Is the filmmaking process changing?
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- Опубликовано: 19 май 2024
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Chapters:
Intro - 00:00
Civil War - 00:31
Road House - 04:00
The Creator - 06:25
Reflection - 07:57
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EDIT - After speaking with Chris Dumont, "C" camera operator on Civil War, they were in fact the first feature to have the 4D on. They had pre-production 4D's on set and filmed 2 years ago now!
Let us know what you think of the films we've mentioned below and what you think of their camera choices!!
Hi CVP, do you know what kind of gimbal they had the bts footage of road house?
It looks like the Stabileye nano or a Letus Helix. Jake
⭐️⭐️⭐️⭐️⭐️
1.) finally we are here 🛝
For me, most things nowadays are more important than the camera. Because you get amazing image quality from many cameras. The light is more important, the performance is more important, the movement is more important, the ideas are more important. And for me the ronin 4d safes me so much time that i can focus on what really matters.
Agreed because we are a point where you can get good footage out of even phones.
None of the things you listed priced out people in the past. More people can shoot movies now as more people can afford the cameras. If you can afford the camera you can afford the lights. Ideas are free along with movement.
@@gtwester no they are not, moving your camera costs money, every slider, jib, gimbal, tripod, cablecam, ect. costs money. and if you look into it the cameras are easily priced out by that gear especially when you need high end gear for heavy cameras or if you need a bigger team because you dolly will not move by itself. And lights. i mean get a few hmis on cranes and you know what i mean same goes for preproduction, ideas and planning costs real money except you work for free. If you can move faster with a smaller team you can invest that into other parts of the project. if your camera ligke the ronin allows to get crane shorts super fast and easywith the flex system and so on without renting or buying extra gear you move faster though production. Your logic is not that realistic " If you can afford the camera you can afford the lights" would mean if you have 1000€ you also have 2000€ that does not make sense imo. And again about moving cameras, just google what setups cost that can carry a red or arri mini lf or even better an arri 65 every part will get super expensive
@Broskisnowski So tell me about it Martin Scorsese. You're missing the point. If you can't afford the camera to start with you probably won't be buying lights or anything else. How can anything be more important than the device you're going to record with? Are the other items important? Absolutely but you start with the camera! You can make a bad film without lights, a gimbal or movement but guess what you can't make a film without? That's right a camera.
Perhaps you’re watching the wrong channel • CVP focuses on the equipment of filmmaking, mostly cameras - lenses - and lights. There are other channels that dive into the performances, lighting techniques and everything else you mentioned in your weak attempt of a pretentious comment.
People keep learning the wrong lesson from movies like Civil War and The Creator. It's not go buy those specific cameras. IT IS JUST GO BUY ANY DECENT CAMERA NOW
You are retar ded if you dont think sony made a deal with the creator so they use their camera.
@@bygmesterfinnegan6938 ok chief
you could even film a movie with your phone or a go-pro, Some Filmmakers have already done that. It's not just about getting an affordable camera. It's about knowing what you want to film and getting the most appropriate asset for it :)
@@goodial I work in VFX post, doing mostly episodic TV. Occasionally, I get plates that were shot with Dji Action and GoPro cameras.
@@Balabok didn't they film the whole movie "Hardcore Henry" with GoPros as well? I guess it's usually intent or bad preparation, I don't know what kind you need to deal with ... but as someone who likes watching movies and tv shows, thank you for your contribution to the industry!
As someone who uses the Ronin 4D daily, I absolutely LOVE the flexibility of this camera. It was pricey to get the full build out, but it’s been well worth it!
how do you think this would go filming surfing from a rocky/unstable boat ?
@@mallmic I've seen it do great on a boat, as long as you shoot action that is not on the boat itself, because then the $th axis will still try to stabilise the boats up and done movement.
Great to hear you are still enjoying it Chris, I am definitely going to get it. The weight was putting me off for a while... But reading about the versatility etc. again and again changes my mind again. + Other cameras rigged out seem to be even heavier. ANd when I think about how often I wish I had just a tiny bit more stabilisation even though I have ibis in my sony because not all lenses support in body stabilisation...
@@PhillGraaf thanks for the reply - would love to film surfing action with this set up
i have the dji ronin 4d 6k and 8k and i used them along with the a7siii, a1, red gemini, black magic 6k and it totally delivered but in the scene it seemed to be rather hated and secretly used. One production House i worked with for example shows in their behind the scenes only red cameras and does not want the ronin to be seen (because it is so easy to use and does not look as pro as all that other camera gear). For me the Ronin means pulling off amazing shots in no time, every thing works right away. But i think DJI needs help to get the word out and it totally can be used for everything. It has a learning curve though. Everytime i use a conventional system with either steadycam vests or gimbal plus camera i am quickly reminded of the worth of the ronin.
