Ed_David

I own three. Color is pretty similar to f35 - https://vimeo.com/73827487 yes I would say go for it - with a samurai or small recorder it's 444 10 bit output with s log. Better than c300 and s gamut is a nice color space, I like it's look more than the f55 or f5.

exactly - that was the experiment. But because of lawsuits, I had to admit rather quickly it was red one mx. Red's lawyers are fast!

We used the 16, 40, and 85mm arri ultra prime lenses. Nope, no Vignetting. I added some to a few shots for stylistic reasons.

Yes it's actually good to see my stab at coloring and the version Anh put up - amongst other things - yes grain is a decision I looked at a lot - I went back and forth a lot about whether to add some grain and it helps with the stuff at 100 FPS and the stuff at 30 FPS and 48 FPS - to connect it all together more seamlessly - I also added a bunch of secondary color correction to help smoothe together all the scenes and play with the sun - which was interesting because it's Winter Sun, which is quite fascinating, Also worked with saturation from the outdoors and inside and by messing around found a less jarring schematic would be warm/cold vs saturated vs desaturated for exteriors. Was interesting and challenging to play with the conventions of the imagery to the poetry - to try to find a connection thru color to make seamless - I found it quite enjoyable!

just able to do 100 FPS slow motion . But it was a toss up - if we didn't need to overcrank on a few scenes I would have gone F35. Better highlight handling and skintones rendition.

thank you Julian!!

Check it out guys - Red loaned me a Red Weapon. It was amaing. For director Anh Vu.

Taylor Swift doesn't pay photographers and can break their cameras per her contract with them - opps - I'm sure Taylor wasn't expecting this from coming out. She denies it too - not the right move, Taylor PR - just change the contract. Learn from Apple's PR. You screw up, change it quickly. 1, 2, 3 - then no one cares. Now you have Jason Sheldon as a hero photog and you look like you are the bad blood.

Right on Oliver. I use the Red Dragon and Alexa a lot - and it's really no different than any other camera ever made. Expose right, get good frames, use good lighting - and it will look good. It's strengths are more minor- highlight handling, skintone rendition, post workflow, frames per second capability, audio, timecode, etc - but renting a 80k camera isn't immediately going to make your stuff that much better than figuring out how to work best with a camera system and try to overcome its flaws. About to release a film shot on the Red One MX that through coloring no one will notice if it was shot on the red dragon or alexa or anything - it's just a matter of really figuring out how to color and light and compose - that's the biggest thing. With that said, it has nice motion, something you can't get with the rolling shutter of the nx1 unless you experiment with shooting in 1080p mode - and so its important to learn the ins and outs of any camera. I wouldn't shoot a film on the nx1 unless I want to be quick and sneaky - but I would use it for crash cam shots and I have tons of times. That's the importance of knowing where a tool fits into your arsenal. Like I just bought a DJI Phantom 3 which I'll use on jobs where we can't afford a real drone rig. Because I know its strengths and weaknesses. That's all it comes down to. Now onto obsessing over the next new camera - it's not that useful - because until the camera comes out - who cares? Unless you are saving up for the next camera - then I guess it matters. But there are so many other things to buy that won't go bad after 5 years like a tripod or c stands or some lights or a lens. And gear fetishing is a long, endless game - time that could be better spent on other things. But as long as you know that forums like this are mostly for procrastination then you're good.

Good call guys . I think without a doubt multiplayer sells better and is easier to work with than single player stories. Dota 2, League of Legends, etc etc seems to be the trend in gaming. It takes so many millions to make a compelling single player experience vs the massive online experiences. So yes maybe that's why HL2: Ep3 is taking so long. However now that they have source 2 engine ready to go - it gives them a good reason to show it off.

And in the reverse Andrew, they shot Ex Machina with really really old Anamorphic lenses. So mining the past can be just as important as looking for the latest and greatest. And I think the decision to use old lomo lenses as you did in the past is just as interesting as using the newest camera tech which sometimes is too sharp or too perfect. That's why I like the Arri Ultra Prime lenses over Arri Master Primes - because they are flawed - they have falloff - they render faces nicer to me.

​I think the steambox is taking up a lot of time also figuring out where the future of PC gaming is going and where they fit in. I'm curious how VR affects them amongst other things. Steambox kind of seems like the wrong approach - people seem to be leaving their televisions for smaller more personal experiences. So who knows what's floating on in their camp.

still was a turd after all was said and done. But thank goodness for Jurassic World. Makes Machina as intelligent as a Tarkovsky film. Speaking of how bad the dialogue is, I watched Mr. Robot and that's how coders talk and act. Also playing Half Life 2 again on my Nvidia Shield - that's also how you write dialogue for scientists.

yes Vimeo is kind of confused right now - they missed the mobile vote like facebook did. Also what's the point of improved video quality on a tiny 5' iphone screen? I don't really see them surviving too much longer unless they become more of a community.

What is an internet meme? - A person over 85 who works at Canon.

Andrew owns the Canon 1D whatever and I think he likes it. Just being a provocateur to get hits! Nothing wrong with trying to push Canon to keep current with their DSLRs or move into Mirrorless tech. But I think most people have moved to other brands.

​I kind of think it could become something like that MacBeth play experiment in NYC - "Sleep No More" where you are a ghost and go from room to room. But yes I see CGI and animation as the real user of VR experience - live action would be very difficult to capture. Maybe with a 360 degree camera it's possible - could be quite fascinating as well. For one VR opens up a lot of new doors and experiences if they can make it as good as the kitchen demo.

