jgharding

Hahah I've watched the film so many times, came onto this forum after a beer or two and I'm laughing at this scene again! I just love the performances...

Ah of course, playback is pretty good.   You can just highlight the whole sequence and replace with After Effects comp when you're done. Then all the shots appear in AE for grading.   Apparently Speedgrade is now realtime too (as in you link to shots in Premiere) but I've not tried it...

Does it work in the same way Red footage does: right click the clip in the bin, choose Source Settings and then the raw settings appear?   I've tried some DNGs and it crashes Premiere instantly whenever I touch them, running latest version :S

If you clip in ACR I don't think you can recover outside of it. ACR is debayering, your AE effects come after that process in an RGB space.   For your other issue, try setting your comp settings to 32-bit. It may fix it if i understand you right.   Look at the bottom the project panel it says 8 bpc. Hold Alt and click this to change the bit-depth for the project.

One man's meat is another man's poison eh? ;) There's something for every taste in camera land!

I second the "having options" thing. It is nice to have multiple sets if you can.   I also second that Zeiss zooms are brilliant, and also that F4 is a pretty good standard shoot aperture for APSC/Super35, and 5.6 for 5D style full frame, both roughly.   Open up if you need to, for the light or the effect, but shoting wide open at 1.4 all the time is a bit of an affectation and makes a lot of work all round!

@Sanveer, There's some weight to this kind of argument - like the argument that petrol cars are obsolete technologically, but economic and military power forces the use of oil for propulsion. However, to come back to earth, in the camera world you're more likely to see evolution along the same cultural demographic lines. Accessory makers (unlike billionaire oil and military power) can't dictate the market their in. Accessories always follow camera types (rigs weren't that popular until DSLR video for example), and smaller mirrorless need arguably more rigging in some cases than bigger SLRs, as the bodies are smaller and less stable. There will always be hobbyists, your average Joe and pros. Hobbyists are a transient market: a small portion move up to professional gear, the rest give up and drop down to consumer, though some do stay in the middle for a long time. So they can't really rule the roost. Their picky and nothing is ever good enough for them, they will pixel peep and rip apart your product more than the market that actually keeps you camera company afloat. Phones may be poor BUT they're good enough for most people. Those who flirt with proper photography often have a brief foray then go back to the easy stuff. So the idea of an entry-level DSLR is starting to look a bit silly.

In fact I'm currently working with Epic footage, and the magenta cast is playing havoc with it....

I don't recommend the medium format lenses. They're not very fast and perform relatively poorly wide open when compared to 35mm equivalents, from my experience.   I do own the 120mm 2.8 Biometar, but only because the 135mm Contax is lacklustre. The Biometar is a flattering portrait one-trick pony though.

The magenta thing is an Epic trait, unfortunately. It can really throw off skin. If you're not pushing ISO and everything is well controlled it's fine, but that tone is a quirk of it.especially as you clip.   I've not used F65 yet though I've handled some footage. It's very very sharp, which isn't really my bag. I don't know much about the DR or highlights though.   The C500 is a bit of a mis-step, I don't know anyone who uses them or has them for hire. Here's an example of why, plus you can't get away with skimping on features at the top end.   The C500 is supposed to be their flagship camera, but only does 50 Mbps (CBR) 4:2:2 422P 8-BIT internally. That's nothing short of insulting, considering the market they were supposedly aiming for. Everything else requires an external recorder. It's not a significant step up from C300 and too fiddly to replace Ared One or Epic hire.   It seems like Canon are obsessed with 8-bit, like fast big storage just doesn't exist. Now the Arri Amira is coming out, I'm happy to ignore the C500 completely, hopefully use Amira on most jobs that used to be C300.   Go to 5:49 in this video and look how bad the C300 looks from the 4K output raw compared to the arri. it's no contest: https://vimeo.com/77715062

“Life doesn't imitate art, it imitates bad television.” ― Woody Allen   “The chief enemy of creativity is good sense.” ― Pablo Picasso   Two of my favorites ;)

I also come from fine arts background, I studied Sound Art & Design at the University of Arts London, I only picked up video in 2008.   It seems to me that art is a genre of popular culture in some ways. Experimental music invariably involves noise and lack of melody, experimental film deconstruction of standard narrative. My favorite painters are incredibly skilled but ignored by the "art world", which appears to be a clique serving one another's and their wealthy patrons' egos.   I suppose authorial intent is an important part of the viewer's reaction if it's made clear, otherwise it's part of our own reaction rather than intent!    That's why an artwork is often experienced so differently when read the accompanying text to when you do not...

