Blackmagic Forum

drknsss wrote: You appear to find people with differing opinions are not logical, okay. You must make some amazing content! All the best to you!

drknsss wrote: You very valid concerns about camera quality seem to be aspirational, and if this is the case I only want to work with Oscar winning actors from now on!

drknsss wrote: Okay..., now you're just did a "Captain Kirk" by posting after my post
(WIlliam Shatner know for always wanting the last word in a scene).

Yeah, not a jab at all. When someone runs out of arguments on a serious vfx discussion they start posting random nonsense like this.

That last one is quite a doozy. I mean posting after a post on a forum...

Anyway, this topic is derailing ...Lets stick to Production Camera 4K / 2.5K discussion.

I have learned a lot from this dicussion like how this kind of VFX can be done in many different ways and that kind of shot with the razorcrest could be done in so many ways. I interpreted Mr.Brawleys comments as they could use anything and he's seen lots of different solutions. The words probably and ne dr are fairly distinctive it you have an uncanny ability to vloss over that part. I go buy what I seen on set and in post houses. I've never seen a Red Cam used for this kind of but the last big show I worked on was the first Suicide Squad as. Lighting guy in the the subway sequences. Now that I'm making and funding myself and others I look for ways to save money and check people who are gaslightinv.

Should you use a red cam or similar high end cam for all VFX? Probably. Is that the case in real life? probably not. If they can get away with it they will use whatever as long as the shot looks great.

I go by what I've SEEN on movie sets, tv shows commercials and music Videos. I don't see the point of speculation .

I'm at a conference now so I can do this all day between events.

drknsss wrote:I have learned a lot from this dicussion like how this kind of VFX can be done in many different ways and that kind of shot with the razorcrest could be done in so many ways. I interpreted Mr.Brawleys comments as they could use anything and he's seen lots of different solutions. The words probably and ne dr are fairly distinctive it you have an uncanny ability to vloss over that part. I go buy what I seen on set and in post houses. I've never seen a Red Cam used for this kind of but the last big show I worked on was the first Suicide Squad as. Lighting guy in the the subway sequences. Now that I'm making and funding myself and others I look for ways to save money and check people who are gaslightinv.

Should you use a red cam or similar high end cam for all VFX? Probably. Is that the case in real life? probably not. If they can get away with it they will use whatever as long as the shot looks great.

I go by what I've SEEN on movie sets, tv shows commercials and music Videos. I don't see the point of speculation .

I'm at a conference now so I can do this all day between events.

Even the movie you say you worked on was shot on high end cameras. Film and Phantom4K for slowmo/vfx. And you haven't seen a "red camera" because they come under a different name. Called Panavision. If its not a Panavision film camera its usually a red under the hood.

Don't know how you came to the conclusion about reds anyway. I've said high resolution cameras.
Phantom Flex fits , Panavision fits, Arris fit...Production Camera 4K fits. Can you shoot a movie on an iphone? Sure, others have done it. Should you shoot all your vfx on an iphone just because you can? Absolutely not. The PROPER way is to use a PROPER camera. Not gimmicks. Some cost more than others.

And regarding mr Brawley's comments you should interpret them as "people have done some weird stuff in vfx" not as "you could use anything". Green screen has a minimum camera spec requirement regarding color. You literally cannot use "anything". Because then its not green screen anymore. Its rotoscoping.

If you had said something like "I work on this stuff and you would not believe the **** people send me to make into a great shot" I would of backed off...., it's easy to be an armchair expert in a forum and speculate on whatever you like and how you'd do it.

drknsss wrote:If you had said something like "I work on this stuff and you would not believe the **** people send me to make into a great shot" I would of backed off...., it's easy to be an armchair expert in a forum and speculate on whatever you like and how you'd do it.

We're back to my credentials and work...How can we even have a logical discussion after the above. You're half a step away from swearing at me. I mean the personal attacks have already started.

Please stop replying to me if you can't have a normal discussion.

Huh, that's pretty cool that those cameras still get some life use. I still rock my BMCC2.5K as a decoration in my place now. And, since it is EF and I'm slowly getting rid of EF glass I likely won't have any glass for it soon.

VFX wise that's cool how they did that.

timbutt2 wrote:Huh, that's pretty cool that those cameras still get some life use. I still rock my BMCC2.5K as a decoration in my place now. And, since it is EF and I'm slowly getting rid of EF glass I likely won't have any glass for it soon.

VFX wise that's cool how they did that.

Finally a post that's on topic.

I still use our Production Camera 4K quite a lot, mainly for the global shutter. Got annoyed waiting for Komodo to be available for purchase. I think the 2.5K is still usable today.

What became decoration (or used very very sparingly) for us (besides our old JVC GY-HD201 - which looks great as a prop though) is the original Pocket.

Why are you getting rid of EF glass? I find EF easily adaptable to anything. What's the replacement (guessing PL?).

VMFXBV wrote:

timbutt2 wrote:Huh, that's pretty cool that those cameras still get some life use. I still rock my BMCC2.5K as a decoration in my place now. And, since it is EF and I'm slowly getting rid of EF glass I likely won't have any glass for it soon.

VFX wise that's cool how they did that.

Finally a post that's on topic.

I still use our Production Camera 4K quite a lot, mainly for the global shutter. Got annoyed waiting for Komodo to be available for purchase. I think the 2.5K is still usable today.

What became decoration (or used very very sparingly) for us (besides our old JVC GY-HD201 - which looks great as a prop though) is the original Pocket.

Why are you getting rid of EF glass? I find EF easily adaptable to anything. What's the replacement (guessing PL?).

