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Showing content with the highest reputation on 11/29/2012 in all areas
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Mr Canon is late to the Mirrorless Party (and Mr Nikon J1 has a small......erm... sensor)
nahua and 2 others reacted to Andrew Reid for a topic
http://www.youtube.com/watch?feature=player_embedded&v=LO7rxitFLZg Thanks for [url="https://twitter.com/SmackChopG/status/273979426075713536"]G Xiong on Twitter[/url] for this one :)3 points -
Film Convert
Sean Cunningham and one other reacted to filmConvert for a topic
Hey all, apologies in advance for barging in on the conversation, but we just found this list, and wanted to let folks know that we've just released a brand spanking new version of FilmConvert, with all sorts of new camera specific profiles. In particular, we've now got Technicolor, Flaat, Prolost, and Marvels Cine picture style support for your 5D, as well as full GH2 support with data on all the built in profiles. We're always on the lookout for feedback from keen filmmakers, so we'd love for you to cruise over to our site, grab a copy, and tell us what you think. Cheers all!2 points -
[quote name='endlos' timestamp='1354194534' post='22628'] And where is the evidence of that? Your not referring to the tired and outdated arguments against Final Cut X are you? [/quote] Right in front of your eyes! DVD Studio Pro has been discontinued. Logic hasn't seen an update in years. Same for Aperture. There hasn't been a proper Mac Pro update in what, 3 years??? The iMac is their fastest machine at the moment! They're obviously focusing all their efforts on iPads and iPhones and consumer stuff, I don't think you need any further proof of that... The Alexa has become a favourite in film due to its amazing picture quality, and in broadcasting due to its picture quality AND prores support. The RED didn't have prores until very recently and on paper it's always been better than the Alexa, but that wasn't enough for many top cinematographers. I'm afraid these specs are more closely evaluated by people like us than actually top cinematographers, because they just hire one of each and run a bunch of test shoots, and in the end their decision is based on the image quality when they run the tests on a big screen. High fps will hardly be a deciding factor unless the film in question relies heavily on it. I've worked on films where the RED was only used because it's easier to use for stereo shoots, not because of image quality, so that has been a huge advantage for them. Sony will have to deliver in image quality too if they want to succeed, these cameras are not cheap enough for the spec sheet reading enthusiasts and for the pros it doesn't really matter if they're slightly cheaper than an Alexa or RED. If they deliver though, then it might shake things up even more, and who knows soon we'll even be able to afford one! Canon's C series cameras are great at what they do, you could almost say they're perfect for a bunch of different tasks, including indie filmmaking (maybe 60fps would make them even more perfect), but looking at what everyone else has on offer at the moment, I don't think I'm being unrealistic when I say that all their C cameras should have their prices dropped to half.1 point
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Because back then, cinema was all emotion and sensations, not about 'technical specs' ...1 point
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Awesome cheers guys! It was all shot in Snowdonia, very beautiful place. The CG was created to a relatively open brief (the final two shapes and abstract origami feel were the specific requests) by Thom Haig http://mografik.com/ in Cinema 4D and composited in After Effects. I took it all back for final grade and post in After Effects. There's Colorista II, Looks, Grain 35 and Filmconcvert in varying amounts.1 point
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Calibrating projectors is not a new issue either... When we bought our old cinema/house where we live, I had a talk with the aging projectionist who used to run the theater (now unfortunately deceased)... he told me that for moody, romantic movies he used to change to older, less sharp projector lenses and defocus the mirror behind the arc light to get a little vignetting, just to set the mood... For crispness he would dig out the Möller lenses, get the light as bright and focused as possible ... but as he said "if we get a badly copied movie, nothing helps"... The quality was best in summer, when his wife would wash and bleach the cotton screen...1 point
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Panasonic GH3 - my short test "Civilian"
zephyrnoid reacted to Andrew Reid for a topic
Heads are squished!!? OH GOD NO!! Glad you liked it Matt. Slow-mo is nice to have on the GH3. I think rolling shutter is almost at FS100 level with it. That is to say - very very good!1 point -
I would like to see these on your Black Magic Cinema Camera Andrew get intouch with Hawk and see if they will loan you some to test / review!! .....they are a German Company .... [i]'If you dont ask - you dont get!!'[/i]1 point