It's great to see these cameras being used on larger scale productions. It reminds me of the days of film cameras, where the actual camera body was largely irrelevant. Film stock and lenses were way more important. There was only a handful of 35mm camera bodies and they all did pretty much the same thing, albeit some with higher framerates, less noise etc. As filmmakers I think it's necessary that we understand the relative importance of the camera, as lighting, lens and production design as well as a skilled DP will make even the cheapest of camera systems look brilliant. With this in mind I will say that as a camera assistant some of these newer camera options come with a lot of limitations in terms of practical use on set. I mainly work with Alexas and they're pretty much indestructible when it comes to issues such as overheating. They can be powered all day off a block battery, they don't have issues like SDI surging, they accept dual voltage etc. They also work with accessories most rental houses offer, and they are what most camera crews are comfortable using. Regardless of the job, as long as it is an Alexa I know I can get the camera built, troubleshoot any issues and customise for my operator/DP in pretty much the same way. When I use cheaper Sony cameras (the Venice is fantastic) or any Red systems, I find it much harder to plan ahead for any potential problems or fix issues whilst on the move. If I need multiple SDI outputs for different LUT's, focus monitor, directors monitor and DIT station I am also limited by my choices, and some industry standard accessories aren't fully compatible. For example, Arri's focus systems are pretty standard here in the UK and only have all their features accessible with high end cinema cameras. Arri and Venice cameras are also designed with rigging in mind, with cage systems to accomodate all the crap us assistants have to stick on the camera. Whilst some of these mid-budget cameras are lighter, this often is a disadvantage as handheld operating becomes very shaky with the added rolling shutter making images look cheaper. Saying that, the Creator looked pretty great, as do these clips in the video. I would be interested to know how the crew found the practical side of shooting on these cameras and whether they preferred the workflow after getting accustomed to it.
Gimbal they were using on Road House was Stabileye Nano
I love this thoughtful, 'overview and thoughts on it' kind of video. More of these, please.
If there's one phenomenon that is a threat to ARRI, it's this.
Cheaper cameras being used on higher end films, and people not noticing much of a difference, if any at all.
And it's only going to get better with time.
Arri needs to start tapping into the cheaper market eventually.
Not really.
If anything Arri is going to make a smaller Alexa 35 system like it did with the original mini relative to Alexa classic. It’s not going to be cheaper though.
Most of these films choose to use these cameras because of size, form factor and weight. Not price.
Numbers don’t lie . Even old 15 year old sensor from the Alexa , beats every single camera mentioned in this video including Venice in terms of DR and color science . Kind of hard to believe no one has matched it or beat it 15 years later
@@chicobraz4335 The sony F35 also has an amazing sensor and it still holds up, but to be honest most consumers of cinema probably can't tell the difference between a $60 thousand dollar camera, and a $5 thousand dollar camera.
I personally love these cheaper options giving everyone a chance to show off their creativity. Wayyy back in 2003 my friend made a low budget horror film on a Canon XL1. He even sold it for distribution. I can only imagine how that film would have looked if he had the tech of today. LED lights, Drones. Inexpensive Gimbals... I love the advancements. What a time to be alive. Although I could do without AI. haha
@@chicobraz4335 color science is bs unless u use straight out of camera colors. nowadays everything is graded, and color depends on the colorist, not the camera. and that extra maybe 2 stops of DR on the alexa probably is not as important as you think. unless we talking about alexa 35, then that difference would be more significant.
Please guys…don‘t think you can get the same look with your prosumer cams like these hollywood examples. They do look dev on the sensor output and get looks you will never get. Watch steve yedlins blog. The cam doesn‘t matter any more. You can match everything. It‘s just pure math on every pixel. But if you can‘t do this…then i always prefer higher budget cams like arri.
Animation at 2:53 is stunning. Well done folks!
Do you know how they done that ?
@@slg_sasha I could be wrong, but would be relatively easy to do if it was a 3d model.
6:22 holy rolling shutter, though. 😬
Weird because the komodo is supposed to have a global shuttter to prevent this effect
Yeah, that was jellotastic.
@@BeyondNormalStatus well, they definitely didn’t use it for that shop.
