Thread: NO Sony Fs7!!

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    Quote Originally Posted by NorBro View Post
    So much softness and out-of-focus, but it's perfect.
    Agreed. it took me a second to appreciate it, but actually really think they handled it well.


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    Senior Member ahalpert's Avatar
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    Ah, it's From Dusk Till Dawn the zombie version. Starts out with one genre and turns horror.

    That's a great trailer. I like the look, too.


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    Fun fact: Although many know Dave's from wrestling, many probably don't know that Triple H who's married to Stephanie (Vince's daughter) took Dave under his wing so to speak when they created the group Evolution (which also included Ric Flair and Randy Orton).

    [Triple H also retired DB at 2019's Wrestlemania (per DB's request as his final match).]

    Megastar success from Evolution and a solo run after, and the rest is history...

    Batista (that's how he spelled it in WWE) was twice as big...epic moment here, just watch the first 20 seconds, I already linked at the correct time:

    https://youtu.be/ed9WG9aPzNo?t=98


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    Senior Member Ben Scott's Avatar
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    Ok NOW I have a reason to leave this thread alone.
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    lol, the Brits loved their British Bulldog in WWF. [Born in Golborne, Lancashire]

    WWE_BB.jpg


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    Senior Member ahalpert's Avatar
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    Quote Originally Posted by Ben Scott View Post
    Ok NOW I have a reason to leave this thread alone.
    Let's see how many more times we can get Ben to say he's leaving in disgust


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    Senior Member JPNola's Avatar
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    Quote Originally Posted by ahalpert View Post
    I think it depends a bit on how the set is lit. If the set is broadly lit with naturalesque sources, like "sunlight" streaming through the windows and filling the room, it's easier to move around and maintain the lighting. As opposed to lighting the actors from specific angles in a static pose.

    But I can tell you from my ACing days that the likelihood of blowing focus was a regular part of the discussion on complex camera/actor moves and shallow DOF situations. And sometimes you have to play it conservatively (ie simplify or stop down) even if you had a better AC than me. Or else you just have to run a lot of takes, which means the director will be agonizing in the editing suite about throwing out the performances he liked best because they were soft.

    I'm rewatching Star Trek DS9 (great show) right now, and it's full of soft focus close-ups. On static-actor, static-camera shots, no less. I'm pretty sure they would have axed most of those shots if it had been distributed theatrically. But smaller viewing screen = more DOF = unusable shots become more or less usable. Hate to break it to you, Doug.
    I think the answer why they are not using AF is that they want: manual iris ring...with significant travel, faster than f/2.8, minimal to no breathing, minimal distortion, excellent flare control, prime, available in PL.

    What current AF lens ticks all those boxes?

    Last night I asked an Op on a film being DP’d by Shane Hurlbut, the Op’s reply was that AF doesn’t work for shots where you want to pick someone up in the background. Or at least that was the start of his reply, our convo was cut short by his having to get back on the wheels. They were using Summiluxes. ( and a lot of remote head, liked by Ops and actors because there is no person anywhere near the eyeline when using remote operation. )
    Big sources matter.


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    Off my second shoot with the C200. The AF is pretty blunt and didnt work on some ECU barrista shots with steam and cups moving about. But for the 'meat' of the shoot 70-200f4 and af was completely free of effort. (and I have not read the manual, dug the menu, or engaged face recognition)

    Of course 'noisy C200 files' is completely down to user error. Files are completely clean.

    Edit.. another thing about AF vs self focus.. one can keep different more stable holds on the camera as one does not need a hand on the lens.

    2_1.5.2.jpg

    1_1.2.1.jpg
    Last edited by morgan_moore; 04-23-2021 at 03:07 AM.


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    Quote Originally Posted by JPNola View Post
    I think the answer why they are not using AF is that they want: manual iris ring...with significant travel, faster than f/2.8, minimal to no breathing, minimal distortion, excellent flare control, prime, available in PL.

    What current AF lens ticks all those boxes?

    Last night I asked an Op on a film being DP’d by Shane Hurlbut, the Op’s reply was that AF doesn’t work for shots where you want to pick someone up in the background. Or at least that was the start of his reply, our convo was cut short by his having to get back on the wheels. They were using Summiluxes. ( and a lot of remote head, liked by Ops and actors because there is no person anywhere near the eyeline when using remote operation. )
    Thing is now actually you can pick a face in the background , with Sony anyway .. or manually get it close enough for eye detect to latch on.. This sort of sums it up .. and I guess its obvious, feature film people dont actually know how far forwards its all got in the last ,even 3 years ..Im not from feature films but I was totally opposed to AF for all the same reasons .. but Im totally converted , no one is saying its used 100% of the time , obviously not .. but it will save time on maybe 50% of shots or more .. anything that saves money will be adapted .. anything that will sell new product ..camera,s , sensors , lenses manufactures will love .. its still early day .. look how all the feature film people , except Roger Deakins hated digital , it can never compare to film , cost of film doesn't matter to big productions ..blah blah .. well we all know what happened in a very short time frame .. it is cheaper and was adopted in fast order ..and does look at very least , as good


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    Senior Member Ben Scott's Avatar
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    Quote Originally Posted by Donny 123 View Post
    This sort of sums it up .. and I guess its obvious, feature film people dont actually know how far forwards its all got in the last ,even 3 years ..

    I'd disagree with that quite strongly. Every interview you ever read with any technical crew always go on about the importance of being able to test anything and everything. 'Feature film people' test iterations of new gear all the time whenever they are able to and they certainly will have access to gear and emerging tech way faster than us mere mortals. Listening to Greg Frasier's interview with Deakins this morning on a run and he spoke about how the start date for shooting on Rogue One being pushed back gave enough time for Digital Sputnik to get their LEDs to him and he could test them and brought them straight onto being a major part of the film.

    But if you are asking an artist to change their tried and trusted paintbrush and embrace your new paintbrush you are going to have to ensure there are no barriers to their creation of art and that there is a significant time/results/workflow benefit to the new one. Re focus pulling and AF it simply isn't where it needs to be 'yet' for most day to day stuff to embrace it over the existing paintbrush.
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