Yes, PL glass is what I'm switching over to. I now have two zooms and seven primes that are all exclusively PL. The only EF glass that remains at the moment is the Sigma Art Zooms and the Tokina 11-16.

Last time I used the BMCC2.5K on a project was 2020 as a locked off wide shot. I do love the image still. I'd totally use it for creating a 16mm look with flashback scenes and going with a grade that harkens back to that 16mm film look.

timbutt2 wrote:
Yes, PL glass is what I'm switching over to. I now have two zooms and seven primes that are all exclusively PL. The only EF glass that remains at the moment is the Sigma Art Zooms and the Tokina 11-16.

Last time I used the BMCC2.5K on a project was 2020 as a locked off wide shot. I do love the image still. I'd totally use it for creating a 16mm look with flashback scenes and going with a grade that harkens back to that 16mm film look.

I do love the new/old Sigma line.
We have:
- 18-35 f1.8 art
- 50-100 f1.8 art
- 70-200 f2.8 OS S
- 150-600 f5-6.3 OS S
- 17-50 f2.8 OS (the original HSM).

As you see we've been bitten by the Sigma bug .
With the first 2 in the line I've never felt the need for primes.

But now I've been bitten by the anamorphic bug.
Gonna take those in PL as well since it seems like a good idea (Great Joy/Nanomorphs or the new Mercury whenever they'll be available).

Wish Sigma made anamorphics just for the kick of it.
A unique 18-35 like f1.8 anamorphic . That 18-35 is so special.

VMFXBV wrote:I do love the new/old Sigma line.
We have:
- 18-35 f1.8 art
- 50-100 f1.8 art
- 70-200 f2.8 OS S
- 150-600 f5-6.3 OS S
- 17-50 f2.8 OS (the original HSM).

As you see we've been bitten by the Sigma bug .
With the first 2 in the line I've never felt the need for primes.

But now I've been bitten by the anamorphic bug.
Gonna take those in PL as well since it seems like a good idea (Great Joy/Nanomorphs or the new Mercury whenever they'll be available).

Wish Sigma made anamorphics just for the kick of it.
A unique 18-35 like f1.8 anamorphic . That 18-35 is so special.

I've certainly been bit by the DZOFilm bug. I have now:
DZOFilm Pictor 20-55mm T2.8
DZOFilm Pictor 50-125mm T2.8
DZOFilm Vespid 16mm T2.8
DZOFilm Vespid 25mm T2.1
DZOFilm Vespid 35mm T2.1
DZOFilm Vespid 50mm T2.1
DZOFilm Vespid 75mm T2.1
DZOFilm Vespid 100mm T2.1
DZOFilm Vespid 125mm T2.1

And, if DZOFilm made some 2X Anamorphic glass I would be first in line for it.

I still like Sigma, but will primarily get their lenses for stills for my Sony Mirrorless. Looking at their new DG DN prime lens line for that. And, Sigma still makes very nice Cinema Primes. Their Cinema Zooms could use some reworking however since they're just the stills counterparts rehoused essentially. That 50-100 has terrible focus breathing.

Either way, PL is the way to go for cinema purposes. Especially on the camera side because then you can always rent vintage PL cinema glass and use it.

timbutt2 wrote:

VMFXBV wrote:I do love the new/old Sigma line.
We have:
- 18-35 f1.8 art
- 50-100 f1.8 art
- 70-200 f2.8 OS S
- 150-600 f5-6.3 OS S
- 17-50 f2.8 OS (the original HSM).

As you see we've been bitten by the Sigma bug .
With the first 2 in the line I've never felt the need for primes.

But now I've been bitten by the anamorphic bug.
Gonna take those in PL as well since it seems like a good idea (Great Joy/Nanomorphs or the new Mercury whenever they'll be available).

Wish Sigma made anamorphics just for the kick of it.
A unique 18-35 like f1.8 anamorphic . That 18-35 is so special.

I've certainly been bit by the DZOFilm bug. I have now:
DZOFilm Pictor 20-55mm T2.8
DZOFilm Pictor 50-125mm T2.8
DZOFilm Vespid 16mm T2.8
DZOFilm Vespid 25mm T2.1
DZOFilm Vespid 35mm T2.1
DZOFilm Vespid 50mm T2.1
DZOFilm Vespid 75mm T2.1
DZOFilm Vespid 100mm T2.1
DZOFilm Vespid 125mm T2.1

And, if DZOFilm made some 2X Anamorphic glass I would be first in line for it.

I still like Sigma, but will primarily get their lenses for stills for my Sony Mirrorless. Looking at their new DG DN prime lens line for that. And, Sigma still makes very nice Cinema Primes. Their Cinema Zooms could use some reworking however since they're just the stills counterparts rehoused essentially. That 50-100 has terrible focus breathing.

Either way, PL is the way to go for cinema purposes. Especially on the camera side because then you can always rent vintage PL cinema glass and use it.

Almost said we need some lenses rehab . But lenses are always a good purchase.
Went through cameras rehab though. Stopped buying the latest stuff and focused on lenses and lights.
Gonna replace cameras only when they break (Like our Ursa Mini 4.6K - the original).

What I'm missing camera wise would be a drone camera with an ok codec that's cheap enough I won't have a shock if it goes down (and they go down a lot). Mavic 3 with the prores license comes close. Inspire 2 RAW comes second but that's in another league money wise and I still get anxiety when those fly over people.

Maybe have a Volume of our own when we win the lottery. Unreal and Houdini ftw!

Only the Sith speak in absolutes....,

drknsss wrote:Only the Sith speak in absolutes....,

Wow you still out about, literally posting spam?