Loved this! Great video guys - i'm getting more and more interested in the 4D I didnt give it much attention when it first came out, but seen some great stuff shot on it over the years. Always love seeing the Komodo being used on big productions too!
Our production used to shoot with larger crew. They filmed mostly interviews/talking heads with the FS5 and cine lenses. When I got hired, we pivoted to shooting tons of b roll in labs, but filmed with only a single camera op. I had to push them to get an A7s iii because the speed we were filming made the FS5 impractical (not to mention hand and back breaking). Now I’m pushing for an Edelkrone Wing and a carbon fiber tripods rather than our massive Dana Dolly.
We’re still getting quality shots, but my body isn’t destroyed at the of the day.
lol massive Dana Dolly…
The Ronin 4D is a seriously underrated camera so it's nice to see it getting some love. I suspect that the main obstacle is that it looks so unconventional but it's such a solid cinema camera for the price.
Its interesting to see the shot where you go from 4d to komodo. The komodo really does look amazing
The creator using this combination of gimbal and a7siii always reminded me of being actually like the ronin 4D
Just back from filming snow leopards in mountains with RED Helium and Nikon Z9.
Z9 was absolutely fantastic system and blew everyone away - the weight saving and abilities inc internal RAW were crucial to getting some shots.
In natural history mirrorless have featured a lot for b-roll and certain footage but this camera is really a step up again.
I've had one since pre-order and cannot praise it highly enough. Hoping for a video focussed model or box / ENG style body version in future
Great summary of contemporary film making. Brilliant @CVP
Nice Video and good sales point at the end of the video making it a master class in content marketing!
I was really intrigued with the Letus Helix back in the day I was flying the fs7 on the glidecam. My dream setup was the 1DC/1DX II on the letus helix. Glad to see that form factor being used even now. Its just a much more intuitive and intimate way to operate.
I eventually adopted the ronin system. I still think its rather bulky. Not a fan but it works.
I’ve had my Red Komodo-X with a 28-70mm F/2 lens for a while now, I’m still in love with the image it produces
I'm holding a fat stack of cash and just enjoying the new releases this year. There's so much healthy competition its exciting! Can't wait to make a choice on my next cam.
Yesterday I was watching "More things that happened" (David Lynch, 2007) and I was thinking just about this, that the image doesn't matter when the director, the script, the actors, and the art direction are very good. The image of this movie is all broken, full of digital noise wherever you look, and yet it is a great work of art... What saves 90% of a work is the script and the actors... After all, they are the ones who show their face.
Great video, thank you very much in advance!
informative content Thanks CVP
Thanks, really nice video. Yesterday we were filming an event with quite challenging conditions, flashing lights, very low light on the audience and bright stage. We were using BM G2s, BMPC6K, A C200 and Z-Cam. But....my favourite shots of the night were from an OSMO Pocket3 flown on a 3mtr pole to give drone like footage. At one point I smoothly pulled up from a close up of the picture on a mobile phone to a 3mtr shot of the audience. I'm astonished by the detail and low light handling.The creative possibilities of the 4D is very exciting.
They also used Venice 2, the 4D was just one tool in the toolbox
The gimbal that was housing the Komodo is the stabileye Nano, constantly hired on numerous different productions.
👏great breakdown thanks. And it's a filmmaking story as old as the hills, new tech always accompanied new story telling... the handheld 16mm of French New Wave or Cine Zooms of Spagetti Westerns. One thing... The Creator also used FX9 & Venice, but they used the FX3 primarily in marketing to showcase Gareth Edwards's technique IMO.
Kubric would’ve loved the Ronin 4D. RIP king 😢☝️
Great example of diminishing returns, its incredible how good the entry level cinema cameras are now
I'm looking forward to the Ronin 4D MK2 when DJI would have enough experience to refine the line
So happy to hear about the Ronin 4d. I'm assuming the 6K. I can imagine how much more they could have done with the new 8k sensor and the the Ronin Inspire 3 drone.
shot a really nice real estate video
I love my 4D, the versatility is great!
Cool vid, but I do find that this democratisation of digital filmmaking does lend itself to a rather homogeneous look across the board. With regard to “Civil War” and the DJI Ronin 4D the key phrase here is “certain scenes/scenarios” as they used the Sony Venice and others for many scenes.
