Leang

Ok most of you should have an understanding of the many types of movie goers, and most of you would agree that the average movie goer is all about the fiction and nothing more.  cheap to mainstream 80's horrors had its era and especially in the rental age.  of course the suspension of disbelief for gore demons and cheap plots have withered down over the years, but with HFR 3D I foresee it coming back at a fun level.  HFR 3D feels like you're in the set.  if paranormal activity could sell well or any real world horror shit then HFR 3D is at a great place with another market for filmmakers to bandwagon. 

just watch and see.

all of you have been had by Jackson and the Japanese because the real metaphorical message to all is "HFR Hobbit porn for the world!"

seeing as 720p was the true shine limit for the AG-AF100 they could've atleast adapted P2 technology in it with DVC Pro HD @ 100mbs 8-bit 4:2:2 just like the HPX170.  AVC Intra 10-bit 4:2:2 was already in the HPX370 before the AF100 was introduced.  This is now 2 years passed.    Besides this 4K Panasonic surprise upcoming I'm pretty sure they have something in the middle so that they can implement and promote more of their Micro P2 technology.  Panasonic have been really quiet lately and I'm more than sure they will be introduce some dope shit.  hopefully... and taking notes! 

  Same in Turkey.  There's always a break.  Speaking of which just saw "Flight" several days ago.  hells fucking yeah!  amazing performance from Denzel and Kelly smokin' Reilly.  oh yeah and John Goodman!

  I would really like to read what exactly Panasonic did.  where's Jan Livingston to answer this.  I'm assuming a true native 10-bit path would require a new chip on the main board for this process.  So I'm trying to understand what a "10-bit smoothing process" is and if it's effective like a general native output.  Seems more like an algorithm (upbit ala "uprez") which would just be fierce code emulation telling outboard devices that they are 10 bit which Panasonic calls a "smoothing process" opposed to a "dedicated" 10 bit signal path/chip.  nowhere do I see any marketing that they've added "new" chips to the model for...."true blah blah blah" which is usually normal for any next generation model.  

so what are the advantages or marketing gimmicks of a "smoothing process?"  So smoothing and 50/60p were the updates.  seems nothing more than a firmware rewrite.  no actual hardware change

http://pro-av.panasonic.net/en/sales_o/02products/products/ag-af100a/index.html   "*10 bit signal is generated by smoothing process. It is not a native 10 bit signal."

BM has got nothing to lose. the sensor to begin doesn't even fit with standard protocols. this doesn't mean it's not effective, it's just not realistic in the real pro cinema market. television? sure. it's flexibility fits in. but in the real world shootings go 24/7 and every joe wants to make money and move on. the high premium prices for the big cams have no effect in the pro arena. not one bit. this is why this forum is cute with all its theories about what tech dies and what not. it's sad that many feed on "RAW" marketing gimmicks. people forget to realize it's just marketing at different strokes to compensate alternative costs vs. 4:4:4.

  you missed my point.  hence the website domain name. I came here initially to see the magic of indie filmmaking talk, not bitching about protocols most here don't have access to or not even SHARE particular experiences on the field for this 48fps topic.    

some here are too analytic about new technology you forget to take advantage of the practical tools already in play.  real pro's just work and play along as the years go by and not hit forum boards with irrelevant theory.

[url="https://vimeo.com/54499106"]https://vimeo.com/54499106[/url]

owned! 

I don't care so much about pricing since higher end cams are premiumed for rental companies.  from a world wide perspective quality name brands have a better resale value since underdog industries and their countries favor known brands.  I know this for a fact.  it will be harder to sell a BMC and its workflow protocol to used buyers wanted to jump into the game even two years later.  this is how you justify the investment.  the C100 might not be that great compared to higher end standards but for 3rd world countries stil rocking 4:3 televisions believe me there are indie investors that would buy a C100 even 2 years later which to your currency wouldn't hit hard.  this is the reality.  this is why codecs are so important.  not everybody can rock and roll with RAW or even DNG.  that's just a fact.  but when post NLE's license easy codecs for machines that don't need muscle, the cams in which you think don't cut will actually benefit you.  there are broadcast companies that do buy used high end cams down the road.  all this high end shit right now will still be valuable 3 years down the road.  the final output is what matters which should be toward TV.  all you indie kats thinking hight end for cinema output get real.

beautiful organic look.  this is the practical latitude worth investing in without a severe grade!  the Dragon tech will surpass this, but this is the digital 35mm dof & (high rolloff) indie-real-world-drama look that I would love to work with!  with a little more tinkering in the settings I bet you can get somewhere of a Kodak Ektachrome 100D and then later fool around more in post.  thnx Filmman for posting the clip.

SlashCam doing damage at EOSHD!  "all hells nawh!"

fake.  the Chinese can't even see 4K!   :P

robert rodriguez and tarantino make the most fun out of these techniques

i like the Rokinon 650-1300mm for interviews handheld!  it's really hard.   :(   but that's what she said!  :o

  well for said video I think it's that particular building.  look at the pan at 3:17 as it comes back when the pixels are stationary.  

  me neither because I haven't ordered one!  :P   I'm just joking around.  use what you've got.  I've been searching for some pro serviced retro tech cams to shoot some old VHS-C. just some particular projects I have in mind set in the 80's.     but seriously for me camera blocking, fiction, technique, and then finally acting are the most thrilling and awarding things.  a good DP can light whatever.  cinema verite, exterior dynamic range theory, practice or highlight rolloff from skies...i mean seriously that's not what filmmaking is about.  paper/spec marketing seems to have owned the new generation of filmmaking enthusiasts and the only ones winning are camera manufacturers.  they're not really writing screenplays

  so the original footage should be ok?  I noticed that the original uploader didn't say much from a comment regarding the moire, so I'm only assuming that the original footage was acknowledged to having the moire.  most know to work around such challenges.  these camera wars are a bit funny.  oh yeah shipping delays and excuses are also funny 

[url="http://vimeo.com/52564209"]www.vimeo.com/52564209[/url]   so basically the scare-trend in indie filmmaking is to avoid post-modern metallic-silver-structures from a far or occasionally avoid some brick walls.  or is the optimized output (2.5k) the expected?  was this compression?  fantastic..

David Lynch's next film is going to be about sensors and the holy book of RAW.

Yes.  for a while I was wondering why everyone even brought up FF in the topic and slammering it.  It's because Andrew was replying to Gene's comment that he would prefer S35 or a wider sensor as well as higher frame rates.