Recent content by drboffa

I forget the exact steps but if you right click on a file in Davinci and go to clip properties you should have the option (in the "Audio" tab or similar) of deleting/deactivating all the audio tracks you don't want.

I've found that auphonic.com is pretty amazing at cleaning up audio that needs saving. You can adjust a wide range of parameters to get things sounding the way you'd like. For a relatively quick and dirty approach to recordings with serious issues it's the best I've found. You get processing...

I looked at SSD prices the other day and they were 2-3 times what I paid a few years ago, all thanks to the wave of AI hype that's being forced upon us.

The C80 has 4K60, as does the C70. Those are the two cameras we have in addition to a small fleet of C300 mk II's. It does mean we're occasionally fighting for them across different units 😄 The C70/80 have their own flaws, but in general I've been pretty happy with what Canon put into them...

We still use several C300 mark II's at work and the lack of 4K60 is really glaring. We don't do a lot of 60p stuff, but if we want it we know we need to bring one of the newer cameras (which are in limited supply compared to the C300s). My guess is that because these were purchased at a time...

I sometimes wonder if the poor codec choices on the C200 impacted sales or adoption. The camera came out right around the time I was looking to purchase my first "real" cinema camera, but the prospect of being forced into either a somewhat thin 8bit codec or a proprietary RAW format that was...

Honestly the past 25 years of cinema have produced some absolute masterpieces. As Movies by Matt said, One Battle after Another is phenomenal, and probably will stand alongside films like Mad Max: Fury Road, In the Mood for Love, Long Day's Journey into Night, First Cow, The Green Knight, etc...

@J.R. Hudson Do you think it's looking bleak for theatrical or just in general for the state of movies? I know this isn't an ideal state of cinema, but I'm consistently encouraged by some of the smaller films I see (truly independent), as well as foreign films.

I'm not really in the market for a new camera, but it's amazing what you can get for sub-$3K USD from Sony with this new model. All the pros Peter mentioned, plus 4K120 (S35 crop, but still) and HD up to 240. Also a bunch of codec options and what is easily the best autofocus of any camera system.

Unless they're being deliberately dishonest they really did use the old tube cameras: https://nofilmschool.com/2013/07/mattias-grunsky-tours-tube-camera

@Jim Feeley I've seen Computer Chess and loved it. The use of the old tube cameras fit the style and subject matter perfectly. I may have my timelines a bit off, but I feel like the early 2010s—when that film was being made and released—was when smaller, indie creators were really chasing the...

Ever since getting accustomed to Sony's old s-log/s-gamut system of having to select between just three WB temps—3200, 4300, and 5600, IIRC—I've just leaned on those for WB. Odds are you'll land somewhere close enough, and modern codecs tends to hold up to adjustments in post without issue. A...

I love this quote from that article (which appears to be about 25 years old):

I no longer have an EX1 but curiously enough I had the exact same issue! I currently have an EX3 that I keep (just for fun and its "retro" visual style, at least now), so good to know this if the issue ever appears on this camera.

I've shot in classrooms before and I'll just second Doug's excellent advice: you are absolutely going to want the reach of a 70-200mm (in addition to the wider lenses). Maybe you already know this, but action in schools moves pretty fast. You can get by with changing lenses so long as you're...