Davide DB

https://www.theguardian.com/film/2024/dec/04/disney-snow-white-live-action-movie-cgi

I was reading this interview with Matteo Cocco, the DoP of an Italian TV series produced by Sky. https://collettivochiaroscuro.com/sul-set-di-dostoevskij-con-i-fratelli-dinnocenzo-conversazione-con-il-cinematographer-matteo-cocco/?lang=en In my opinion, it confirms that these A/B distinctions (where you can insert whatever you want for A and B) are absolutely arbitrary. Reading about how they worked on this series, it’s clear that the creative process and the desired result are achieved by using (and even mixing) all the available tools. As for the final outcome, I won’t say anything—I haven’t seen the series, and the trailer on YouTube doesn’t provide enough to form a judgment. I’m sharing some excerpts here that are relevant to the thread’s topic. I’ll also add that they chose to shoot on film and in Super 16mm format 😁 Sky production didn't like the combination film/Super 16: Camera: ARRI SR3 Lenses: Elite s16 Film: Kodak 7219 – 500T

On the BTS shots it's impressive to see how the operators hand the machine to each other on the fly during filming

Regarding technique and creativity, has anyone seen Adolescence on Netflix? Among the most viewed TV series on Netflix is Adolescence, a four-episode British miniseries that is receiving rave reviews from audiences and critics just about everywhere. The praise is partly about the story it tells, and partly about the way the series was written, performed, and, above all, directed: each episode is in fact shot in a single, very long take, that is, all at once, with no cuts between shots and therefore no breaks for the actors and crew, and no editing required. Adolescence was written by Englishmen Jack Thorne and Stephen Graham. In addition to contributing to the screenplay, the latter also plays Eddie Miller, the protagonist's father and one of the main characters. The director, on the other hand, is compatriot Philip Barantini, who four years ago had directed Graham himself in the film Boiling Point - Disaster is Served, a thriller that was a good success in the United Kingdom and which, just like Adolescence, was shot with a single long take. Adolescence centers on the story of Jamie Miller, a 13-year-old student who is arrested on charges of committing murder. However, the detective plot is set aside fairly early on because the point of the series is not so much to get to the resolution of a case, but to analyze the motives behind the actions of a teenager in our times, and to place them in the social and cultural context in which he lives. For me, who has a 13-year-old son, the first two episodes were a punch in the gut. Perhaps the absence of editing also helps to give you no respite and lower you even more into the story. Truly a peculiar product. Two scenes in particular struck me. For the first, at the beginning of the first episode, I had thought of a crane being moved on a trolley or truck. The second one is even more peculiar because the camera goes through the window and flies high above the houses. Netflix has released a BTS showing both scenes. (Spoiler: they used a drone) Sorry, I couldn't find a YT link: https://x.com/NetflixUK/status/1901617851192033326 It was entirely shot on the Ronin 4D: Spoiler alert: https://variety.com/2025/artisans/news/adolescence-one-take-episodes-netflix-1236339292/

A well known tendency https://nofilmschool.com/second-screen And this in Italian can be easily read via Google translate: https://www.ilpost.it/2025/02/03/netflix-serie-secondo-schermo/ The dialogues of many Netflix-produced series are often didactic and informative: it frequently happens that a character summarises what has happened so far, or anticipates some future plot development in a more or less arbitrary way. They are written in this way to allow the most inattentive viewers to pick up the thread at any time, without having to go back or interrupt their viewing. Productions that include dialogues of this kind are usually associated with the expression 'second screen', because they are designed and written in such a way that they can be easily followed even while attention is focused on a 'first screen': that of the smartphone.

Exactly. The viewer does not give a damn how it was made. A film or documentary must move feelings or make people think. If they do, who cares about the technical details? Only the insiders.

