Leaderboard

Convergence culture is king. Whilst the big screen is important, accessibility is even more important. Of course you can have both the theatre release as well as the streaming release. Obviously they might be opposing forces. I co-wrote a dissertation about horror films last spring (speaking of "It"), and while I learned alot about building suspense, I realised how cheaply they can be made and how well they can perform at the box office. The last couple of years has been great in that genre, with films making two times their budget on the opening weekends. Maybe the only genre that can to that, persistently, in this day and age.

Distributor just got back to me. It is streaming for free to Prime members in US, UK, Canada, Australia, South Africa, New Zealand, Norway, Sweden and Finland. I hope this helps. Let me know if it isn't working tomorrow. Cheers! David

Shot this throw away footage about a month ago. at the time I was all into that Steve Yedlin post and talk about resolution and haliation (is that how you spell it?) Went on a tear looking for a some Tiffen filters from my NX "S" Lenses average price was $100+ for a pro mist black. I scoured until I found a Pro-Mist 3 for $18 on amazon. I was walking past a classic repair shop and found these subjects... I put mega film grain on it trying to match that Yedlin look. All Hand held stuff. and if for some reason you want the 1.8 GB output from resolve (not sure why) its here https://drive.google.com/open?id=0B0mz6D_bQOx7dHRLZzJ4bThCdm8 Next Test I got a Tiffen Ultra Contrast Low Light....

Samsung NX1 owners will be stoked! :P

Hard to argue with Slashcam's results but you will notice in 4K FX the horizontal resolution is very good indeed. This counts for a lot in the real world. This is not a moire camera. It may show some on a chart, yes. All do. I very much doubt it is line-skipping. The results would be much worse if it was. The difference in real-world resolution between the full frame FX mode and Super 35mm is tiny. The other advantages over Sony outweigh the difference in res anyway... better codec for starters. D850 FX 4K: 5D Mark IV 1.7x crop 4K: You will see that the D850 actually out-resolves the 1:1 full pixel readout of the 1.7x crop 4K on the 5D Mark IV horizontally... And that the Canon 4K has worse moire issues... even without binning or line skipping. So whatever the D850 pixel binning is doing from 46MP down to 8MP for 4K it is doing it well enough as to not be noticeable in the real-world vs a 1:1 readout... Very impressive. Let's throw in the A7S II, 1D C and GH4 as well... 1D C... Soft, and moire patterns especially horizontally.... A7S II full frame 4K... Still moire. Oversharpened PP settings used though. GH4... Moire present again! These all look worse than the Nikon's 4K in this test and as we know, in the real world they offer some of the best images around. https://www.slashcam.de/4K-Kamera-Vergleich-u-show_von-i-49-u-mode-i-docompare.html

Logical exercise: Make a camera B with 20% more features than camera A, that costs 20% less than said camera A.

Here's a very nice Sankor 16 test.

And here is the full leak http://webcache.googleusercontent.com/search?q=cache:v1cACqk9IgUJ:nofilmschool.com/2017/10/detailed-look-35mm-zenmuse-x7-dji+&cd=2&hl=en&ct=clnk&gl=br 6K 30p , 4K 60P, PL mount, compatible with future gimbal... No mention of AF and so on.

When you google it you find a deleted article from today from nofilmschool in google cache 6K and DL Mount ....

Wait... MFT shooters want a 4/3"/S35 camera with E-mount? (btw, there are actually M4/3 to E-mount adapters, so it's the more flexible one)

Its not been released quite yet, but it must be soon because google gave me: http://nofilmschool.com/2017/10/detailed-look-35mm-zenmuse-x7-dji what is this DL-Mount of which they speak? text highlights, in case they take it down: The Zenmuse X7 takes that further by providing a Super 35mm (23.5×15.7 mm) sensor, and increasing the single-pixel size to 3.91 micrometers. It captures RAW videos at up to 6K/30 fps or 3.9K/59.94 fps and photos with a resolution up to 24 MP. The larger sensor in the X7 not only delivers excellent photo and video quality but also provides up to 14 stops dynamic range. Image processing for Cinema DNG / Apple ProRes takes place in the CineCore 2.1 Image Processing System just like the Zenmuse X5S, so for current Inspire 2 owners, the X7 is a nice camera upgrade. In order to make the Zenmuse X7 more compact and stable for aerial shooting, DJI integrated a DL lens mount which shortens the X7's focal distance to only 16.84mm The DL-Mount significantly cuts the size and weight of a camera while retaining cinema-grade image quality. Currently, the Zenmuse X7 is compatible with four DL mount prime lenses with a maximum aperture of f/2.8. The 16mm lens comes equipped with a built-in ND filter and the 24, 35, and 50mm lenses are equipped with leaf shutters (available in single shot mode) that support shutter speeds up to 1/1000s and are designed to reduce or eliminate rolling shutter effects and banding when shooting in artificial lighting. Workflow For current Inspire 2 owners, the workflow will be familiar. Videos that are recorded in h.264/h.265 along with JPEG and DNG still images will be recorded on a Micro SD card inserted directly into the camera. For those with the appropriate activation key, Cinema DNG / Apple ProRes RAW video will be recorded and saved on the DJI CineSSD. Video recording capacity is dependent on the size of the CineSSD being used. Pricing & Availability The Zenmuse X7 is priced at PRICE and DJI has announced a ship date of SHIP DATE. Tech Specs 3 Axis Stabilized Gimbal & Camera 35mm Image Sensor DL Lens Mount Resolution: Up to 6k 30fps video 24MP Raw DNG still images Recording Formats: Cinema DNG Apple ProRes h.264 h.265 DNG JPEG

Good afternoon (PST)! One element I am always confronted with as an editor, is choosing music. I enjoy quite a wide variety of music, and have little difficulty cutting most content to almost any piece. But my problem, is finding the *right* piece. In many jobs, the music has already been requested or provided, however on my current assignment I am having to source the music, get client feedback, then go find more music, etc., etc. Short of browsing Pond5, Songfreedom, Musicbed, etc., for literal days trying to narrow down the search, how do you go about finding a song quickly for your projects?

