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    Senior Member Eric Coughlin's Avatar
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    Quote Originally Posted by James0b57 View Post
    Cameras are so good that they’re responsible for the content now?
    The skilled (big budget) content creators won't touch low end cameras because they have the budget for high end cameras, so by association, having or using a high end cameras often results in working with better creatives and thus you could in a non-direct way argue that a better camera often means better content.


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    Quote Originally Posted by Eric Coughlin View Post
    The skilled (big budget) content creators won't touch low end cameras because they have the budget for high end cameras, so by association, having or using a high end cameras often results in working with better creatives and thus you could in a non-direct way argue that a better camera often means better content.
    Just because you shoot on Arri doesn't mean you any have talent (not a dig at you personally Eric, I'm sure you're very talented). I've worked with dozens of talentless wankers on big-budget shoots; often, it's easier to hide on a well-crewed set.

    And, a big-budget doesn't necessarily mean great content. Indeed, these days, the internet is awash with great content regardless of budget or production value. In my mind, the days of hiding your lack of talent behind an expensive piece of kit or big crew are dying fast...
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    Quote Originally Posted by Liam Hall View Post
    And, a big-budget doesn't necessarily mean great content. Indeed, these days, the internet is awash with great content regardless of budget or production value. In my mind, the days of hiding your lack of talent behind an expensive piece of kit or big crew are dying fast...
    Just in time for AI to take over. Phew!


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    Senior Member Eric Coughlin's Avatar
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    Quote Originally Posted by Liam Hall View Post
    Just because you shoot on Arri doesn't mean you any have talent (not a dig at you personally Eric, I'm sure you're very talented). I've worked with dozens of talentless wankers on big-budget shoots; often, it's easier to hide on a well-crewed set.

    And, a big-budget doesn't necessarily mean great content. Indeed, these days, the internet is awash with great content regardless of budget or production value. In my mind, the days of hiding your lack of talent behind an expensive piece of kit or big crew are dying fast...
    Sure, it's not a rule, but as a generalization, I stand by what I said; I didn't think I'd have to clarify I was generalizing. Generalizing here, most DPs who use Arri cameras and most sets that use Arri cameras are more talented and more creatively skilled than sets using cheap DSLR cameras. That doesn't mean there aren't exceptions, but generalizing and statistically speaking, I'd say that is how it is.

    It's not that the camera makes one more skilled; it's just that one is more likely to get on bigger sets with better equipment if they are more skilled, and thus bigger sets with bigger budgets on average have more skilled people than smaller sets with smaller budgets. There are exceptions for everything, but again, generalizing here.


    One of the big reasons that Arri reels look better than other camera reels is because Arri reels often have many 100 million dollar budget movies in them, so even if the competition has similar image quality, they have a hard time competing in terms of getting the best DPs with the best gaffers and set design etc. that go into 100 million dollar budget movies.

    Going back to content, if a shoot cannot afford the best camera for the job, then they probably can't afford the best writer for the job either.

    When I see a Jaguar commercial shot with a mid-range camera with mid-range lenses, then as far as content goes, I'd imagine they could only afford a mid-range team of writers and creators, and thus it's not surprising that creatively the commercial is lacking as is the video quality and overall production compared to an Arri commercial example.

    Is that Jaguar ad even a real commercial for Jaguar? I would think they could afford better, it's posted on Canon's Youtube page, and I'm not seeing it having been posted anywhere by Jaguar. Anybody can go out and shoot random b-roll shots of cars and call it a car commercial.
    Last edited by Eric Coughlin; 11-28-2019 at 01:22 PM.


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    I agree with all that Eric, and no, I don't think the Jaguar film is a real TVC. As far as I'm aware the director has a relationship with Jaguar, shoots and photographs lots of car stuff. Again, that makes comparing it to a 'real TVC' just plain silly. If you judged the FX9 by the official music video shot by Alister Chapman you wouldn't go near the camera...
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    Quote Originally Posted by James0b57 View Post
    Just in time for AI to take over. Phew!
    If AI could help my dodgy hips, bad back or get me up for a shoot at 4:00 AM I'ld be all for it:-)

    Side note; I shot a piece with Satya Nadella, the boss of Microsoft, discussing AI. Be afraid, very afraid...
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    Cinema 5d article - https://www.cinema5d.com/canon-c500-...clip-download/

    raw test:


    10 bit low light:


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    Both clips look quite nice on my iMac Retina 5K screen, impressed.
    It's a business first and a creative outlet second.
    G.A.S. destroys lives. Stop buying gear that doesn't make you money.


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    Quote Originally Posted by puredrifting View Post
    Both clips look quite nice on my iMac Retina 5K screen, impressed.
    I agree....and... I regraded the low-light stuff (from his clog3 download) and it can look a lot better than what he's shown us...


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    Footage looks sharp and clean. When the highlights go on that 10-bit footage, they go pretty hard though. From the knee up to clipping is tougher to wrangle than the Arri and Sony stuff I'm used to. It looks the trumpeter's face is just being held, but the detail is absolutely paper thin. I certainly wouldn't be using any kind of ETTR with the camera.

    I'm going to assume all of that mixed lighting at the christmas market is a hellhole of sodium vapour and cheap fluorescents and crappy LEDs. There's so little colour to be pulled back out, that I have to assume there was bugger all spectrum there in the light in the first place. You've really got to nail your WB on location for such iffy lighting to play nicely, because you just don't have any real leeway to pull it around in post.

    The 12,800 ISO wide shot of the city is pretty incredible though, a little bit of temporal noise reduction on it and it's totally usable. I don't think I've encountered "usable" 12,800 ISO footage before. The stuff I've seen from the Venice at 5000-6000 ISO has been significantly noisier. This thing may be the new low-light king.

    The 6k raw clip of the tree seems great, and suitably beefy though, oodles of latitude a colour information to play around with.

    The image stabilisation in the 10-bit stuff seems very effective too.
    Last edited by Grug; 12-09-2019 at 09:04 PM.


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