Ehetyz

I think posted about this one back when we were producing it - Homecoming is a 30-minute neo-noir revenge film shot on the OG BMCC with the idea of making it look like a Scandinavian noir film from late 80's and early 90's - a gritty, dark, low key yet saturated looking film. It got some rave reviews from some underground and horror outlets. Now we have released the movie, and it can be seen on Youtube, via the link below. Beware though, the film is extremely violent and not for the faint of heart. Feedback and comments are welcome!

Okay, just rushed and will have issues then. They'll likely jump ship from the 4K version - unless this one turns out to be something completely catastrophic like their first foray into 4K.

Well, if we're to extrapolate from the past two things will happen: - It'll be rushed but still late and have issues - They'll completely stop supporting the 4K version now and kind of pretend it doesn't exist, much like the URSA and the URSA Mini (non-pro variants). I can't bring myself to care about the resolution increase.

Oh look who just woke up to the fact that we have been given the front seat for witnessing the downfall of a civilization. So nice of you to join us!

The whole thing reminds me of Corey and Trevor from Trailer Park Boys.

Now that's something to aspire to.

Yeah it's the European moniker for the 2-liter, not-quite-GT4 model up until 1998. At least that's the title of the 5th and 6th gens that had the naturally aspirated 3S-GE, I'm not sure what's the reasoning behind the "i". The final 7th gen model however was sold as the GTS, so go figure.

Now that is a damn sweet ride. Nissan has made some freaking nice sport coupes, even though I've never been a huge fan of their regular cars. Car derail is the best derail, so here are my babies. 2003 Mitsubishi Galant sport, which is my daily and bone stock save for some neon lights and the sound system, and a 1998 Toyota Celica GTi, which has a tuned/lowered suspension, a lightened clutch, catback exhaust and a short shifter. Starting it up wakes up my neighbours and it tries to kill me when I do highway pulls.

Low budget video work is getting worse and worse. Where I'm at I'm definitely seeing a trend where quality is getting completely sacrificed to keep costs down in lower budget ad agencies. There's a constant struggle between the demand do cut corners and make things just "good enough" and the actual desire for competitive quality. Often this means things get done unplanned and undermanned. The client expectations-client budget meme is so real it's not even funny anymore and often the budget dictaded downgrades destroy any chances the end product had. It's come to a point where my professional agency work is very rarely of the kind of quality I'd put in my own demo reel - it consists almost solely of productions that are commissioned directly from myself. I'm firmly in the quality camp and keep telling the agencies I work for that you can't keep making mediocrity - you will be eaten alive by hungry newcomers willing to put in the work for less money, and skewing the price/expectation ratio even further. I don't know where it ends. Maybe natural selection will occur, or maybe some kind of crash of video production companies as most become impossible to maintain. We'll see.

This is the first time I've ever seen a thread redeemed by video game fanboyism ?

I for one really missed the console fanboy wars of my youth between sega/nintendo and sony/microsoft and am overjoyed to see grown adults still acting the same as my 12-year old schoolmates, just about cameras instead of vidya games. Now may I interest you in a link to a youtube video of "Why Xbox 360 is the TRUE LEET GAMERZZ choice and why I switched over from the Wii"? It's very convincing and supports all my arguments I promise.

Welp, we've reached a point where it's impossible to tell what's an ironic shitpost and what's serious fanboyism.

I don't care about PR. I just think one could do some cool things with the 3d180. The depth felt really convincing even in the static birthday demo shot, so I figure making a high speed chase or a Hardcore Henry-like fight scene with that could produce some pretty interesting results. Of course it could also produce just motion sickness ?

I'm completely hooked on VR stuff so this is really tempting. Makes me want to do an action short in 3D180. Hook that thing on a face rig and pull some stupid stunts. Maybe a little reckless driving. Or maybe a first person splatter movie. Watching through Oculus Rift the sample clips looked quite nice. The 3D effect is very strong and I was actually surprised at how much more impressive it looked through VR when compared to desktop.

