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Some movies are escapism, warm and comforting. Some try to do the opposite. Read the full article

Been to busy filming this past week, heres a few shots, this will probably be not the final grade, but its getting there.

The Reverent's Comments on Vimeo: "Amazing job!" "Really good stuff" "This is amazing!" "This is so good!" "Alexandro does it again!" "What camera was this shot on?"

I quite enjoyed it when all the dialogue faded away and we were left with the survival stuff. Fun to be an observer in that situation, albeit a sadist one!!

I saw the movie on Friday. visually one of the best films I have seen. I'd seen comments from others who said they couldn;t tell the difference between shots, but watching the movie is was very obvious when they were shooting 65mm. in image quality terms the digital projection of The Revenant smashed Hateful Eight (70mm film projection). Some of the vistas were incredible. I felt as far as an entertaining movie - I'm not looking forward to watching it again for it's entertainment value. I started hoping it would reach the end about 40mins before it actually did. And the cg on the bear scene was horrific. not up to the standards required for such a film.

4K can be challenging to edit, regardless of hardware or software. I use both FCPX and Premiere CC, and FCPX has a major advantage with integrated proxy support. However you can edit off-line lower-res proxy files using a manual procedure on Premiere. People do this all the time. The procedure is outlined in this article by Tony Northrup: http://www.rangefinderonline.com/features/how-to/Getting-Acquainted-with-Offline-Video-Editing-to-Ease-You-Into-4K-8988.shtml As already stated, defer things like stabilization and noise reduction to the final phase after you've switched back to 4K.

Unfortunately electronic feel, hard to get consistent pulls on it for feature, but good enough for doc. Incredible lens otherwise well worth $800.

Probably it is that here, what you meant Zach: http://www.magiclantern.fm/forum/index.php?topic=6215.0 Very useful for all your questions, Ricardo.

Hi Dustin, I bought the YN 600 (partly because of that same video), but it has a huge flaw no one talks about enough... its fan is very noisy! A dealbreaker for interviews! That's why I bought the Aputures... they're completely silent, and that's when I realized the huge magenta color cast the Youngnuos had. But Lintelfilm said the new versions are cri95... so just make sure you avoid that fan. All depends on your style and what you do with that light. For interviews I mainly use soft light, so a powerful LED in a softbox does the job. And I would say I've needed the batteries 60% of the times I've shot something the last 5 years (try start asking for power sockets, and start connecting cables everywhere in the middle of a wedding), and it has made my life easier 99% of the times. When it comes to lumen/lux... The Excelvans 1040S are 10000 lux each, not too far from a classic 1K. And they're going for 199€ right now. I've used plenty of gear these past years, and I can say LEDs make my day... All depends on your needs. But the days LEDs where seen as less "pro" have passed.

I like your attitude!

Man. To me, this was the most Kubrick film since Kubrick. Not as far as lighting or shot design, but a film where subtext and symbolism seemed far more important than the story - almost at if the story was an afterthought, a face to stick over a very different skeleton. I spent most of the movie marveling that europeans were able to eventually conquer north America, and found the juxtaposition of nature vs. human nature to be the real story; from nature itself and its power (storms, rivers, bears), to the native people who seem one step removed from nature and can be as viscous as nature, to the trappers who are almost proto-humans by today's standards, up to the guy at the fort trying to enforce notions of honor and law when surrounded by people reduced to a near-animal status. And how this played out against human desires - the trapper and the chief both on journeys based on the breaking of familial bonds (recall a bear and her cubs put the story in motion), how tenuous the more evolved ideas of morality and character become in the face of greed, vengeance, and self-preservation, the size of the stakes (from starvation to freezing to a pretty awful death at the hands of the natives) and how different people respond to those fears. I don't go into movies seeking this stuff (I usually just wanna see shit get blowed up, and some boobies) but was very surprised that those thoughts kept me more rapt than the plot. Not trying to sound all intellectual and I don't have the vocabulary to express some of this - but in novels and films "tone" and language, rhythm, symbolism - they hold my attention much more than plot does. For me, one of the absolutely best films I've seen in years. (But as you can tell, I'm weird).

I want it for run n' gun documentary work, the majority of what I do with the camera, not proper film making.

Maybe have a look at LUTCalc. With it you can create your own conversion LUTs. It provides different gammas and gamuts for all famous cameras including Canon and Arri. https://cameramanben.github.io/LUTCalc/LUTCalc/index.html So I think for your example you would select Canon C-Log as Rec Gamma and Canon Cinema Gamut as Rec Gamut. And for Out Gamma it would be Arri Log-C and Out Gamut would be Arri Wide Gamut. Then just hit the create LUT button. If you give it a shot, let me know how well it works..

