Andrew Reid

Most of the discussion in this thread proves my point that climate change isn't up for debate and very good science will be ignored as a result. As a liberal creative person I can't even so much as ask a damn question, let alone consider arguments outside my liberal bubble, without the finger pointing of moral condemnation from fellow liberals. When the simple act of considering some related issues and problems is considered "denial", followed by a lot of frenzied arm-waving idignation and accusations of being alt-right, that is a major problem - and we see it in our politics every day. This is really unhelpful if the human race is to solve the issues of managing our climate and understanding it better. Today, we either fit in one camp or the other. To satisfy a consensus you have to either flat out deny climate change exists, or claim that it is all proven, settled and we know everything. Anything else is heresy. The fact is we don't know it all... we aren't considering some related issues and problems with clean energy sources and impact on agriculture, farmers, food and lives. This is too complex a problem to pledge allegiance to one of just two opposing dumb football teams and attack it with a tribal mentality. It's sad to see people do so on this thread without even having watched the film.

D810... You may as well get the D750... It does the same video quality and the stills aren't far off. Same mojo with colour. Handling maybe even a little bit more straight forward. In fact for just 1080p the D750 has always been nice. I'd use it over the D500.

You don't show it.

Don't do it The crop is murder. The image is decent in 4K but it's overpriced for what it is. The D850 runs rings around it for both stills and video. Full frame is something else.

The science is far from settled, for example on the topic of renewables and the management of food, land and the agricultural economy. Further research is needed there to gauge the impact losing all that land to wind farms will have on food supply. Furthermore, it's interesting to hear what Freeman Dyson says in the film about the computer models - that they are a good tool for understanding the climate but a bad tool for predicting it. I'm no climate change denier but the discussion is getting way too dogmatic on both sides of the fence.

That clock one is the only one I didn't grade, straight out of the camera to show the dynamic range, so grade-away...

"Are we doing the right thing?" That's the question The Uncertainty Has Settled explores, and you may ask yourself the same thing about shooting Magic Lantern for the big screen! Crazy or inspired? My friend in Berlin, Volker Schmidt was behind the camera on this film, and the decision to shoot Magic Lantern raw video on the 'vintage' 5D Mark II... Read the full blog post

RS is similar to all the other cameras. GH5 still king for minimal rolling shutter. You know, until now there hasn't been a camera like this... It is a 1D C image in a body with much better video features... articulated screen, fast FPS live-view, small file sizes... It fixes all of the 1D C problems and even the 1.3x crop is gone. For that reason alone it gets my respect. Sure, a Sony or Panasonic mirrorless camera is going to be better for certain tasks, especially handheld video shooting (5 axis) or VFX (10bit codec on GH5) But the D850 is that rare mix of full frame pro-level stills and cinematic 4K quality with no real issues. It is a full frame and pro-level stills camera with 50 years of colour science behind it. Is this offered elsewhere? Fuji? No. Panasonic? No. Canon? 1D C and 1D X II are closest. Sony? Close but no cigar. At the very most basic level I wanted a 1D C with flippy screen and smaller file sizes and now I have it Of course if Nikon did put this technology into a mirrorless system it would be a big rival to the A7R II and A7S II or whatever Sony brings out next, but I don't trust them not to fuck it up. The first casualty of shoehorning the D850 into a mirrorless body would be the D5 autofocus system for stills. They would need a new sensor, one with Dual Pixel AF. Not even the GH5 has video AF to match Canon and in stills it's better but still not D5-good. I also think that an investment in Nikon mirrorless glass, the probable small selection at launch and the cost is quite off-putting just to get AF, when you can manually adapt a bunch of other nice stuff to a mirrorless mount - but then you are back to manually focussing not just in videos, but in stills as well which is a real deal-breaker for me. Sometimes it's a case of 'be careful what you wish for'. The best thing Nikon could do is collaborate with Metabones and make a EF adapter giving Dual Pixel AF level performance in live-view and video for their mirrorless camera, as live-view is critical on such a system, without an OVF, relying on only EVF / LCD.... Then make the entry-level Nikon mirrorless lenses affordable enough for the layman to switch over relatively quickly (a cheap fast 50, a decent zoom and a fast 35 or 28). This of course is about as likely to happen as Leica going into the sub $2000 camera market

Meanwhile, in the real world: (All full frame. Flat profile. Sharpness on zero)

You're completely missing the bigger picture, literally. The A7R II Super 35mm is fine, but it isn't full frame. The GH5 is not full frame. The D850 is full frame 4K and much better than the A7R II's full frame 4K, better horizontal res and less moire, it's better even than the A99 II full frame 4K which I am very happy with and which was an improvement on the A7R II's image. The codec and colour science are superior to the Sonys. The sensor size and stills are superior to the GH5.

