Geoff CB

This is probably my absolute #1 issue with Resolve that needs to be fixed.

Working on a long documentary in Resolve and previously did a 25 minute doc in Resolve. Really all about organizing the footage and tagging as you shoot in the media page. I've gone all in on resolve at this point for projects. Just got the editor keyboard and it is awesome.

KEH has one for a grand. Anyway excellent interview Andrew, great to get insight into their process. Excited to see the results of this new booster for FUJI and the sigma CINE info was fascinating.

Great I hadn't even heard of that 17-35 Zeiss and now I want one BAD. Also given it's performance and lack of vinyette maybe it would work mounted on the GFX100 andrew?

Make sure to consider the PiX-E5 to get 12-bit 4:4:4

Couple more with the Nikon 24-70 2.8G and Sony F3 Combo

Nikon 16-35 F4, 24-70 2.8, 70-200 2.8G (First Version) These lenses offer a great range and color with a matched look. For used prices they are a great way to cover a huge zoom range with full frame coverage. Do NOT go for the 17-35 2.8, overpriced with ugly distortion and bokeh. Nikon 24-70 2.8G on Sony F3

I thought the comparing to Sony bodies was an exaggeration, but WOW does that look like something shot on a Sony A7III that wasn't graded.

Yeah that looks really meh. Don't understand why Jim doesn't hand one of these units to someone who knows what they are doing and create interesting visuals.

Tamron 45mm with Formatt Supermist Black 1/8 Filter on Sony F3.

What are your export settings in handbrake? Use H265 at a much higher setting, if you export properly a H265 file compared to a similar size H264 file will always have higher quality. UNLESS you are using hardware encoding on AMD GPU's or older Nvidia cards, which give awful quality. This may be your intent, but in reality it will just annoy those who want to watch it on a phone. I would export without black bars because your video will fit to the largest axis of the screen it's being viewed on.

Get the Tokina 11-20. It's pretty close color wise and gets the wide angle you want.

I'm assuming you've already tried to export his timeline as an final cut XML?

I've directed 3 times, and each time I cannot let the project go. I cannot give myself a deadline. I need a producer or someone above me to tell me to STOP. I will tweak something until I hate it. Hating myself the whole time. I am hyper critical of myself when I'm in charge of everything. I work far better, and have a much better level of mental health, when I'm working on someone else's project. Does this mean I'm a bad director? Yes. Yes it does, which is why I don't enjoy it. It is why I'm not a director, and why not everyone should be a director.

Yeah the complete lack of 4:4:4 is frustrating. Even if it was just in 1080p. I adore the 4:4:4 from the Ursa.

This is a huge aspect for a lot of people around me. I've also constantly been asked why I don't want to direct myself. The answer is that I hold people around me and myself to a standard that I can never reach, and never ever enjoy the process of properly directing. I wished I had realized that sooner. I'm trying right now to probably do more color grading and being a cinematographer. But honestly, I love doing color work more than anything, and there are very few aspiring colorists compared to the huge volume of aspiring directors and DOPs. I think far more people would find success if they follow a niche. Another huge common occurrence are DOP's that are just trying to be directors, and step on the directors toes on set.

Only thing I can think of is a set of Rokinons if you want larger glass.

It is GPU accelerated, I get Realtime playback in 4K on my GTX 2080. Just did this quick test to show how effective it is. It's not perfect, but it's so close that 99.9% of people wouldn't be able to tell the difference. Titles go faster than I expected but you get the gist.

The one in resolve is close enough that I'm not going to use ND's for shots on my Z6 anymore. Also for VFX work results are far better when you pull a key off a high shutter speed and then add the motion blur in post. Makes cleaning up hair work far easier.

Anyone see that the anamorphot 65 is $600 off right now? I'm assuming it's gigantic elements would cover most small lenses. Wish someone was renting the thing so I could try it out.

Nikon Z6

This + It's a low dynamic range image with no skin tones/sky/plant life in the shot. We don't even have the motion of the image to aid in telling what camera it is. It could be shot with anything.

That is the best images I've seen from that adapter, everything else I've seen has been hot garbage.

Well this stopped me buying something. So mission accomplished sir. I thank you.

The sensor in the C300 Mark 3 is explicitly stated to be a dual gain sensor similar to the one found in the Arri Alexa, which creates a much cleaner image compared to even the C500. I highly doubt the komodo will come anywhere close to it's performance, as that would significantly undermine RED's higher end cameras.