I see you don't like my joke, and are probably reading a lot into it like 'typical stereotyping' and sexism. I have to say I don't appreciate that. Your kind of response reminds me a little bit of this shrill tone, in a review of The Revenant - http://www.theguardian.com/commentisfree/2016/jan/17/revenant-leonardo-dicaprio-violent-meaningless-glorification-pain?CMP=share_btn_fb ISIS video style violence, really?! A case of maybe reading far too much into what isn't there. I enjoyed the new Star Wars film. Only just seen it. Wasn't in a mad rush, because it had not really been part of my childhood like it had been for so many. In fact I was really into many films at all when I was 3 years old at the time Return of The Jedi came out and subsequently I didn't really get into any of them on VHS or on TV. Didn't need to. We had the BBC. At risk of gong off topic... There are definitely a lot of modern politically correct undertones in the new Star Wars franchise. For the first 10 minutes I enjoyed Rey. Great character but a very two dimensional one with a lot of overly expository lines lacking in wit, almost all of them saying "I don't need the help of a man". Well put the boot on the other foot and if all the male characters in the movies said "I don't need a woman" it would kill a bucket load of stories stone dead wouldn't it? To be honest Lara Croft In Space is not exactly original either. It's time escapist mainstream entertainment stopped worrying about modern gender and racial politics and got on with plain old storytelling. That new droid though... very cool.

I think it's pretty clear Iñárritu is in some ways trying hard to ape The New World. The ultra wide handheld low angles and decision to shoot in natural light scream Malick.

If the 1D X Mark II would be so video orientated and just around the corner you'd think Canon would have discontinued the 1D C completely by now. I think the rumours look a bit too optimistic for video. Remember all the D5 rumours shouted 4K and it turned up with major limitations. Since 22MP is 5.5K, that full read out at 60fps in a relatively small and battery limited DSLR seems extremely unlikely to me. Maybe they can only achieve it from a small 4K crop of the sensor. Canon's dilemma is thus... If they put Cinema EOS beating full frame 4K 60fps image quality in a $6k camera, it would dilute the appetite of a portion of the market to invest heavily in dedicated Cinema EOS cameras. Wedding photographers who do video as well could just buy one camera for stills and video, and then Cinema EOS cameras would be limited by their ergonomic appeal alone not just their better image quality. Also at $5999 it severely limits Canon's ability to mark up any future 4K Cinema EOS camera aimed at roughly the same market. That is a very low price for a full frame 4K 60fps camera from Canon.

Every time i walk into one of Inarritu's movies, I'm very optimistic. But I never feel quite satisfied by the experience. Couldn't quite connect with this one either. It was beautifully rendered certainly. But looking back i think my issue with it was that this had an hour's worth of story in the first and third act, with 90 minutes of episodic survival sequences that (for me) stalled the plot. meaning, you could have replaced all those scene with a "two weeks later..." title card and you'd have no meaningful issues with the narrative, character arcs, etc. Loved the beginning and ending though.

The daylight vs. tungsten suggestions… they're really two different animals and eventually you need both. I've yet to see an affordable LED panel that will outdo a quad biax fixture. You can get a quad for under 300 bucks these days, sometimes close to $200. As far as delivering the photons, very similar to led, in that you need some diffusion. If I were flat broke and starting out? $500: Quad and dual biax; $60: A used tungsten fresnel, 6", that can be lamped in the 650-1k range - eBay is full of them; $30 A dimmer (or "router speed control") $25 An open-faced tungsten, preferably a rectangular theatrical unit with barn doors that can take 100-1k pencil-shape globes; $20 - $300: Some sort of frame & diffusion system, from a pop-up diffuser with the zipper sleeves to a scrim jim setup or one of the myriad systems out there; $70 A 3" 300 watt fresnel if I could find a deal; $20 A popup reflector or reflector panel. And, of course, stands. That would give you the ability to do tungsten and daylight; you'd have trouble doing low-key work that requires a softbox and grid, but you could overcome that to some extent with duvatyne and more stands. (Gel the 6" fresnel with 1/2 CTB for daylight shoots and use it for hair or backgrounds without killing all its kick). You wouldn't be able to hold window views when shooting interiors, but that's getting to HMI levels. I've rented tota lights but they're stupidly overpriced and the barn doors are like someone's joke on the buyer. There's all sorts of open-faced tungsten out there used, from rectangle theatricals (I have about 6 of those, they're insanely handy) to smith-victor cans to redheads. If you can find a good deal on a used Photoflex Starlite with a softbox, that gives you 500 or 1k tungsten in a softbox (and you can stick a 400 HID mogul in them with a ballast - that's actually become my main interview light when I don't need bigger HMI stuff). Yeah, LEDs are the latest-greatest thing, but if you want one that can give you more lumens than a 400-watt open faced fresnel, you need to spend some bucks. (And 400 watts through diffusion doesn't give you much leeway for many situations). I do plenty of work with a kit similar to the above list (though the 400 HID stuff goes out more often, there's usually a quad biax in the case as well, it's very fast to set up if I'm in fairly close and spill isn't an issue).

You can always blur the footage slightly. Easier to have the information and decrease detail than to sharpen detail that is not there.

even if it only cost £100 to upgrade all their gear to permit broadcast of 4k they wouldn;t bother since it's a lot easier to send out 720p and palm off all the mugs who bought 4k tv's to watch the crap the said broadcasters actually broadcast. I don;t want to watch commercial television in any resolution, least of all in 4k. 4k footage of staged terrorist attacks to justify going to war. advertisments for consumer stuff, singing and dancing competitions and soap operas. vile.

Decided to keep this beauty. Don't know what I was thinking about.