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IDK who this guy is and what he's saying sounds right, even though I intuitively think the opposite way, but I would love for his theory to be tested by a pro like Gerald Undone

re: 5:37 I'm very curious to see how the perception of a hollywood image evolves or even degrades in the coming years. With really great equipment and knowledge being so accessible now, I wonder if the idea of a "cinematic" image will cease to exist entirely. If half the videos on youtube are shot at a mid-high level, it will mean less and less to see certain things formerly reserved for the big screen. Gawx videos of him doodling in his room are produced to the moon. As gear goes, I've felt this with anamorphics already. Obviously the cheap Siruis everyone is shilling right now are not comparable to the real deal but it's enough in the ballpark that it's watered down the signature attributes, especially blue flares, from being something reserved for the big dawgs. Ofc there's no replacement for budget and time but the gap is shrinking. Will audiences still care? Interesting but fun times. Also that stab at the a7s II hurt lol I only just upgraded from mine to an FX3 this year 🥲

New favorite channel.

Love the content but the name call out bro took away from the video. Brady Bassett came from the bottom and really helped people out with minimal gear. I never understand why some people just don't drop their knowledge and let the people decide. Just seemed like an unnecessary jab

Be interested in how dual (and now triple) circuit ISO effects the heavy negative principle. I’m guessing you have to factor in two separate charts of DR.

From one DP to another, great video man. You have the exact right perspective on your tools and filmmaking.

Currently working on a high budget tv show for Prime. We use 24k's and t12's all the time. I agree that the bigger the budget they're still rocking tungsten but I think that's because they can afford the genny to power them haha. Aputures new blair LED's though have peaked my interest and so now I definitely don't think it'll be long before lower wattage tungsten starts to be phased out unless you're on like a super low budget. Even then though idk there's something romantic about using tungsten light, like how you compared it to film haha.

Excellent work. Subbed.

Well said dude. Cheers

monitoring is what I always draw attention to in audio world, the sad fact is how fast we get used to bad sound

If you know how you can calibrate the portkeys perfectly fine. Unfortunately they come with a factory calibration and turning that off has to be the first step. Edit: perfectly might be a bit of a strong word here but what i meant is that you won't scratch your head when you'll open your footage in davinci 😅.

Lot's of good stuff in here, but respectfully, why call out Brady and fellow creators? Many of these creators are also working pros in both narrative and commercial spaces, and also lovely people. RUclips is too small to be putting down other channels in order to make a point

Danggg, that helps a lot, and relief when you don’t have to get all gear they tell you to.

0:00 How did you do that sped up flash shot? I see it a lot in late 90s/early 2000s music videos that are shot on film

really excellent stuff. thank you!

Interesting.

He is right, the look is already there before you even get to postproduction. I learned that the hard way when I went down the color grading rabbit hole, now I just assess what I have to work with and go with it not against it.

So true mate! Some of the monitors i've bought over the years have so much shift versus what I see when it comes to the grade, you get what you pay for!

While Nomadland wasn't shot in raw. It was shot in 4444, which is the highest quality compressed version in the ProRes family, rendering larger average file sizes than ProRes Raw. And I take issue with the notion that desiring to have the most leeway in post is "lazy". There are certain looks that are most realistically and economically pursued in post. Also there are many other reasons to use raw not the least of which is the lowest in camera processing preserving maximum color potential fidelity.

