121–130 of 315 posts
The technical quality of Netflix originals is really high. One thing that annoys me though is for some reason despite having rigorous standards for the camera it seems a common trend through numerous Netflix Originals to use the Vantage Hawk V-Lite Vintage '74 line of anamorphic lenses. I guess it's a stylistic choice but it results is some (for me at least) annoying image distortion that can really distract from the…
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A separate stereo audio mix.
How else would you mix the dialogue except to come out of both speakers though?
I once thought about a high-end camera rental side business. Never really completed the research, but I am curious again... Do studios and creators own these cameras or they usually rent? Is there an aggregated marketplace where I could be able to put my camera for rent if I do eventually get one?
However, in feature film work, some lens collections can easily cost $250,000 for a set of 6 lenses (Leica Sumicron-C). Cooke lenses could reach $100k. So, not many people owned these either. You just rent. You then get to write all of it off as an expense on the budget of the production. Camera gear used to be so expensive that few owned.
I once thought about a high-end camera rental side business. Never really completed the research, but I am curious again... Do studios and creators own these cameras or they usually rent? Is there an aggregated marketplace where I could be able to put my camera for rent if I do eventually get one?
They rent cameras too, not just lenses. The RED Raven model (one of the NetFlix approved models) rents for $490/week. That's just for the "body" (what RED calls the "brain"). A full kit with accessories is $850/week. Lenses are on top of that.
I once thought about a high-end camera rental side business. Never really completed the research, but I am curious again... Do studios and creators own these cameras or they usually rent? Is there an aggregated marketplace where I could be able to put my camera for rent if I do eventually get one?
Depends. Some of the gear mentioned on the Netflix page can be afforded even by ambitioned hobbyists, others - especially the lenses - are way too expensive for anyone sans big studios.
Major studios will have a selection of their own equipment, but rent from companies like ARRI (who, coincidentally or not, make their own cameras of which some are rent-only) for projects requiring more than that - or anything on location in foreign countries. It's easier to call up Arri and have them and their local offices deal with cameras, lighting equipment and the likes than to ship all that stuff around the world, deal with customs etc.
> Is there an aggregated marketplace where I could be able to put my camera for rent if I do eventually get one?
In Germany there's gearo, no idea about any other.
The technical quality of Netflix originals is really high. One thing that annoys me though is for some reason despite having rigorous standards for the camera it seems a common trend through numerous Netflix Originals to use the Vantage Hawk V-Lite Vintage '74 line of anamorphic lenses. I guess it's a stylistic choice but it results is some (for me at least) annoying image distortion that can really distract from the…
My eyes generally wander to look at the surrounding scene or detail but I get the feeling I'm not supposed to be looking there.
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What does low pass filter mean in the context of video (i understand in audio)?
The same thing: a filter that only lets through low frequencies. A blur effect is a spatial low-pass filter. A motion blur effect is a temporal low-pass filter. What GP is talking about is the antialiasing low-pass filter used when downsampling video to smaller resolutions, or when initially sampling it at the sensor. This is the same exact concept as the antialiasing low-pass filter used when downsampling audio to l…
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> Also it looks like 4K is their minimum standard now. I bet the higher resolution makes it easier, with big*ss GPUs to clean up the raw footage. Resolution is far less important than bit color depth. We barely need 4K(Alexa used to be 2K) much less 8K footage for something to look good on a tv.
I would think that capturing at higher resolutions makes it feasible to crop and zoom? In digital production, you always want to work at high resolution for all intermediate stages, then reduce bit depth only during the final output stage. When I worked in music production a while back, we often had the problem of source material recorded at low amplitude to 16-bit media (e.g. DAT, CDDA, ADAT). While 16-bit is theore…