mtheory

To be honest, nothing could save Salt from sucking, the story, the stunts, the acting and the lighting ( in this scene especially ) were really bland, but the smooth editing at least doesn't leave you confused. In Dark Knight, for example, the shot from above where we see police column encounter a burning blockade, that was a very poor establishing shot...first, we very briefly see something burning as it enters the shot, but its not clear enough....then, for almost an eternity we see the cop's reaction to it....so he is already reacting to something we haven't had a chance to process yet......and only then, briefly, in the next shot do we get a closer look at what he was looking at...but by then we have to mentally re-edit in context to understand the cop's reaction...that is annoying because it takes you out of the movie when you should be IN IT. One movie I think that had the right to be confusing and nauseating was Gaspar Noe's "Irreversible"...it was part of the point of the film, and was effective. In fact, Nolan himself did it even better in Memento with reversing the chronology...but Memento was still a masterpiece of precision...in every scene individually you were always extremely spatially aware...for example, there was a repetition of an establishing shot of Teddy's murder scene in BW and Color..Nolan was extremely careful to orient us properly. I think he was probably not very confident in directing action ( it is one of those things that you either got, or you don't, no matter how great of a storyteller you are otherwise ), hence the lack of precision in that Dark Knight action scene. Take a look at James Cameron directing a very similar but much better truck-chase-in-a-tunnel scene in T2 and see how amazingly clear the cuts are, this lets us as an audience to feel the action without having to think "Wtf is going on". Every damn shot here picks up the motion from the previous one and passes it on smoothly into the next one. Beautiful.

Nolan is a master of big strokes, but he is sometimes sloppy and imprecise. To say cinema is not about audience following wtf is going on in the scene is like Kanye West saying that leather jogging pants are not about comfort, because fashion is about style. That is precisely my definition of bullshit.

Yeah, he used to post at Cinema5D, I told him he better hurry up and make a feature film, I hope he listened is gonna blow us away someday.

Linearity and Continuity are two different things. And a continuity error in Kendy's short is not a big deal, - given that a huge chunk of Hollywood movies get released with continuity errors too. I think there was a site somewhere dedicated solely to spotting them...

Now THAT's a short film. It has a story, an actor, a score. If a work doesn't have these components, it's a short/art/music video, but not a short FILM. Anyway, - Great pick, Andrew!

Check out this article and sample DNG's from DPreview. You can download sample DNGs here: ISO 100 (DNG, 47.4MB) ISO 100 (DNG, 47.4MB) ISO 637 (DNG, 47.4MB) ISO 1600 (DNR, 47.4MB) This is an early first-gen implementation of RAW on a smartphone, but I will definitely be on the lookout for upcoming Lumias and will eventually get one. BTW, are there wide-angle lens addons for Lumia's like the Olloclip for iPhone?

Very happy with the recent EF 35mm f2 IS, it recently dropped in price too.

Hope there aren't any Canon plants in Fukushima or 5D Mark IV must just wipe out the whole indie community.

Alternatively, one of the big boys could jump on this bandwagon and steal Lytra's thunder, sort of the way Playstation Morpheus is trying to do to Oculus Rift. The name of the game in the tech industry is "new", that's how you sell. After all, where do we have left to go after 4K-3D-HFR are no longer novelties? Exciting times.

http://www.theverge.com/2014/4/22/5638812/meet-the-illum-lytros-futuristic-new-light-field-camera Wow, I did not expect this to go beyond the quirky experimental stage so quickly....looks like they took some pointers from BMD in terms of design. The camera has flexible DOF and can apparently do 3D with a single lens....crazy. It costs $1,599. Right now it can only do stills at 4MP resolution....but if they manage to make this baby do RAW image sequences in 4K as well as record sound....well...that will really, truly change the game. If adopted by the film industry, this could potentially make all of the current cinema glass obsolete... But only imagine being able to adjust DOF, exposure and 3D...all in post. :wacko:

It's the same sensor, anyway. What I'd really love to see is that 16-stops @ 3K mode from KineMAX that could push it further into mini-Alexa territory. Hope they make some DNG samples available.

Glad to help. What I love about this forum is that it is both non-corporate and mature, and I'd like it to stay that way, with strong opinions or language fine in my book as long as character assassination, gossip and spam stays out.

Northlight is suggesting EOS M3 and 7D2 in Q3 as well as the mythical new EOS 3D in Q4 this year. ( The 3D is also a possible codename for 5D4 ). Regardless of whether these camera will come out or not, I feel that filmmakers already have everything they need for 2K and 4K shooting ( BM, Panasonic, Sony, 5D3, Kinefinity ), anything extra would be a nice cherry on top, but no longer game changing.

BTW, the OLPF filter on KineMINI 4K is different from the previous 2K camera and is optimized for 4K, the images do seem a little sharper to me than their old samples..but I could be wrong.

I am really happy with the GH4 and A7s developments, and hope Panasonic/Sony will now provoke Canon into a new DSLR industry Cold War. Canon reps looked miserable at all the NAB interviews. They have no choice but to give the next 7D2 a 4K video resolution now...just imagine the ML RAW on a superior hardware!

If you pre-order now, expect this camera by March 2015, right before BM announces 3 more cameras...

That's insane. I'd love to sue RED for pretty much everything that was ever posted on their forum.

What I love about Kinefinity is that they have always provided raw footage upfront, even before hardware design was still fully finalized, kind of the opposite of Blackmagic. The Kine+ is a seriously hilarious dig at Blackmagic's half-baked approach to camera-making. Damn. It's like..."here, son, lemme help you with that..."

Who the fuck are you anyway? I demand a clarification too.

"Mom?"

They pranked people twice with their deadlines and QA standards, I doubt there will be many pre-orders for any of these cameras until they are shipping and solid reviews with demo footage are in.

C stands for Cinema, and while the C-line has been super successful in broadcast, I'm disappointed that it did not actually deliver proper cinema tools. They should've named the line B for Broadcast, and focused on creating 1DC ( FF + S35 @ 4K ), 7DC ( 2K @ S35 ) and 5DC ( 2K @ Full Frame ) dslrs with internal EosRAW codec, this would've made the C-DSLR system very modular and perfect for filmmakers.

Ah, it's refreshing to watch footage in deep focus, I got so used to full frame blur that it's exciting to actually see different environments and little details. Also, is that a transformer-Hulk at 3:16? :)

With the prosumer RAW market maturing ( BM + Kinefinity ), I wonder if Canon will risk ignoring internal RAW yet again with the C line.