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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Tamerlin View Post
    I know several DPs who are actually not all that technical at all. I've also observed that the most technical DPs that I DO know are generally not that good; from what I've seen, really technical ones like Steve Yedlin are a minority rather than a majority. Roger Deakins doesn't generally describe himself as technical, but why would that matter?

    At Deakins' level he doesn't even need to know the menu systems on the cameras he works with; he has ACs and DITs who can take care of those details for him while he's addressing other things like lighting. A cinematographer doesn't need to know all that much about how a sensor works to learn how it responds to light; that's something that you can learn by testing it and seeing how it works.

    I suspect that I know a lot more about how cameras and lenses work because of how many computer science, electrical engineering, and physics courses I took in college, and other than making it very easy for me to learn how to use cameras, it hasn't had much of an affect on my cinematography. You don't need to know much about the physics that determines why mercury vapor lights have a different color spectrum than standard tungsten lamps or be able to explain the skin effect with Gauss' law to know how to light a scene to get the effect you're looking for.

    The way you phrased that sentence made it seem like you don't know who Roger Deakins or Charles Papert are... if that's the case you might want to find out. Their work very much speaks for itself.
    Eric is pulling your leg - he knows who those DPs are.

    RE: technical vs non-technical DPs - I follow some blogs (I won't name names) by reviewers and techies who know more about digital cameras than I ever will. But then sometimes they show their work and I'm like, "Holy crap, that's bad." All the time and energy they spend on learning technology is not spent practicing lighting, composition and camera movement. Obviously, you need SOME technical knowledge in order to shoot. But movies are about feelings.


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    Senior Member Grug's Avatar
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    Quote Originally Posted by DLD View Post
    It is a bit of a conundrum for them, as the LF models are selling so well - LF's have two essential elements, they're 4K and the ARRI - but the catch is short-term vs. long term. The ALEV sensor hit a milestone. It's 10 years old and there's been a lot of technological advancement since then. The ISO performance must be better, the resolution must inch up, etc. With that trend, the new tech will be introduced on their higher end models. Sony Venice sensor is 24.6 MPX. Surely, ARRI can do 26.4 to deliver 4K RGB for their lower tier LF models and, at least, 33 for the medium format sensor.

    This sets up a three tier ARRI lineup. First s35 Mini, then Alexa LF/Mini LF and finishing with the 6K/8K units. The s35 4K Mini then would just have 8.8 MPX, as to not to overshadow the current 4.5K LF models on specs while still having longevity as an entry level ARRI product.

    And it would sort of let them keep the "better pixels" strategy.
    I think they've already made their concession to the LF models, by pushing back the release of this new S35mm model to next year (it was supposed to arrive in 2020).

    I have no doubt it'll also be at least another year after that before we'll see an LF version of the new sensor. So the current LF cameras will have a good couple of years (at least) to do their thing without any direct internal competition.

    I'm just hoping Arri have been taking my feature requests seriously, and the next camera comes with 1-8 stops of internal ND, and a super fast boot time (a la Sony Venice). As those are the features of the future. And any camera lacking them, is annoying.


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    You know, I kind of like PapPert. At least it solves the pronunciation issue. Every now and then someone will try to call me C-Pap and I'm like uh yeah no.
    Charles Papert
    charlespapert.com


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    Quote Originally Posted by Grug View Post
    I think they've already made their concession to the LF models, by pushing back the release of this new S35mm model to next year (it was supposed to arrive in 2020).

    I have no doubt it'll also be at least another year after that before we'll see an LF version of the new sensor. So the current LF cameras will have a good couple of years (at least) to do their thing without any direct internal competition...
    They can't produce LF's fast enough. One thing I noticed about the HBO streaming search is that they're not promising a 4K stream as of now. So they can take every Alexa on the market and it'll be good enough.

    As to the ND filters --- hmmm.

    Quote Originally Posted by CharlesPapert View Post
    You know, I kind of like PapPert. At least it solves the pronunciation issue. Every now and then someone will try to call me C-Pap and I'm like uh yeah no.
    Roger Deakins doesn't like being called C-Pap either. What is it with you cinematographers?


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    Quote Originally Posted by DLD View Post
    One thing I noticed about the HBO streaming search is that they're not promising a 4K stream as of now.
    Assuming it was for the same reason, YouTube did something similar and defaulted the world's initial playback to a lower resolution (720p) during these times.

    Just an unprecedented amount of traffic.


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    Seeing a lot of the single head talking clips at 1080 now.


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    Senior Member James0b57's Avatar
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    Quote Originally Posted by DLD View Post
    Seeing a lot of the single head talking clips at 1080 now.
    We going back to the days when DP’s tell directors that ask for a wide shot one take scene “you won’t be able to see the character’s faces, this is streaming”


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    Senior Member Eric Coughlin's Avatar
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    Quote Originally Posted by NorBro View Post
    Assuming it was for the same reason, YouTube did something similar and defaulted the world's initial playback to a lower resolution (720p) during these times.

    Just an unprecedented amount of traffic.
    If only Arri offered a 720p mode to meet YouTube's initial playback resolution without the need to downscale in post they'd have a real winner of a camera. But I know, I know, Arri doesn't play the resolution game so we're stuck with 2K, 3.2K, 4K, 4.5K, and 6K.

    I recall the first wedding I filmed I was worried that my computer would not handle 1080, so I set the HVX200 and Canon XH-A1 I had access to to 480, but I was also borrowing an HMC40 which I had assumed would do 480p as well, but upon getting my hands on it at the wedding, I discovered 720p was the lowest resolution it could do. Needless to say, it required a lot of extra time and effort in post (borrowing someone else's computer) to convert all that footage to 480p so I could edit it on my computer.
    Last edited by Eric Coughlin; 06-01-2020 at 12:17 PM.


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    Quote Originally Posted by James0b57 View Post
    We going back to the days when DP’s tell directors that ask for a wide shot one take scene “you won’t be able to see the character’s faces, this is streaming”
    Well, that's how it's often made in Europe. One shot, one take, scratch audio.


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    Senior Member James0b57's Avatar
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    Quote Originally Posted by DLD View Post
    Well, that's how it's often made in Europe. One shot, one take, scratch audio.
    Standard def TV days was the home of the ECU.


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