I don't understand whether this is a provocative post or a serious one. Now, I am also somewhat ignorant of the topic but some of the statements seem 'exaggerated' to me to be good. In general, digital has greatly democratised cinema and its art. But every art has its era and its crafts and this constant 'it was better before' is largely pissing me off. It describes good old times that never existed. There were horse carriages and the farrier lobby, then came the railway and goodbye farriers. The truth is that today any artist can produce a film with cinematic quality at home and at a negligible cost. Unless you regret the old Super 8 home movies. Anyway, back to the data. It's hard to talk about resolution as we understand it today in the digital world, but I have my doubts that a good film will not solve 8K, quite the contrary. Here a document for nerds: http://www.tmax100.com/photo/pdf/film.pdf But here there's a video that explains it more simply. Regarding the immediacy of film.... are we talking cinema or home-made Super 8s? Because if you mention Clint Eastwood and Kodak Vision (Vision is cited also in the YT video above) then it's much more complex with intermediate and print stocks: https://en.m.wikipedia.org/wiki/Film_stock Ah and color grading existed on film stock too. It was called color timing: https://en.m.wikipedia.org/wiki/Color_grading Finally, am I saying that digital is better than film stock? NO, they are two different medium.

Escalate it quickly

Exactly. He has almost 500K followers, he is part of the problem, he helped create it and now he is playing the virgin. It sounds to me like a butcher lecturing on veganism. This is the second whining he has done in a few months and both times it was because of a Lumix review. At this point I don't think it's a casual thing. Yet if you read the comments to his whining, everyone agrees with him. Maybe all the loser haters are here.

Sorry guys, I had to do it. I really don't get this guy anymore. This video would be perfect for the "Rise of the salesmen, Death of the artist" thread. @Andrew Reid feel free to delete this post

Whan you can, would you mind to share a couple of raw clips shot by you so I can see how they its on my workflow?

I'm becoming crazy to understand these settings. If i understand it correctly, I have 4:2:2 only in C4K or 4K otherwise I have always 4:2:0. Basically it's like my GH5MII. Am I missing something?

At this point, in an uncertain future video-centric model, I don't see how they can put in other video features while leaving the camera body unchanged since this one even though it has the fan seems to be capped. Maybe they really need to scale up to a box type camera

From the reviews seen so far there is everything and nothing. GU tested it in "lab mode" and slaughtered it. He was smart to report the bugs to Pana who fixed them for him via fw updates. Other youtubers reported problems found by GU but they didn't get the updates and didn't even know they existed. So people who look at their reviews think it all sucks. For example, some say AF is not up to par. If you look at Richard Wong's review the AF is perfect and aligned with Sony. He has fw 1.0. he is the only one who tested extensively on animals and cars and there are some smart features. Other youtubers have tried it on real projects or real use cases and there is very little criticism and they speak very highly of it. Moving the camera left and right like crazy and screaming that the RS is terrible or claiming on paper that having only 12 stops without DR is like swearing in church, seems like bullshit to me. The beloved 5DMKII ML had 9 stops of DR and yet everyone was wetting their pants. In short, lab is one thing and reality is another. BTW the same youtubers who now blast the S1RII are the ones who would hate an S1R that we like a lot.

The review I linked above has a lot of comparisons with S5II, A7CR and for IBIS even Z6III

IMHO Best overall review so far, very long but you can jump the desired chapter:

Yes

Some comments reported that on the line skipped 4K@120p AF is DFD only

It was a typo: 1h 18' sorry Anyway this is the first time I hear something like that from a Lumix camera. How it will perform in the Mediterranean area in summer? This guy got overheating under the sun without even recording (26:55)

Yes my bad. I skipped one hour

@ 21°C 6,4K Open Gate 18 minutes and it shut off

I don't like Gerald Undone but ATM his review is the most spot-on. Camera is packed with a lot of features but a lot of caveat and asterisks. IMHO is a camera for photographers who shot some video. If you shoot mostly video is not a camera for you. GU got a lot of overheating. Just check his review

Sorry, I was quoting Undone and I saw another two videos with the camera locked for overheating. Moreover battery runtime are ridiculous

And first Lumix camera which overheats!