mtheory

I post this about once a year once the whole "the state of film" discussion comes up.

Hope it has better low light performance and power consumption. Fingers crossed for a new BM announcement at NAB.

​No, I do mind Clarkson abusing others. I also mind others abusing Clarkson disproportionately in return. Which is what's happening here.

First, I didn't comment on his previous incidents because I find it is irrelevant to this specific discussion. I do find them problematic, but not enough to write the guy off, especially since he apologized for offense caused. I find the damage caused by his termination to be a far more serious than hurt feelings of one dude on the set. Second, do not call me a liar again, this is a warning.

​Just to make my position clear, I don't think he should've been fired even if he did split the guy's lip. He should've been suspended for a few weeks, sure or punished in some way, and the victim could've sued him in court afterwards and gotten compensation, but I don't see why two men coming to blows should destroy one of their careers and possibly many others who depend on the show's success. If Jeremy was clobbering people at workplace serially, then yeah, this is abuse. But this isn't it, it's a private matter between two adults who can resolve it themselves. He is being punished for his character OFF CAMERA, the same character that makes millions for the channel ON CAMERA. That is hypocritical to me. You don't bring a Tiger to the circus, then punish it for not acting like a kitten during non-public hours.

What has this got to do with what we are discussing? I was talking about Clarkson being fired for shouting at an inept colleague. That is not abuse, if you want to see abuse see sweatshops in Asia. Everyone needs to grow a thicker skin.

Repeat after me: "Sticks and stones will break my bones but words will never hurt me". Now breathe out...

I think "behave yourself" is a British mantra, this constant obsession about shooting down those who do not conform to a very rigid form of behavior. Isn't this why Britain had a strong punk movement and so many great rock bands in response, - most people hate being put in a straight jacket.

I don't think most people realize just how common these "fracas" incidents are...here's a David O'Russell set for some context...

Clarkson's mean personality is what makes him entertaining and makes millions for BBC and I imagine sustains dozens of jobs and families as a result. In fact, just like Charlie Sheen "fiasco" this is gonna cement his brand and reputation even more and other companies will be dying to have him. On the other hand, the dickhead who got him fired will be responsible for layoffs that will inevitably follow the show losing its popularity and profitability. But at least the atmosphere will be nice and pleasant...with lots of crickets chirping at the office.

A BMCC with a speedbooster is a powerful movie machine indeed.

Not everybody hates the cameras...

This confusion comes from the fact that C stands for Cinema while the cameras are actually specced for TV production. To me, a true Cinema camera would have had RAW recording as one of the primary features, the way Digital Bolex, Blackmagic, Kinemini, RED and Alexa cameras do.

I disagree with FilmBrute as well, - it's not the iPhone people are addicted to, its SIMPLICITY. If DSLRs had built-in Facebook/Twitter/Instagram publishing features we'd see an increase in DSLR adoption. Social media is all about trends and vanity, - people would jump at the chance to show off their new gear to their social networks. People ALWAYS want better specs and gear, but the technical barrier of DSLRs is holding them back.

Canon needs an easier solution for wifi transfer. I want to snap RAWs to the CF card but have JPEGs streamed real-time to my iPhone/iPad's camera roll, from where they could instantly be published. I also wish Canon ran some kind of image/video hosting community, like Flickr. There's so much they could be doing in this space.

​Because only highend and indie filmmakers have the luxury of time. TV is an extremely fast-paced delivery-oriented business, they simply can't afford longer production times that RAW requires.

The continuation of C500 means the "cripple down" strategy will stay, - bad news for C300 Mark II.

Well, I doubt this announcement will sway Fincher who probably already got spoilt doing cut-ins and stabilization on his 6K dragon workflow. But aside from the cutting edge crowd, Alexa Mini will definitely deflate RED's market share.

Look, man, if your primary need is educational and if you want to spend most of your time actually doing post with 2K DNGs instead of building rigs with many components, you should go for 5D3 with ML with a nice big Lexar 1066x CF card, once you set it up to stable settings its the easiest camera to pick up and shoot without worrying about batteries or monitors, etc. I recommend you spend $2K on 5D3 and spend the rest on good Zeiss CP or Canon L lenses, they will last you forever as you keep upgrading to new cameras. If you're buying 5D3 brand new, make sure to check the firmware that is compatible with ML before you buy, some of the latest supplies have a new firmware that doesn't allow downgrading.

How good is the ProRes 4444 XQ codec? Can you still change exposure of the footage?

Thinking about it, lack of internal RAW is probably a business decision, not an engineering fault...this camera would seriously screw up its bigger brother if it did internal RAW.

Haha, they made this announcement on the same day that BIRDMAN won Best Picture and Best Director Oscars, - good timing, Arri! Alexa retains the crown as the best cinema camera in the world, right as Varicam35 was about to challenge it. 200fps is a huge surprise, but the feature that I completely did not expect on an Alexa is...an EF MOUNT ! Alexa is teasing the DSLR filmmakers here...renting the body and bringing your own inexpensive EF glass might work for some...never expected a Canon EF mount on an Arri highend camera...the lack of internal RAW is the only bummer at this price range...I mean...Kinefinity did it!

Why don't you buy the KineMINI as a barebone 2K starter version for around $3K-$4K, you will be able to upgrade it to 4K and slow-mo in the future.

Most film audiences aren't even aware of what a DOP does, let alone what a ASC title means. To me it's very very simple...you either get into this industry to impress audiences with the magic of cinema, or you're in it for the crowd of critics and peers whose respect you desire...you can sometimes achieve both, but generally these are two different directions. To me, being an artist who touches millions is a far bigger achievement than getting an award at a "prestigious" festival, a feature article in a "prestigious" magazine and a good review from a "prestigious" critic. I know some filmmakers who are in it purely for the red carpet bragging rights. To each his own I guess.

Looks like Kinefinity is firing the first shots at the NAB crowd..and their body engineering is getting better...wouldn't be surprised if they announce an even smaller form factor for KineMINI this year. Really curious about the rolling shutter performance at 6K and 3K on the KineMAX, looking forward to the review.