Yet even though growth slowed to 1% last year, 2016 was still the all-time record for global box office - in the UK it was far and away the best ever year. I think you're correct, though, in the case of films that aren't aimed at teenagers - for more thoughtful fare the trend is definitely towards home viewing. Who knows what will happen, but it will be a sad day when movies like BR2014, Dunkirk and so on can't be shown on the big screen, where their visual beauty can be properly appreciated.

Shot this with eoshd pro color 3.0 and a6500. The white balance was set at 5600K the entire time. This is my first time filming anything, made many mistakes but I'm happy with the colors!

I see it changed to free now on Amazon Prime! Awesome.

Hey thank you Andrew! I really appreciate all of the work you have done creating this website. It was incredibly helpful and secured my addiction to anamorphic lenses. Yes, evidently it is US Amazon only, for now. I wasn't sure if it would play in Europe, but evidently each country has it's own distribution rights which includes Amazon, so the distributor will either open that up or sell those rights. Since you have contributed so much to my knowledge, I could possibly send you a private link to the film or a BluRay for free. Just let me know. Best! David

Hey all New firmware update, 10th October 2017: Following bugs were found after updating the firmware to Ver.2.0 but now they have been fixed. [Power Save LVF Shooting] was automatically set to [1 sec]. (This makes the camera go into sleep mode in 1 sec in a standby mode.) * [Power Save LVF Shooting] will be set to [OFF] when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to enable [Power Save LVF Shooting], please set it on manually by selecting a designated time. The parameters of picture quality adjustment in Photo Style were all set to -5 when setting the recording mode to [MP4 HEVC(AAC)]. This bug has been fixed. * The parameters of picture quality adjustment in Photo Style will be reset to ±0 when the firmware Ver.2.0 is updated to Ver.2.1. If you would like to adjust the picture quality in Photo Style, please adjust them manually. There were cases where [V-LogL View Assist] did not work, This bug has been fixed. There were cases where motion pictures recorded in [AVCHD] cannot be divided. This bug has been fixed. --------------------------- http://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/index2.html Cheers Chris

All frame rate settings use only the camera. I set 4K 60p RAW from the menu in the camera. Based on a menu setting, just pressing the S&Q button on the camera puts it in 4K 120P RAW. Press again for 2K 240P RAW, press again back to 4K 60P. The Inferno automatically resets in response to the camera output.

I tried to like it. The sets, fx and cinematography are certainly first rate. The actors are good, the direction, the editing. I was able to sit through it. Then the scene with the Wallace CEO, head cataract guy, that was NOT a Okay, I was a young guy once and can understand dropping a naked women out of a pastry sack and letting her writhe on the floor a bit. I can even understand the actor with the cataracts blathering the most inane stuff to his replicant! (And we thought Gossling was lonely ) But to knife her for no apparent reason put me into full annoyance mode. Why do we need to hate him, and if we do, why doesn't he get killed at the end like the maker in the first movie? In the first Blade Runner, there is a simple, strong story that keeps that morose movie together. Harrison Ford is in a sucky job, in a sucky city, hunting down merciless replicants. His life is meaningless. Then he falls in love with a replicant and begins to have doubts about his life values. Meanwhile, Rutger Hauer, knows his lot in life and wants to understand why it was made for him. So he searches out his maker. In the end, even though he is bred to kill, he has compassion and let's Harrison Ford live. The original Blade Runner put story first. What is the story of Blade Runner 2049? There is none, there are only pieces of story, none of which connect or make much sense. My fear that it's just a vanity project with too many cooks in the kitchen was borne out, for me. My favorite proof that no one with common sense had any control over the script is when the Wallace replicant kills a police forensics guy THEN the police chief and says to Harrison Ford that they're going to take him off-world where they can torture him. I'm wondering why they can't do it on Earth? I mean, there is no sense of society, government, police power. Again, just a mis-mash of half-baked story ideas. And why kill the police chief. Makes absolutely no sense. I never cared about any of the characters, except Gossling's hologram. Though I keep thinking, if Wallace industries makes her, why don't they know what he says to her? I guess someone got their "let's put in a little bit of 'Her' in BR 2049" You're in trouble when the only good thing about your movie is the little bit you plagiarized from another And the music. I don't care how good it is, it did not fit the story most of the time. There were many scenes that would have been stronger without it. Film-maker children with sound synthesized sound-grenades. I heard a young person leaving the theater saying it was "much better than the first one." On a bright note, I just finished "Trapped", the Icelandic series. Great film-making isn't dead.

Use a waveform monitor. Or false colour can be used in a pinch if you have it set right. I know you'll need an external monitor for those. If you don't have them, you'll need to test. Without knowing what you mean by your exposure being 'spot on', it's very difficult to advise.

I think we often see that massively-hyped films with great opening weekends often fail to sustain their momentum as word of mouth gets around that they're not actually that great! Hopefully BR2049 will do the opposite (I haven't actually seen it yet, but I'm salivating at what I've seen so far of Deakins's photography).

Hey Salim. Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. Best! David

Well, hopefully now that Saudi Arabia realizes that women, over 30, are capable of driving in the daylight, they will influence Nikon to have a woman photographer in their group photo at a camera event #FStop #TheFisForFemale

My current setup GH5 42.5 1.2 (Bukeh Beast) 12-60 2.8-4 (Best run&gun weapon) 15mm 1.7 (lowlight dude)