100%, as I say in the video, different tools for different jobs! Jake
you're correct they didn't choose it for certain scenes however it could have been used for the entire movie The only reason that they didn't is because they had the ability to shoot on something like a Venice which is a better sensor in terms of stuff like it's rolling shutter performance now you can work around that with the camera like the Ronin 4D and if they really wanted to they could have shot the entire movie on that one camera but that would have brought an opposite challenge the Venice is much easier to rig out with heavier Cinema glass which is what they were mostly using and to Riga Ronin 4D out with heavier Cinema glass takes time and is a little bit of a headache sometimes it is for that exact reason that they went with something like a Venice because it has a better sensor and it is able to be rigged out much easier in certain circumstances that's the same reason they chose the ronin 4D to begin with because you don't have to worry about rigging a camera like a Venice to a Steadicam or a gimbal so it's not that it couldn't have been done they just chose to do it this way because the amount of money spent renting of Venice was going to be less than the amount of time that they would have had to spend trying to make the Ronin work for everything now that's not saying it can't because it can it's just a b**** to do so especially if we're talking about a shooting scenario like we have on this movie where a lot of it is shot during sunrise or Sunset so you have a very tight window to work within and you want to be rigging as far in advance as possible and as little as possible so for a production like this where they are trying to keep their costs relatively low in comparison to the rest of the industry while maintaining quality it would be smarter for them to use a Venice for some of the more traditional static shots or car rolling shocks that you see in the movie again a lot of the reasons why the Ronin 4D wasn't used for everything isn't because it couldn't have been because it could have been it's because it was more convenient to use a camera that was able to be rigged out in such a manner that it could be done more efficiently throughout a day's shooting for example I could butcher my cow with a butcher's knife which is thin and flexible and very sharp and that would do the job perfectly making my life easier or I could butcher my cow with a kitchen knife still sharp but thicker and far more rigid which would slow me down throughout the day as I'd be striking bones I could normally bend my knife to avoid now I could still get it done it would just be a pain and Slow Me Down but once I've already butchered the cow and now it comes into the preparation of the food and all of the ingredients a more rigid chef's knife would benefit me more in that scenario so that's when I would use that not saying either one can't be used for either job because both can be used interchangeably it's just you lose Effectiveness when doing so and when you have access to the amount of money to allow you to get multiple cameras systems you should of course use the proper one for the job though at the same time if you don't you shouldn't let it limit you because the truth is most camera systems in this day and age are phenomenal
the 4D is very cool, I really want a tracker bug focus system.
Very nice explanation 🎉🎉🎉🎉🎉 thank you 😊
Is it possible to get a video on the Kinefinity cameras? Thinking about purchasing the Mavo LF m2 and would love to hear your thoughts on it.
People always talk about the camera used by Gareth Edwards but never the very expensive anamorphic lenses used. They were much more important to get the “look” than the camera.
Yeah, but the choice of lens makes almost zero difference on the production workflow, whereas your choice of camera greatly affects the number of people you need on-set, how much light you need, and how you handle all the camera movements. The choice of lens is basically "we liked these characteristics" and that's the entirety of the talking points on it. Tbh I think more of the look comes from the locations, vfx, lighting, and color grade... If they shot the whole thing on any other lens it would have cost and looked basically the same tbh.
@@thatcherfreemanthis is not entirely true. The lens choices do have a gigantic effect on the workflow, and on the “look” as well.
Where we make these decisions depends usually on the vision and the budget range. If we’re shooting on film for example, it is a big decision which lenses is to be used. It not only affects the look, but the amount of light, flare characteristics, draw, color temperature. Testing is key. For example if we’d shoot something that needs to feel “old and nostalgic” the sharpest and most modern lens might not be the right way to go. It’s all a chain that begins with the vision and ends with projection. And lenses do have a big part in that combination.
Seen reviews of the Blazar Remus anamorphic series of lens which looks very close to the atlas mercury. But this is not the most important for the film. Apart from the natural part of the film, it is the set design, lighting and VFX which makes more the images of the film.
@@markomottonen2509 The "look" is very subjective and I do agree with certain lens choices for certain styles of movies but I also agree with thatcherfreeman, if this futuristic-type movie was shot on modern-looking lenses it would still be watchable. The creator movie doesn't need an anamorphic, old or nostalgic look in my opinion.
@@markomottonen2509see, they are not shooting film.
Your videos are fantastic, truly a huge benefit for creatives. Thank you 🙏
I’m so intrigued to know how you feel Unreal engine will push things in the future… that tease was way too subtle! 😂
Make the Zenmuse X9-8K Gimbal Camera fit on a RS2 and it's a wrap!
