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This forum is now sponsored by Squarespace. You can use drag and drop templates to form all future posts from a word cloud. There is also a RED user version, RedSquare. This is far more strict with what words are available in the templates.

I suspect many have had the GH7 for a few weeks now. Ambassador Ben Staley will be showing a new Short film this coming Saturday that was partially filmed with an unreleased Lumix camera, showcasing its action capabilities. https://www.cinegearexpo.com/programs/la/cine-gear-news-la-expo-2024.pdf

But what is Gerald’s opinion?

He’s just a rumor site spinning it out. I just choose not to click on his channel if it pops up and I think it may be one I clicked on YouTube to not recommend already as not seen him for a while. He’s not doing any real harm, just a bit of a twat.

Sarcasm: It's so go that Toneh and Co. are doing such a community service by going to these events. You know they're always looking out for the little guy. "It does make it easier when they give you a Z9," she says with a big smile. Guys, we're always looking out for you. Wonderful to hear they don't have big egos as well because some people can be hurt. And wasn't it great to hear about Squarespace again- thanks for telling me about them because I've genuinely never heard of them before.

Pathetic organisation https://news.sky.com/story/robert-de-niro-has-award-withdrawn-after-calling-donald-trump-monster-outside-of-trial-13146624

Good catch!

Good news - something else I'd expect to be rolled out to the S5ii/iix in due course.

Panasonic Japan has now discontinued the GH6, so it looks like the GH7 is coming. This is likely what the GH6 should have been. https://panasonic.jp/dc/p-db/DC-GH6_manualdl.html

It’s OK for them to call out Trump’s behaviour when it intersects with their interests though. https://www.nab.org/documents/newsroom/pressRelease.asp?id=4253 I suspect that they may be trying to hedge their bets in preparation in the event of his not completely unlikely WTF re-election in November. The NAB are fundamentally a lobbying group after all that, following their ability to host their cash cow show again after Covid, are now able to resume spending $12-16m a year greasing both sides of the aisle. https://www.opensecrets.org/orgs/national-assn-of-broadcasters/summary?id=D000000202

Agreed that FLC is going to be pretty rough for sales of FilmConvert and Dehancer. I'm just waiting for YouTubers to start coming out with their FLC "packs" for sale. But really, I was just pushing back on the general concept that the R1MX has some sort of magical image because it has some super-OLPF that exactly mimics "film," whatever that is. Of course, a bunch of the rest of the above rant was weird too - like questioning whether "David Fischer [sic]" would choose a C70, a camera designed for fast run & gun operation - when Fincher famously does 50-100 takes of each scene and barely ever moves the camera. On a DF picture, for the most part, the camera and lights get set in a place and are expected to stay there for hours while they shoot endless takes. It doesn't matter a bit how heavy the camera is or how long it takes to set it up for the next scene. The corollary to that is if you're on a small crew and have a location for only 1 day and you have 5 pages to get through and a mix of interior/exterior shots, it's generally better to choose a lighter camera which can be operated quickly. If doing that, I'd think you were crazy if you said you were shooting the r1mx, a camera that is famously inflexible (needs specific lighting), heavy (needs bigger/heavier tripod and harder to move), and prone to randomly rebooting or crashing throughout the day. It's all a matter of which compromises. That's it.

Cowards.

I'm waiting for it to come out in theatres.

Yes, I was absolutely talking in the general sense. Accurate emulation of a particular stock is definitely a niche that exists, but I suspect it's a pretty narrow niche and one that is narrowing. I don't recall ever hearing anyone talk about accurately emulating the resolution / sharpness or the grain from one particular stock combination, these seem to be much more generic and adjusted to taste. With the new Film Look Creator tool paired with the new Colour Slicer in Resolve 19 (which is still in beta) I suspect that a lot of people who would previously have used specific LUTs or a 'proper' emulation plugin like Dehancer or FilmConvert will switch to the more generic but adjustable approach of the new features. We may never know, as I've heard from a few colourists in passing that the majority of projects have a print film emulation LUT somewhere in the pipeline, but that very few colourists will admit this, likely because clients are likely to focus on it and devalue the other 27 things the colourist did. Like how people think that nice photos are made by nice cameras and the photographer doesn't matter much.

