee south to some bar to fight off vampires… [SPOILER ALERT] 1 brother is level headed and the other one is off…in both movies there is a girl that is forbidden fruit where the brother that is off wants that forbidden fruit. In Sinners the forbidden fruit is a white girl (black guy in prohibition time), in Dusk till dawn Quentin Tarrantino (yeah he acted in his own movie) was the creep that wanted to fuck the 16 year old (the forbidden fruit). Look… there are some sequences in this movie (sinners) that you’ve never seen before and that alone makes you forgive the inspirational notes and thats why its still a high 9 out of 10 for me.

Last nights adventures. This time I graded with MBP monitor set to middle brightness and referred to some references. I swapped from the 14-140mm f3.5-5.6 + vND combo to the 12-35mm f2.8 lens without vND once the sun went down, as it's easier to shoot with the constant aperture when zooming. The stalls and restaurant areas were too bright for F2.8 and base ISO 500, so had to stop down on some shots. The massive lanterns in the parade were also a challenge too, bring so much brighter than the ambient levels, and I didn't want to smash them into the highlight rolloff of the emulation. I tried walking with it at 12mm but it was IBIS-wobbles galore, so next time when walking I'll probably use my iPhone. I compared my iPhone 12 mini cameras to my GH5 and the normal iPhone camera was equivalent ISO noise to GH5 with F2.8 and the iPhone wide was equivalent to GH5 at F8. @MrSMW can tell me if these are still too dark 🙂 I based the FLC grade on the 35mm preset, but I'm thinking that it's a bit too low-end, and the 64mm preset is a bit clean, so I might create my own 50mm preset for something in between.

Well… take it as a learning experience… What was your job on that project? In the future, if you have some input on it… state the gaps in pre-production. And, also… just to elaborate on “Figure out the story you are trying to tell before shooting.” A lot of people have an “idea” or an epiphany of what they want to shoot… that’s not the same thing as a story. Usually a story has a beginning, middle and end; a good story has a climax and resolution with characters and character building (so the audience has some connection with the characters they are watching)… now having a climax… characters… may be too much… but at the very least have a beginning - middle and end (thats the bare minimum requirement). The idea or epiphany is stuck in the beginning… there is no middle and there is no end. You don’t need to have a full on script… especially if it’s a one man band. But, write it down (may its a 1 page - point form thing) because it will help organize your thoughts.

I suspect the gap between the free version and paid studio version of resolve will grow wider, with the studio version getting all the good stuff. Honestly i'm surprised its taken this long for them to get around to charging for it. I'm also glad its taken this long 😀 I downloaded ver 20 last night, its still free, maybe the last "free" version. The whole "We'll probably eventually charge some kind of upgrade for this." is just a way of softening the blow. its already been decided, its just the when may still be up in the air. Personally i feel paying a subscription is a like cutting an artery and watching the life leak out. I can live with a modest upgrade fee if i feel like i need to upgrade for the features, however if bm go subscription, I'll stick with whatever is the last free version or move to something else. I'm also thinking if and when they do start charging for it, they might have to do something special to entice us. At least for the first upgrade anyway. Maybe that is where the magic part comes in. If they do manage to make it something magical i'd probably look at buying one of the controllers That comes with a studio licence key. Assuming that it comes with the upgraded studio version.