I think we have come to a point that even with a simple cheap dslr camera or an iphone and some cheap accessories like gimbal carriers etc, you can really shoot a film, and enhance it with the current upscaling technologies that are available in very affordable consumer grade computers. It'll only take longer but you're on an ultimately budget tight system and considering the cost decrease, the production time becomes kind of irrelevant. (of course the quality will not be comparable to very expensive gear like ARRI or any other flagship camera from Sony, Fujifilm, Red etc.)
This is nice and all but in 2 years people will forget about this camera system. Advancement in camera tech is great but there are simply certain looks and feelings to images that can't be replicated. There is a reason why that even with all this tech people are still chasing a classic look. I love seeing the boundaries being pushed but lets not lie to ourselves here.
Great video, thnx!
what is on the rod system for the fx9 to hold the monitor, need that 15 mm rod adpater at :08
I have always been interested on how commercial film makers have changed from film to digital camera ever since Panavision Gensis Camera shot Superman returns and Sony HDWD-F900 was used to shot Attack of the Clones instead of film .
Pleaaase Nikon, make a compressed raw FX3 in a box body. Same price or lower.
what about sigma FP ?
Great vid.
The Road House remake was definitely a movie.
My favourite part was when Gylenhaal kicked the man and said: It’s Road Housin’ time…
What website lists cameras used for productions?
Cameras have become mini computers. Moore's Law and Exponential Growth now apply to the film market. Not unreasonable that soon some type of smart Auto-focus and fracking will be be standard along with global shutter on entry level cameras.
Sir can you pls reply if we have shutter speed 1/16(60ms) and read out speed (rolling shutter ) is 1/48(20ms) then frame is becoming from information 0 to 60ms or 0 to 20ms pls reply
they shot on sony venice too if you look at the bts
The ronin 4d stuff for Civil War is probably overblown, Rob Hardy is a Sony cinematographer through and through. Probably just fills in where using the rialto on stabileye used to fit in his workflow.
something else to remember is the viewing experience of the audience has changed... most people are watching films on a 13 inch laptop or 5 to 7 inch cell phone... the need for a sexy arri alexa and all the big boy toys (angenieux zooms) isn't really necessary ( i made the mistake? of buying an arri alexa a year ago) . the audience is bombarded with beautiful imagery daily (tik tok, instagram ads , real life ads, real life lol) so we want story! sound! relatable? characters. i dunno
So in essence, you can do a scene that used to take 5 hours to set up and shoot, in lets say 3-4 hours. Hence you can do the same amount that you used to be able to do in 12 hours, but in 8-10 hours. This means one of two things; either the production day will shorten to allow crew and cast to be able to have more family/friends/leisure time or more under-thought shit with an over worked crew and cast will be spewed out since you can now do more in less time. Which will it be? ;)
Its not the camera, its the lighting, blocking and acting really that makes a film.
I can see a 4d with a global shutter coming soon
Yes
what the hell. I pick a random RUclips video and surprise surprise i work next to the company supplying the kit 0:50 for the big movie productions. Wow!
Shooting my next feature on a BMCC 6K FF 😎😎😎
What LENSES did they use on “Civil War”?
was wondering the same thing
That's why these days high-end cameras are more focusing on improving user convince and false prevention, since there's not a lot of space to improve look anymore
Red & Nikon are apparently working on a new phone.
Imagine Red & Nikon camera tech in a cellphone?!
In other words, Arri and everyone else might decide to move into the more compact camera market in order to survive.
That might also mean that CVP will start selling phones in the not too distant future😉
Ronin 2 rig for FX3*
It’s only going to be affordable until 8K becomes the norm. Remember when 4K first became the norm? At that time 1080P cameras were cheaper and everywhere
“ ….without the need for complex track setups like the Ronin 4d, makes a lot of sense “. This is so confusing grammatically: the words ‘like the Ronin 4d’ should be earlier in the sentence…this makes it sound like Ronin 4d creates need for complex track setups. I head this sentence 4 times to realise what the meaning and the grammar is. Just food for thought !
It’s all about the story and none of the tech matters - until it does. The most innovative filmmakers have always exploited developments in new technology. From stedicam, fast lenses, SI-2K (Slumdog Millionaire), you name it at some point a film-maker with a vision has gone ohh I can do this now..
The thing is, the tech matters for diddly squat if the writer , the actors and the director don’t have clue what they are doing.
6:18 is that an 18-105 kit DSLR kit lens?????