After reading about Capcom's tech demo at E3 - the Kitchen - http://www.kotaku.com.au/2015/06/the-kitchen-on-project-morpheus-will-devour-your-soul/ - and how it was the scariest experience the journalist ever had - I am beginning to no longer be skeptical of Virtual Reality as a new form of storytelling - completely immersive as a way to show an experience. While the technology remains passive - you really only have control over where you can look - eventually I think using it with existing controllers like a steering wheel, exercise bike, flight control deck and a traditional xbox controller can give the users a newfound way of experiencing a story and eventually with motion tracking software, even more immersion. It's not quite there yet but it seems like this is the time when we can get serious about it, that we have fast enough gfx cards and CPUs to handle a 2-camera simultaneous 1080p plus system. And for those who doubt 1st person storytelling as less effective than third person traditional storytelling, one should experience Half Life 2 to see the art and ability to weave a story with a first person point of view. While it's not perfect, it's a new frontier of storytelling to explore and I'm sure with the right artists involved, a first person visual experience can become as immersive and heartbreaking as a passive third-person story, just as quickly the Kitchen demo shows. And of course, where does this leave traditional cinema? I think what's important to remember is that the cinema started as a spectacle when it came out - it was a thrill ride seen for entertainment, and novelists probably snubbed their noses at it, just as filmmakers like James Cameron snub his nose at VR. It's a new threat. Happens all the time. Cinema was once the new guy and quickly became more than spectacle, and started quickly to deliver cinematic masterpieces of visual and storytelling. And as well, now more than ever podcasts are more popular - basically one of the earliest tools of telling a story - orally. I keep remembering how enthralled me and millions of others were by the Serial podcast - as exhilarating as "the Thin Blue Line" but done with just a series of microphones and a computer. So there is the future and the past right there constantly there for us to enjoy as well as of course writing which can tell a story like no other and is free and there to tell. VR may very well be the most fascinating way to show people other worlds and make them believable - or maybe they won't - because at the end of the day - it's polygons one interacts with - and that's not completely believable by the brain. Perhaps then it's the past that is the most effective - with the likes of "War of the Worlds" - a radio broadcast by Orson Welles that literally scared the Bejesus out of everyone who heard it. I guess my point is the fear of the new, when instead we can embrace the old, or embrace any tool that we have - because in the end it's just another way to tell a story - you have whatever tool you want at the moment - just pick one thing and put your heart into it as much as you can. To not get scared, but understand that things change. Constantly. And choosing to ignore the change is not good. Because if you can grasp on something new, you can ride a wave before everyone else does. And you have a voice that is unique and people will pay attention, more than if you just do the status-quo.

Samsung's speed of firmware updates is quite remarkable and how much they listen to feedback - because, well, the NX1 is their first attempt to crack into the mirrorless world. I also think Panasonic is a little behind the times. They led the whole indie filmmaking scene with the DVX100 and then the HVX200, and from there, it was downhill. They released the AF100 which has horrible noisy shadows and a weird magneta color shift and a micro 4/3rd sensor when Canon released the Canon 5d mark II that soon changed everything. Now they have the Varicam 35mm camera which is probably about six years late to the party and then the DVX200 which without a removable lens seems pretty weird - and it's just - well kind of sad I guess. I would have never guessed back in 2003 when I started that Panasonic would soon lose out to Canon. It's nice to see Sony doing better with their A7S and soon the A7R II if it catches on. Sony needs to bounce back - and maybe they are doing just that. And Samsung has been innovating a lot - so it's nice to see the NX1's capabilities and soon what's next up their sleeve. I'm excited for the A7S mark II.

with 4:4:4 and 4:2:2 over 4:2:0 it's more than color, it's also brightness. So say you shot something too dark, you can brighten it up easier with less noise if you shot at 4:2:2 or 4:4:4 So it is worth it. Can you make something 4:2:0 look amazing - of course - and you can make something 4:4:4 look terrible. It's just a nice thing to have. So is 10-bit or 12-bit color space over 8-bit color space - you have more color to play with.

​When you get older and more experienced you'll see the value in those camera tests - to quanitfy things such as sharpness, dynamic range, Not just stylistic examples of the potential of a camera. The science of cinematography. Pretty much since the beginning of cinematography it's common to shoot tests - to test film stocks and see how far you can push a film stock. All major motion pictures have this built into the pre-production of a film. It's more important when shooting film because once you get going, you can't really easily stop and switch film stocks. CML is "cinematographer mailing list" started in 1997 I think by Geoff Boyle an established DOP. He started basically the whole online camera exchange.

​I thought you guys hated the direction I took the discussion in - that's why I banned myself and left. Jimmy you were one of the people who directly critisized and ridiculed me, right? Oh well. Please do not anatagonize Andrew - this is his blog - if you don't like it, so be it. It's a free service he provides. I'm sure he doesn't appreciate someone coming into his house and talking poorly about how he does things. If he wants to bash Canon, let him bash them. Sony needs all the help they can get - they are in financial trouble. I don't know about Canon - but some pro-Sony news is welcome. But I agree, why bash any camera manufacturer - and the 5d launched the revolution of cheap affordable and easy DOF without using a depth of field adapter that cost 2 stops of loss.

Even with a perfect global shutter the test videos still were pretty weak in highlight handling and moire and macro blocking in the slo mo. I'm not optimistic for this camera. I think by the time the A7S mark II comes, we'll have something better maybe. But I could be wrong. Also you can't knock Canon too much - they have skintones nailed down very nicely. The new Sony S Gamut has a weird magneta shift to highlights and yellow-y skintones. I'm rooting for Canon to return to glory.

real world tests are nice and important but there is a reason the best DOPs shoot test charts and color charts with models in the frame - websites like CML do this to test dynamic range and noise levels. but yes you can also shoot a landscape to show how it resolves detail and put some humans in the frame - as long as you shoot with the same lens and that's useful.

I'm curious to see a test chart with resolution and noise levels at 800 ASA and skin tone comparisons. I'd pay you.