to counter "The Turkey".
I think the point Claudio was making is that the 4D's ecosystem is compact and efficient. When discussing a lens motor system "slow" can be misconstrued as the max speed the motors turn (what I thought you were saying, and I would have been quite surprised to learn that the DJI system was physically faster than Preston's in this regard--I don't believe it is).
that's the right thinking these days. I did one year at NYU and dropped out, having talked my way onto a number of large scale productions in NYC and eager to start working instead of sitting in a classroom, or fighting with the guys in the "cage" about getting the gear I needed for my student film. I have never recommended film school at the undergraduate level (although I think there is something to be said about graduate studies, I've been overall impressed with AFI). The only thing I felt I missed out on at NYU was making those connections and alliances that sometimes result in career-long working relationships. But, I'll never know what difference that would or wouldn't have made. I do know that if I had four years of student loan debt to pay off, it would have delayed my buying a Steadicam considerably (still took me 5 years after dropping out to make enough to do that, and it was a tattered one).Yes, like my hero Marty Scorsese
I didn't go to film school. This vocation came late to me. I was an English/journalism major. I do wish I had gone to film school for two reasons: 1). For the contacts 2). To learn the fundamentals. I have learned them from practical experience (and also from forums like dvxuser) but I'm kind of jealous of filmmakers who have a solid formal technical education.
I think it's always been a little debatable how much "formal technical education" one gets at film school, much depends on the given professor's knowledge. I think I got about as much out of the books I read outside of class than what I learned within it. And then a few years later, getting an on-staff position at a small production company was my real boot camp. These days, Youtube University seems to be covering it well for most. To be honest, I've seen discussions within this very forum that delve so far into the technical that I have no clue what they are talking about, sometimes coming from folks who are essentially hobbyists. And yet I have colleagues out there who consider ME to be the technical one.
Yeah, I think a lot of it has to do with the quality of the professor. My dad was a professor so it was established pretty early that a formal education was important. I was very green when I got into this craft, but I was lucky to have mentors who apparently saw some talent in me and took me under their wing.
Yes, Sony is an absolute behemoth compared to Arri when you look at the two companies.
I thin Arri and companies like Blackmagic have rightfully focused in on image quality and a digital film aesthetic that sets their cameras apart from Sony’s “immediate” look (at least on their lower end prosumer cameras). I think Canon has seen Sony’s success and is trending in that direction image-wise.
The fx3 being used on The Creator is a double edged sword: great for indie filmmakers who can cheer at what their $4000 dollar camera can do but a bad omen for companies like Arri.