Yes best screens and sound in Berlin but the audience can be exasperating. I do prefer the atmosphere in the smaller cinemas. It's almost as if people go to them to actually watch a film rather than to date, eat, piss, fight, or whatever it is the normal fucking ferrel human being likes to do instead of watching films.

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

I watched it at the Sony centre, Cinestar and they had an interval less than half way in where they flash up an advert for ice cream and everybody waits around in the light for 10 minutes or goes to the bathroom. Really improves the atmosphere of the film! Not! Apart from that the cinema is nice. Apart from the people... And the advertising... And the ticket prices (14 euros) They also have it on the larger IMAX screen there too.

Congratulations, what an achievement! I watched the trailer, but couldn't watch the whole film as it isn't available in my location Is it US Amazon only?

Hold on guys. If anyone is going to create my profile as a LUT and put it on EOSHD shouldn't it be me?!

I enjoy reading your posts but I think it's time to say - you don't need to press enter at the end of every line when you post on here. It will wrap around automatically like this... And this is much easier to read.

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

There's quite a lot of product placement in the movie... Sony, Atari, Peugeot, Jonny Walkers and more, so that will have paid for some of the marketing efforts at least. There's far too much greed involved and if the movie would have been made for $20m on Netflix it would have been just as good, provided they had the same core crew and cast.

You will notice there are anamorphic shots in it, but without a spoiler, I can't get into specifics

Focus peaking is overrated you don't need it if you have a very high res screen, which thankfully the D850 has. So although it only works in 1080p, which is strange, I am not missing it.

Well break-even would suggest that for the movie to make a profit, it has to do over $400m from ticket sales, blu-ray and merch, doesn't it? So box office isn't everything and yes bomb maybe too strong a word but the problem is clearly illustrated Hollywood will kill its own product if it carries on like this chasing $400m returns on art. Because it's an impossible business model and the only way this level of greed can be maintained is by churning out branded, franchised, heavily marketed lowest common denominated trash for the masses.

Yes I agree 100% but the problem is - they spent $400 million on making and marketing it as fodder for the masses. Grossly overrated the reach and popularity of the source material. The budget of the film was $155 million after tax rebates and other stuff. The marketing effort was HUGE. They better hope the long term outlook is good for it... I think it will be... It'll stand up well in 5, 10, 20 years.

First camera to reach 100 mark at DXOMark https://www.dxomark.com/nikon-d850-sensor-review-first-dslr-hit-100-points/

http://deadline.com/2017/10/ryan-gosling-blade-runner-2049-harrison-ford-opening-weekend-box-office-1202183063/ I've just seen it. Definitely not a fast paced action film. It's slow, brooding and very very tense. Roger's cinematography is his best work ever, and he'll get a Oscar for it. So many deft touches and changes mid scene to serve the story. It's a stunning looking film. Dennis Villeneuve slowed down the pace, focussed on a study of the characters above everything else. I'm still not 100% a Villeneuve fan but this is far more entertaining than Arrival. I am more impressed with the story and screenplay... It has many good ideas. Some genuinely original and untried. I think it will stand up to repeat viewings, it has the depth to go down as a bit of a modern classic. I just wish I was more a fan of the overall cinema experience of people munching stinking nachos in your fucking ear whilst talking constantly. (To be fair this isn't as common in Berlin as some other places but I lucked out and got to sit next to a dirty old corporation man on a date with his 18 year old intern)

Someone needs to explain that test from Tony I guess. The D850 has 3 auto white balance modes - 1. Keep absolute white 2. Normal 3. Keep warm ambient cast The A7R II in the test is shifted to the usual Sony zombie yellow with poor skin tones and warm whites are neither true white or orange - they are yellow! This is exactly what EOSHD Pro Color sets out to fix - and does. Don't use the default Standard Sony colour!! The GH5 in the test is under exposed or some other issue. It is doing a good job of getting the ambient temperature of the light in that room though, whereas the Nikon appears to be set to the first auto WB mode. This stuff should be mentioned at the very start of the test and the different options cycled through in the test as well... Otherwise people think it's a performance issue. It's not. It's a setup issue.