PPNS

yeah some youtuber vs ollan collardy is basically coughing baby vs hydrogen bomb.

yes. And i’m saying that even if you could take advantage of it, you would still have to put in the extra work to get it to match.

since i’m working as a DIT again on a feature, this time with an alexa35 as an A cam, and alexa mini as the B. both are shooting arriraw, we have custom log to log looks made for C4. davinci can debayer c3 raw footage into log C4. that being said, even with matching iso, WB settings, lens sets, and the mini debayered to C4, i still have to do a considerate amount of work of getting each shot to match from the same scene. nothing is ever seamless. you can only hope for a bit of saved time.

its a spec to brag about rather than being truly useful. Ive not used any previous gh series cameras, but they were probably already fairly easy to match to a ‘better’ camera if shot in a 10bit 422 (or higher) mode.

i have fantastic news: the a35 has log c4, which is quite different from c3. so you have to put in the same work as before if you want to match the cameras. it’s strange that panasonic licensed log c3 imo when Arri is abandoning it for something newer.

can it do 3:2 open gate?

fantastic. the problem is that its just 1 light, and that its not particularly strong enough to be a keylight unless you’re in a studio environment or you can block out as much ambient light as possible. For 455 euros you can also rent an aputure 1200d, some 6x6 butterflies, bounces, negs, stands and even more for 1 day. the other issue is that those amarans are built kind of shittily. Every time ive used one of those i was afraid i was going to break it.

renting tends to be the most affordable option

I’m gonna add this opinion: i dont like any of the of the stock r709 profiles or luts from any cameras, including arris. so what’s the best sooc looking camera? None of them imo. I almost always shoot with a custom LUT because of that.

you realise that this is contradictory, right? in those situations people shoot with amiras,fs7s/fx6/9s, or even the big bulky ENG cams with a r709 profile and just kinda let it go that it looks kinda shitty. that's part of the trade off if you shoot in these conditions/that kind of turnaround. while it would probably look a bit different, it would also not look very desirable if you were to shoot that exact shot with an amira. sensors aren't magic, and even the best don't handle random street lights at night very well.

im going to be very honest, i think its crazy you can see the difference between cameras with their stock 709 lut. To me they all look samey, boring and bland.

what else would you call it?

you don't have to, your value judgement is irrelevant. the fact is that nikon now gets to control red's patent, and now gets to decide who gets to use "compressed raw" on their terms: either we get more more cameras with internal raw from other companies, where nikon will be profiting from the income of licenses (imo unlikely) or nothing changes. instead of red going after other companies in court, it's going to be nikon, and thus having another source of income by claiming damages (imo more likely) this was red's business model after all. nikon probably doesn't care all that much about making products or entering the cinema market. my prediction is that red as a brand, as well as their cameras will cease to exist in a few years. nikon will probably keep making hybrids with a focus on photography, and i doubt that any of the red tech will trickle down. why would it after all? Who's going to buy a nikon branded camcorder in a world where sony dominates the market? reds are kinda dead in the european high end rental market, why would nikon even start? here's a value judgement from me: lol

Now nikon gets to be the patent troll. Red will probably get to pretend to remain a company for 2 years and then nikon will probably fire the entire workforce, and we get to hear about “the constantly changing landscape of media” in some press release justifying the gutting of the company.

does the gh5s have worse DR than the P2k? it uses the same sensor as the p4k/micro studio

does the gh5s have worse DR than the P2k? it uses the same sensor as the p4k/micro studio

theyre marketing themselves in a way that makes the tech seem special to try and gain infinite investor money just like any other tech company does

thank you. i dont disgree, i think reels are hard to do, and im not sure what to do with them other than combining a bunch of pretty stuff in a timespan that doesn’t bore people.

finally finished that reel.

share some of your work man

I’m working on a new reel and website. I had a weird year. Jan 23: got fired from my full time job feb - sept 23: got fairly depressed due to being rejected after around 350 job applications. at the same time i tried out freelancing while searching for a new job, done a little decently paid corporate work, a lot of barely paid and unpaid work as a dp, gaffer or colorist on short films and music videos. oct - dec 23: got lucky due to a cinematography bootcamp i followed and ended up working as a DIT on a feature. income wise it ended up being almost the same as 2022, so hopefully the freelancing thing will pick up more steam. I’m going to try making some spec ads with some directors i know this year, so we could get work that way.

you’re performing the correct task in this case. if you were to set your WB to 3200, you would neutralise your tungsten lights to white, which is almost never really the point of tungsten. By setting it somewhere between 4000-4800, you’re opening up the possibility of color contrast within a shot where modern sensors tend to perform the best. Everything with a lower color temp than 4000 will be some degrees warmer than your neutral point, and everything with a higher color temp will be cooler.

getting things right in camera is one of those things im not sure how to interpret. Ive posted this still before on here, to put it in context, it was shot around blue hour, but it wasnt quite as blue as it was here. I maxed out the white balance, to get it this blue. is that getting it right in camera or am i being a hack?

goddamn it looks bad in 24fps, but it looks truly dogshit in 60

I would still like to see the 2 forum members who were fairly dismissive towards my suggestion their video work or ideally their reels. I’ve seen some stills of Tom’s work and here and he is more than able to produce great images, so I think his opinion is definitely worth reading. to clarify my suggestion, which imo, I shouldn’t have to do to this extent, my reasoning is simple: - op was considering an fx9 originally, and i think ironfilm recommended an fx6 at some point. - We know that the p4k uses a sensor from the same family of sony dual iso options, and that they perform about the same in non raw codecs (and you can easily find that on cined too). - braw has a highlight recovery option, which can yield you an extra stop of highlight data, which means its actually better performing than both those (and i can actually speak from experience. Way easier to blow a highlight on an fx6 than a pocket cam). The DR argument is now invalid - in regards to rolling shutter: from what i’ve read, the p4k performs about the same as the c70 from what ive read. The fx6 performs better, and the rolling shutter on the fx9, which is what op originally considered, performs way worse. so what’s the point of bringing this argument up? - what is the point of a bigger sensor if you want more reach and don’t care about super shallow dof on wide angle lenses? Its easier to get those results on mft. - why are you already thinking about upgrading to different lens mounts? This person might quit within the year? What end result is a potential upgrade going to bring? i dont have any experience with canon cameras. Im sure the c70 is great, but it seems like a waste of money unless you’re a docu DP who already has a bunch of bigger canon cameras and you needed a slightly smaller one as a bcam.