1080p at 100fps in FF in a small package could be a real reason to get the S9. If only they'd come out with proper lenses at launch. Right now, your only real options are the Sigma 17mm f/4 (225g), 24mm f/3.5 (225g), 45mm f/2.8 (215g), and 90mm f/2.8 (295g). Arguably, those would be the best lenses for the S9 anyway because of the aperture ring.

Someone had a question about this and in fact, the S9 CAN shoot 1080p 60fps and 100fps in full-frame with PDAF. Others were also saying this but without any proof. This is proof. So, here are the updated feature list: Pros for S9 258g lighter Smaller body $300 cheaper than S5ii LUT mayhem if you're into that Cold shoe Can shoot 1080p up to 60fps and 100fps with PDAF in full-frame Pros for S5ii EVF Mechanical shutter Dual card slots Headphone jack True unlimited recording with a fan Way more buttons and customisation in the body Proxy recording 14bit Raw files Better grip Weather sealed body Hot shoe for flash photography and XLR adapter Full-sized HDMI Charging via USB-C while using the camera

Back to the day job

Ha, you jest but actually, since 2010 when I first started making tentative moves into 'hybrid' coverage, I have probably considered it if not actually tried it. Every time someone says, "have you considered...", yep, let me stop you there, that was yet another dead end 🤪 As I have mentioned elsewhere before, there is more than one way to skin a cat (other animals also), but actually very few that are 'The Best' way to do something and with no handbook available, trials, error (a lot) and expense, have been involved. But I can say that other than my own need to move from 4 units to 3, I have finally nailed it. Nailed it as far as I am concerned for what I set out to achieve. Could it be improved? Margins... 2x stills units down to a single unit (for stills) is the last significant 'final change' for me but beyond that, at some point, the video units as in bodies + lenses, could be reduced in size as the S1H with battery grip plus f4 70-200 on a Manfrotto tripod is something of a beast! My future ideal, whilst not a necessity, but rather a wish, would be that all 3 units as far as bodies go, become identical for ergonomic and logistical reasons, one set of the same battery etc. That could happen with swapping the 2x LUMIX units for 2 further Z6iii's as I already have the lenses so would be a relatively low cost scenario. But not a 2024 one. I can make small(er) changes mid season, but wholesale change is too much. The only other thing I want to do this year is pick up another RODE WG2 so I can move on from having to sync audio to the main footage that is using the primary WG2 set up I already have, ie, be able to mic up 4 people speaking feeding into 2 camera units instead of the current 2 into 1 plus random recorders in pockets, clipped to dresses etc. Apart from that, as The Purple One says, I'm done.

It's an interesting notion. Actually, diffusion filters are probably quite a good match to the general characteristics of film. Film has an MTF curve that has a downward slope - ie, as the details get finer the contrast drops. This is unlike digital sensors that maintain contrast until they approach the pixel size and where either aliasing of the OLPF kicks in. Diffusion filters reduce local contrast by spreading the light around, and spreading more light a small amount than they spread it a larger distance, which would emulate the downward slope of film. Vintage lenses have a similar effect. I'd imagine this explains the preferences for vintage lenses, diffusion filters, and softening in post that higher-end productions favour.

You've got to be on top of your game to make predictions that stand up over time.. Just rebrand and shoot with iPhone 15... if you want to get serious then you can get fancy and rig with handle, SSD, NDs and USB power bank, but it's only weddings so no need to go nuts.

I do Making money out of our suffering

Yep, can't stand that stupid channel, but at the same time, no problem with him earning a living.

pretty much the best response I’ve seen