Yes! Crazy huh. Footage looked fantastic though. This particular shot is mimicking the daughter characters pov as she has dslr in hand shooting a demo for a ball player in the scene. Perhaps they are getting the "indy feel" for the footage captured.
Using a ChiCom made camera for an American civil war film adds a whole extra layer of “fuck it’s actually got a chance of happening” to it.
2:51..... how??
With cheap good digital cameras, everyone is switching back to film to seem cool and exclusive😅
hope AI doesn't ruin it and make filming obsolete .
good video idea
They used the camera for certain shots buts its not remotely the main camera.
Shot on iPhone 15 Pro
You mean NIKON not Red
What do you want form the "image quality" of a video camera for "cinema"? You want 14 stops of dynamic range, 12bit raw files IN 4K resolution or higher. There are literally DOZENS of "cheap" cameras today that easily give you that. The cat is out of the bag. Pandora's box is now open. There are maybe two dozen super cheap cameras that can give you a "cinema quality" image now. It's too late,...we are never going back. Any poor, TALENTED kid with an FX3, Atomos Ninja and Adobe Premiere can make a "cinema-quality" film...in his mom and dad's basement today.
So...this was nothing but an ad for the Ronin 4D right? Civil War looked like crap, but it worked because of the nature of the film.
waiting for the era when the filmmaking will be done by telling AI what to create )
So just using a gimbal
Cheap and convenient is why nobody goes to theaters or buys films anymore. It's why consumers only use streaming services for $10/month. And Netflix slashes crew rates in half and why ROI on equipment purchases is unlivable. This downward trajectory started in the 2010's. Almost all of the industry wiped out their retirement funds this last year or so.
Civil War sure as hell doesn’t look cheap
I'm not a fan of the term "democratizing filmmaking" which I've also heard elsewhere. Sure the equipment has become dirt cheap compared to just a few years ago, but if you're making traditional narrative films most of the other things you're going to need have actually become more expensive. Actors, costumers, production staff, etc. All things you need to make a movie and all of them expensive. Which is probably why you see so little of that type of filmmaking on platforms like this.
I was talking about dji products with some ACs on a set and they laughed at me. Thwy can go cufk themselves now.
the creator looks great with the FX3 and all, but why do we get all hyped up about gear used and pretty pictures when the story of the film is mid and almost feels lifeless
The core story is nice, but so many gaps in the story.
@@danielvilliers612 yeah I agree, a lot of potential to become something bigger if that's what Edwards would want, but failed to get the emotional beats down
Next up: AI
I haven’t watched the video as I don’t was civil war spoilers, but came here to say I got to play with those 4d’s and they are plastic garbage
An Academy Award-winning movie was shot on an iPhone. We're past the need for costly hardware. Story is what matters.
this movie looks like a Trumpers dream movie
Filmmaking is changing while also DYING. Soon (like 6-12 months soon) we will need no cameras because we won't use them. It's a sword hanging, waiting to fall when Sora releases. We won't need actors, locations, and finally, cinema won't need filmmakers (or companies). It will replace us all. Maybe we should talk about that one.
Civil War looks like absolute dogsh!t in the cinematrgraphy department though. The mood is absolutely horrible, the color is for a soap opera.
No matter how much influencers are trying to make this camera a thing but this camera is not it lol
These films look awful. Why should film making be accesible? If you think it should and you dont have a problem with this war on beauty, you are the enemy.
This means nothing and is infuriating at the same time.
It means nothing, because it does. All of these things exist, and if they are pulling their heads out of their asses and realizing that there are several available tools, then so what...
But it is infuriating because, why? You gatekeep and keep all the money, don't hog all the tools we have to approximate what you did with all your money! The 4D isn't new. Neither is the FX3. These systems have always been some of our A-Cameras! We have been killing ourselves working and perfecting our craft with these tools, and now you all want to use them, they can be considered A-Cam material? I guess its sour grapes and me being sensitive... I just remember when certain cameras were not good enough to warrant funding or consideration and now....
It still is not good* enough to warrant funding. These people have the luxury to pick whatever they want. If you're nobody and show up with a simple, small camera, they will still think little of you. It's a matter of perception. Not a matter of technical capabilities.
sure that's all great, but these movies don't look great
It's funny you mention 'Road House' considering Doug Liman was pretty upset it was only going to be shown online. ruclips.net/video/h-vWRLGnTGg/видео.html
He said here that it was shot with IMAX cameras: ruclips.net/video/h-vWRLGnTGg/видео.htmlsi=Qq_8Kg12phJ2r0KA&t=370