Alexa is the best, beatific detail, clean gain and shadows due to dual gain-stage sensor readout, lovely grain, no magenta blowout like Epic, no plastic sharp look like F65...   They nailed it.   Would be great to see 5D MKiii raw added to the list.

I really like zooming in on pixels, fake slow mo, degradation, noise, so on, so I enjoy the aesthetic!   I find it hard to take art films seriously these days though, unless they refuse to take themselves seriously that is ;) I must admit I was guilty of more than a few...   Hahaha that reminds me, when I lived in Brighton and was first shooting with Sony Z1 HDV, me and my friends made a piss take of art films to learn the camera:   You can probably tell I studied sound before video, the soundtrack was incredibly complex to build!   ;)   http://www.youtube.com/watch?v=TaZl-jPDX88

Just remember that long pans, zooms and tracks done in post can be given away by the lack of parallax.   If you have time to cut out all the distance layers and add it in After Effects you can make it 100% realistic (not worth it over doing it for real), but otherwise it can look very fake if you have different levels of distance in shot   That said, post zooms have been used since way before digital. You could spot them by the grain increasing in size.

But if you want 15mm systems, there are tons of them on ebay, rudimentary aluminium poles etc, you can't go far wrong with a tube and some blocks.   If you like things to have a brand name attached, "Lanparte" is one of the simple-and-works crew.   I bought all mine at the start of DSLR video, a perfect clone of Zacuto for 150 quid! That doesn't seem to exist now. Many are way overpriced.

You're "funneling" in more light.   Imagine pouring water into a bottle, the water to the left and the right of the opening on top doesn't go in, with a funnel, it does.   The curved front element of an anamorphic is channeling light like a funnel would with the water, catching more to the left and right and guiding it in.   The effect is that the image is distorted and tall before you deal with it.   It was invented originally to fit a widescreen view on a square bit of film, to use as much resolution as you could and achieve a wide result without cropping.   In the old days you'd use a similar distortion on the projection lens to unsqueeze the footage. Now you can do it in your software.

Yes phantoms are a lot to hire, but if it's commercial and they want that kind of slow motion it has to built into budget, because that is the cost of creating the idea.   If not, you could try hiring the FS700, if you don't need ultra slow motion, you can get it for a couple of hundred a day, maybe less.

For phones I like a closed system, I just want it to function. 70% of handsets on a new OS so soon after release is something Android will simply never achieve!   Back on original subject, didn't Sony pretty much quit beginner SLR in favor of mirrorless?   All their entry SLRs are labelled "previous model" on their site...

Painfully brilliant.   Check out the switch of mood when he starts to flashback... around 3 minutes, also where it cuts wide again, just genius...   The establishing wide shot on a wide, bulgey anamorphic, and some nice portraits used to emphasis the story flow   http://www.youtube.com/watch?v=I1ukjdwLAIc

Pulp Fiction!   The script is a poem, it's engrossing, funny, clever, doesn't take itself too seriously. Lovely retro anamorphic cinematography, some crazy distorted old glass in that.   It's the film that made me realise film could be perfect by wearing heart on sleeve. I think I was 13 at the time.   I can nearly recite the script of by heart ;)   http://www.youtube.com/watch?v=uYSt8K8VP6k

LOLZ!

Yes Adobe ACR is the leader for me. Denoise and sharpen in that, rather than after conversion, and you're doing good.   Neat Video is great, but it's for polishing turds, not the family silver ;)

My friends always ask me about cameras. Usually I recommended the RX100, as it it does everything they need and is tiny.   In the middle ground, basically pro stuff is crossing over and getting cheaper, so we'll be where home audio is with video in not too long, 5 years?   But yeah, most people who buy DSLRs just don't use em, so they won't buy another.   This happened with budget microphones. Every home recordist who wanted a 100 pound mic bought one. Most don't bother with a second, causing issues for budget manufacturers.

I think the RX10 does look great for a lot of tasks, though the codec bitrate is a bit of a shame, it's a great camcorder replacement.