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I do wonder if they'd slowed down a little, added a bit more grip / VFX manpower support , say produced it for $12M instead, if they could have then slashed down post production costs to say $40M. As I think the general concept of how they went about making this was a worthwhile idea to trial out, to make it with smaller nimble crews that go out and seek the most amazing locations. And then put that money saved into postproduction VFX instead. (but perhaps spending $80M on VFX was a step too far??) Have a video out now about the audio recorder that I used on this shoot (as what recorder is being used is of course far more important than what camera body is being used! Let's discuss this instead, the fantastic Zaxcom Maxx, perfect for little mini shoots where you want a very lightweight configuration.... just like The Creator??):

This is a fun story to think about... "I have that camera and a real Hollywood film was shot with it..." Unfortunately, that's where the fun ends for their story. If they were allowed to have a 3 person crew, then they could have dropped their budget even more... or if they used Blender or Unreal instead of ILM to do their post... At the end of the day, their budget was lopsided and the movie bombed, so saving thousands of dollars in camera costs wouldn't have made a difference. That said... for someone else, that isn't glued to that silly system of making films, they could be inspired by this camera choice.

In 2024, I will be releasing five new products. Two for live production, one for virtual production and two for music production. In 2025, I will be having a series of long naps and returning to capturing images.

I have some exciting plans for next year. During the pandemic, like many, I developed a bleak outlook for the future and wondered if I should even bother making art. Now things are still not nice in the world but at least where I am things are stable enough that I feel I can work on making art again. This year I finished a short experimental narrative. That was fun to do, messing around with the two genres of both narrative and experimental. (It does mean though that festivals are confused by it and don't know how to program it.) This year and next I'm working on a lengthy atmospheric film about shapes, colours and patterns in the Vancouver area. It's an extension of the photography I've been doing for several years. Finding the patterns in architecture but also including nature in it. If you want a taste of it, I took some of my footage and put together a music video for the musician I'm using. I'm pretty happy with it. Test Card - Monochrome Dreaming Softened The Broadcast https://youtu.be/Tk72eAvOoow?si=8Fron9g6IgVd2RE0 Last year I spent a fair amount of money on purchasing gear. New camera, tripod, lights, monitor, etc. Now I think I have enough gear and am just working with it. I'm fairly happy with what the purchasing decisions I made. I now have to refocus away from lusting after new gear and move towards being creative with what I have. A couple of years ago I was very much into getting more lenses and researching aspects of the different types, now I see ads for lenses and I really don't care. This is good.

Yeah, I have and use one of those:

Don't forget the Pocket/BMCC6K cameras all have gyro data that result in solid stabilisation capabilities when used in tandem with Davinci. I've been pretty impressed with that "surprise" feature launched about a year ago. And now with FF 6K open gate, the crop applied shouldn't even be that noticeable. All the footage so far is test footage from early access users so it makes sense it is all shot & delivered in full sensor highest resolution 3:2 open gate. Its kind of the stand out feature of this new camera too so not surprised one bit they are putting that forward. I know I'd pretty much be shooting 3:2 open gate exclusively with such a camera for all the reframing capabilities it allows.

I also liked the HD mode of the GH5 very much like you have been a supporter of. @kye Would love to see some HD glory from you with your color grading approach and passion for the thick image. I have used it in its 200mbit All Intra mode and it looked thick. Grading was a pure joy. Textures, colour transitions, motion just felt right. Just, people I did the cinematography for never wanted HD, when filming with the GH5, but always 4K, so I will give my newly acquired S1H a good run in the supposely perfect S35 HD mode.

Hot thread. Let's keep em coming! 🙂

Ha! I jinxed myself, a couple of days later I found myself working on a short film being shot with a P4K: Was a micro sized crew, myself plus two others (although, quite a lot of actors!). Was quite a chill day today, very enjoyable.

Physically... the 200Mbps is just about right for bitrates 🙂

200 or the unit physically? I like the former. It’s enough for me but not too much. I’ll call it Goldilocks. Re. the size & weight, as a hybrid shooter, I would prefer slightly smaller, but mainly lighter. However, if I was just a videographer, it’s just about right (for me) as it’s a nice stable platform.

But not it's size!!