Preach man, this video was on the money

You can't cheap out on a field monitor. They cost thousands of dollars, I know, but that really is your only option. Atomos is OK for shots that are not important, but CAN be used for some production if you very familiar with it and how it looks when it hits the cutting room floor. SmallHD or go home. A good field monitor is as important as your lens. Every person working in the industry knows this. Better yet, working in raw is for professionals in the editing booth. If that's not you, then sure, it's not a big deal because you probably can't take advantage of that anyways. If you are an editor, or want your editor to have as much data to edit the scenes with and get the most amount out of it, then you have to shoot in raw. It's crazy this needs to be explained. Just validates the fact that "cinematographers" on youtube are belatedly saying BS to keep amateurs from encroaching on their territory. Which I can understand considering how easy is it to point and shoot with modern tech, and get BETTER results than seasoned filmmakers can get. I'm sorry bud, but the future is now. AI is getting better every day and jobs like this will be cut thanks to a robot arm with a sensor array, and a guy prompting shots on a laptop. Film Industry is cooked when it comes to jobs. No more of that "this film generated over 10,000 jobs". It's going to be a team of a thousand, all working with AI tools and bleeding-edge tech. The stuff that small-time creators are doing is over-saturated all over social media so that your art is considered nothing special (close to how it is now). The average person can go out and buy a drone that outperforms shots from a helicopter with an Alexa35, and they don't need any experience to do it. They can go out and buy an AI-chiped cinema camera the size of a wallet for a thousand dollars, fit a new lens on it, and get the IMAX look for every shot they take, without hitting any buttons other than the record button. They can buy an all-in-one cinema camera that has an internal 6-axis gimbal and shoots at a quality that brand new $150k rigs are trying to accomplish. That's not in 5-10 years, that is now. The whole world of making videos is about to be so boring and over-saturated that only the industry giants are capable of coming up with original and new ideas, and they often won't becasue the average consumer just wants the same old action movie. Hell, major studios are commissioning iphones as camB and gopros for FPV these days, lmfao. No one can save it or change it. It's just happening that way. Maybe the platform will change to VR eventually, but that is still a long way off from having a real market. Good luck telling poor kids on youtube to do it at home, without giving them the real advice, that if they are not leaning about the new gear and tech, they won't make it in this industry. Making your own stuff is great, but if you plan to build a business, compete on the market, or join production, they will be cooked beyond repair. It's an industry that requires that you have money first, so that you can go to a nice film school, and hope that you make a contact in the industry that will take a risk by hiring them. I can tell you that the majority of students do not get that opportunity. Most of them go do something completely different. Mostly becasue it costs so much money to be part of this. The rest just don't have any experience with legit hardware and don't understand any of the tech. A lucky few got in on social media content in the early days and now it's impossible for anyone new to get to that point. Those of us that leverage the new hardware and tech, are getting money thrown at us. Only becasue we had the contacts of professionals, the money, and the opportunity of experience. Which you can't have unless you live in hollywood like we do, born into money, have friends and family involved in major production, and had all the opportunities handed to you. This is the case with just about everyone we know working right now. It sucks, but it's the truth. The rest will sit on youtube trying to learn, get a few thousand views with the content they make, and eventually figure that they can't be a creator, becasue their best effort doesn't come close to what they have seen creators make. Because creators are lying to them, selling them crap, and hiding the fact that they have a massive production team behind them, making everything look like the average person can do it too. It's like telling kids they can be an astronaut. When just about every astronaut that has ever lived, never in their lifetime thought about being an astronaut becasue they were an expert in some other field and got chosen for the program. Or the fact that streamers are lying about doing it all themselves when it's a massive production team on a content farm.

what is IRE or IR?

nomadland has 4 people on G&E they for sure used more than a few MCs in a trailer... even the shot in amazon warehouse has some element of neg fill, I'm sure they picked the best looking spot in that warehouse, but the level of shape provided by the key is more than just using the house lights.. they're actively lighting. and there are 20 G&E on a complete unknown... they had AB and C units for this film yes they shot high ISO but they still used lighting... why are we buying into the marketing of these films when you can just look up the people who worked on them.... also you can just use a shitty color monitor and check your scopes... for decades eyepieces were only black and white...

2:25 Bro, this is just what I needed.

Amazing video brother! 👏 If you're open to requests, my biggest issue is filming dark moody scenes with clean shadows. Can you make a video explaining how you do that?

Really good approach. Regarding monitors, I recently got the Atomos Shinobi II after having the first one before. I know it's not the best out there, but it's not a cheap Chinese brand either, and I will never understand why it is so difficult to have a monitor with proper color accuracy, my first Shinobi was warm, high contrast and crushing the highlights, the second one is a bit better. I know they might not be perfect, and that there might be slight changes from one screen to the other, but at least something close to what I would see on my different editing monitors (which differ one from the other but are still really really close).

I'm directing my first narrative short in February. Due to unforeseen circumstances, seems like I'm also going to be shooting (mostly even operating) myself. Finished this video reminded that instinct and intent > gear/technical skill. Everything I need to make decisive, story-forward calls re: the look is already in the script. I can tell you really are compelled to talk about this stuff; refreshing on a platform that seems to reward questionable motives. It's much appreciated 🙏🏼

Thanks for sharing this information. A+

Powerful statement “ if you don’t need it for your workflow don’t buy it “ I think with the influx of RUclips “filmmakers” and reviewers who don’t actually work onset , we as viewers tend to forget they are they marketing for this companies and to make a great film you don’t really need the newest and feature-full gadgets

Great video. Not sure about the new hairstyle tho 😎🖤

excellent real world knowledge here. bravo

hey, thank you for this video - it was really helpful :)

damn, real shit this fire!!

great Video :)

Pew Pew! The amount of raw recording and no relationship with professional or upcoming colorist is wild to me...Good stuff.

regardless of commiting to the look in camera, which is highly important, codecs are fat enough these days that shooting raw is mostly a pointless increase in hardrive costs

love the way you explained everything!!!

Everything ok, but saying that and having not cheap equipment in the shot is very frustrating. If you want to talk about budget light, then better to use budget equipment.

🔥

yo! thanks a ton! i've been playing with them for a little bit now. I also wanted to ask what your workflow is with this? Are you laying it down for the texture and then applying grain afterwards in your "color" tab (i would imagine not) or are you placing this and letting it act as the final grain?

ive updated the description with a download link for the video so you can see the grain structures more clearly. take that youtube compression.

Just downloaded, thanks for sharing this man!

I think vimeo would be a better place to showcase it, your samples are just getting eaten alive by youtube, sometimes even increasing the amount of jpg blocking/flickering from the original :/

I'm always fighting compression settings when I want noise to shine through with youtubes compression.

First

Just stumbled into your channel. Thanks for the excellent content!

this gave me some clarity on my shots

too much grain bro

I like how you explain with example 😢 keep it up 🔥🔥

"You'd be burned by the most beautiful softlight ever." *smile what a perfect moment...