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NEW HAWK T1 PRIME LENSES (f0.95)
Germy1979 reacted to Andrew Reid for a topic
They're great rental options for a special shoot though. More than anything I just love the whole philosophy behind the lenses. Whilst the corporations are making everything perfectly sharp, contrasty and clinical these guys are producing artisan cinema lenses with a 'dreamy' wide open look and two coatings, one for a low contrast and higher levels of flare. MUCH NEEDED!!1 point -
Panasonic GH3 - my short test "Civilian"
zephyrnoid reacted to Andrew Reid for a topic
There are some technical advantages of full frame in terms of image quality. Of course resolution is one of them, and maintaining resolution along with better low light and dynamic range. We certainly don't need any more 22MP or 36MP full frame sensors for video though. 10MP is optimal.1 point -
[quote name='EOSHD' timestamp='1354114969' post='22532'] Question for you guys who find it distracting - was the distraction caused by all shots in the first 25 seconds (summer scenes) or just a few? [/quote] IMO faces or full body shots is what gives it away the most. In the closeups of her shorts when she's walking, for instance, it's hard to tell since I don't know her, it can make her look thinner or chubbier if it's wrong, but doesn't feel as blatantly odd as a face or full body shot does. I totally understand it's a look to have it stretched or squeezed, I just don't think it cuts well with undistorted footage, unless you go further and use more extreme distortion, then it would be clear it's a creative decision, this way it looks like something's wrong with it.1 point
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Promo shot with FS700 & RX100
jgharding reacted to Ernesto Mantaras for a topic
Dude, I think I'm becoming a hardcore fan of your work. Really good video.1 point -
Promo shot with FS700 & RX100
jgharding reacted to QuickHitRecord for a topic
I enjoyed it. The opening is especially strong. Where did you shoot this?1 point -
Nice job! Love the super slow motion. I wish I could identify exactly what it is about slow motion that I love so much. ;-) There's some nice subtle CG stuff in there as well. It was pretty cool. What did you use if you don't mind me asking?1 point
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Sony asks "is 4K worth it?" Their own research says...
KarimNassar reacted to Axel for a topic
As a digital projectionist and a cinéaste (getting my eyes checked at least once a year, they work perfect for distances), I can tell the difference between 2k and 4k, and of course I prefer the latter. Sony's argumentation, that viewing distance is of bigger importance than screen size, is rubbish nonetheless, because you can get audiences only so close to the screen as is necessary to let them enjoy 4k by completely rebuilding your cinema. The rows would have to be almost vertical, like in some IMAX-theaters. I watched [i]Inception[/i], [i]The girl with the dragon Tattoo[/i] and [i]Skyfall[/i] (this one 'false' 4k) on a 10m x 24m screen, from row 5. Note, that nobody voluntarily chooses these seats, because inevitably there is also a heavy [color=#ff0000][i]distortion[/i][/color] of the image and people consider it a disadvantage not to be able to overview the whole screen (while, in fact, this is the idea of a big screen). What is more, most content still is produced in 2k, a very high percentage is still even filmed in SD interlaced (regional ads, but astonishingly also commercials for cars, and from row 5 these often -but not always- are unendurable). I believe that within one or two decades, 4k will be the [i]de facto[/i] standard, but not because the audience calls and pays (more) for it, but simply because the equipment needs to be replaced anyway, and 4k will be quite affordable soon. The reasons why videographers are attracted by 4k are: > They think 'bigger is better', which is arguable, because bigger is just bigger. > They never saw a true HD image in their life, because either their cameras didn't make it or (if they watch a BD on their HD-TV-set), they keep the aforementioned distance, shrinking the image to the size they are used to. > They stare at their computer displays from the same distance, relatively, as they did with their old 800 x 600 CRTs. Tell anybody, that he should move to a one-foot-distance to his 24" display ([color=#ff0000][i]distortion![/i][/color]), and he will disapprove this advice.1 point -
Panasonic GH3 - my short test "Civilian"
acmeman reacted to Andrew Reid for a topic
Sub $700 is: Intel 3.4Ghz i7 2700K 8GB RAM GeForce GTX 560 Ti 1.5GB USB 3.0 Those are the bits that matter. The rest doesn't need to be anything special. This should all come to under $700 and if you can't build it yourself, buy one second hand on eBay. Mine is a Dell XPS 8300 of similar spec to the above and it cost me 600 euros. If you can stretch another $200 for an SSD, that is a good idea. Put a 2TB hard disk in there (that is OK for editing raw footage off), but also an 240GB SSD for the main OS, apps & boot drive.1 point