There must've been something seriously wrong with your copy of the URSA, unless it was the 4K version (in which case sure it was a piece of shit). I can even underexpose pretty heavily on the 4.6K (Running on old pre-manual-blackmapping firmware) without issues with noise. No FPN at 800ISO, you get some fine grain on extreme underexposure but even that's fixable with a little NR. This is the first time I've heard there's noise on the midtones. The 120fps windowed mode is pretty lackluster on the OG 4,6K though, and you really need to ETTR to get a clean image because any noise gets heavily pronounced by the crop.

Looks like the logical upgrade path for me. Finally some higher-tier HFR modes. Time to start saving up...

This is intriguing. I've never worked with GH5 footage so this was pretty interesting to try out. Somewhat challenging compared to BM footage. Anyway, here's my take: Not a fancy grade/process, I wanted to see what it looked like if I'd just put it through the usual routine I use on my corporate/commercial work. Most work was on balancing the noise/NR on various tones.

I may be going full retard on F1.2 lenses. The Pentax has been my workhorse-fifty for the past few months, it's served me well, but it has a few glaring issues, worst of which is the heavy green/red CA on high contrast areas. So, time for an upgrade. The Revuenon seems to do the trick, haven't seen any CA from my first tests with the UM4,6K and the bokeh is gorgeous. Seems a little sharper than the Pentax as well. Going to bring it along for a commercial shoot this weekend and see how it holds up.

Yeah I'm continually impressed by just how nice stills you can get out of the P4K. I was visiting my parents and filmed their kitten a bit - she's more agile than mercury so trying to take actually catch her in focus for a photograph is kinda impossible. Especially if you're dicking around with a 1.2. Much easier to pull out a still from a video clip.

Never heard of Empire until the scandal. Though i doubt it has much viewerbase in Finland in general. The whole Smollett hate crime hoax thing seems like symptom of an extremely sick culture and completely immoral media and it'll probably get increasingly worse. Hell, there were thinkpieces straight up lamenting it turned out to be a hoax, I mean jesus christ. How messed up do you have to think that way?

Confirmation bias from people who have already made up their mind based on the brand/their wallet/having invested into other ecosystem and grasp for reinforcement for their belief.

Can't say about Sandisk but I have a Lexar professional 1000x 64 gig SD card as a backup/overflow card in mine. It can't do high frame rates but it works as sort of a safety buffer if the CF card runs out mid-shot. I think it might cut out eventually on 25fps at some point though. Also to join the choir with Jim Giberti, the prores HQ is extremely good. Gives you plenty of data to work with.

Shooting prores in this one because of the amount of footage we're getting. Lots of improvisation with cameras rolling several minutes at a time so RAW isn't practical. When I do more planned, cinematic stuff I always use RAW. @Stathman Noticed that myself as well. Needs a little more balancing but like I said, this is just a pretty rudimentary test. Some of the tone is from the angle the light is bouncing (Pocket is getting more of the Edison light in its frame) but yeah, I agree, in this case the P4K looks nicer.

It's surprisingly one of the better performing lenses on it despite the huge aperture. Haven't really noticed much of a difference or increase in aberrations between P4K and Ursa on it. Mayyybe a bit more flare, but on the lens itself flaring on it is pretty controlled so it hasn't been distracting so far. It's not as sharp as new lenses in any form unless stopped down but I love the vintage look. Of the rest of my daily use lenses, the other Takumars perform pretty well. The Samyangs seem to fare the worst. They're prone to flaring and washed out look as-is and for some reason especially the 24 1.4 flares like crazy. Absolutely needs the lens hood at all times. Also a whole bunch of lenses I don't use as often are yet to be tested with the speedbooster/P4K combo.

It's a workhorse lens. Very sharp and good colors, not much character. Good when you want things to look slick and professional. I use it a lot on the URSA when doing corporate stuff. I think the speedbooster adds to the bloominess of highlights here.