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Guest
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Thats been my phrase for the stupidity of digital cinema gear for the past 2-3 years, one step forward, two or three steps backward. People's priorities are so far out of whack and the manfacturers have
responded to indulge that. Or is it about 2-3 years ago, cameras became so capable for so little money that the manufacturers decided that nobody would buy any more new cameras unless they started
the useless trends of FF, raster size wars, HDR specs that few want, need to understand. It's sort of a cart before the horse conundrum. Is it all the buyers fault? Or the manufacturers?
A lot of what drives the market now is counterintuitive to logic, practical workflows and what clients need for output or care about.
True, you recently mentioning it made it come to mind, as I totally agree with you.
Feels like instead of methodical improvements and actually hitting requested features, they went into this sort of cheese hole tactic, where cameras have incredible features, but few of them are "daily driver" type of improvements. And by the time they figure it out, we'll all be on cell phones. After all, who wants to deal with RED footage in Davinci resolve? BTW, Dan, I may switch to FCPX, as I just hate the way Davinci handles RED footage for simple tasks. I throw an R3D into FCPX and it looks the same way I shot it, but in Resolve I have to jump through so many hoops. Fine for more critical colour grading, but rather annoying for day to day stuff. Also, FCPX proxy workflow is rather seamless.
But back to the cheese holes, in Canon's case, that cheese hole strategy makes a nice eco system. Like they stratified and simplified so well that they accidentally made an awesome eco system.
Like imagine if it were all film, and you had a Aaton minima that shot s35 up to 120fps for hours (aka miles of film), and then a little Bolex looking thing that shot IMAX for up to 20minutes..........
....um, yes please. (ok, it is not film, but nothing is yet, not even Alexa)
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