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Approved Cameras
211–220 of 315 posts
Re: Approved Cameras
#212For anyone into photography, an unrelated topic is that Amazon prime offers unlimited photo storage, you can upload all your RAWs as long as you keep your subscription.
The next generation of cameras should move away from SD cards. I can’t wait until you can stick NVMe on one, it’s a shame they don’t even make any emmc SD cards. Even the iPhone has had that for half a decade now.
Digital cameras really suck, they’re all horrible proprietary hardware devices, basically expensive locked down computers with large sensors that attach to lens through proprietary mounts.
Re: Approved Cameras
#213The 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…
I don't know a whole lot about camera lenses, but it's this the reason shows like Sabrina have that extremely annoying distortion/aberration near the edges of the frame but covering almost everything not in focus at close range? I find it extremely jarring. Edit: grammar
They toned that down by the end of Sabrina season 1. I think the idea there was to make a sense of otherworldly spookiness.
Re: Approved Cameras
#214Earlier quoted context omitted.
My understanding is that 24-bit source material (the standard when I was last recording which was several years ago) provides enough dynamic range that you can bring up the desired volume without overly muddying quiet sections with noise, especially when mixing multiple sources where that noise adds up quickly. My own personal experience recording at 16 bits was… “I must play louder and overstate my song’s understate…
Also: this got me wondering about how much the “loudness wars” and “brick wall” music products overlap (in time) with the almost total transition to digital recording. It also got me wondering how much the more gradual digital transition affected musical style and taste. If analog recording captured a much more flexible dynamic range, it’s easy to imagine a lot of other recording artists similarly deciding “fuck it p…
The resolution bottlenecks of early digital as described in this thread are not related to the loudness wars of the aughts. If you were doing big budget recordings back then you were either doing 2" analog or you had enough setup time to set gain levels carefully and "fill up the meters" for your digital recorder.
Recording close-mic'd drums to analog tape is actually a useful technique when maxing out levels because analog tape saturation can be aesthetically superior to digital peak limiting for shaving drum peaks — analog tape saturates high frequencies first. It wasn't uncommon to either record basic tracks to analog then transfer to Pro Tools, or even to track to Pro Tools then bounce the drums out to analog tape and back.
For the record, there were loudness wars back in the vinyl days, since it was seen as important to have your 45 rpm single "compete" with others in the jukebox. It wasn't something new in the aughts.
> If analog recording captured a much more flexible dynamic range
It doesn't, especially not in comparison to modern digital. Dynamic range is not a strong point of analog because of tape hiss.
The issue with low res digital is that truncation distortion is non-harmonic (not an integer multiple of the input frequency) and so is disproportionately aesthetically damaging even in small quantities — in other words, digital grunge sounds worse than tape hiss.
Re: Approved Cameras
#215Earlier quoted context omitted.
Maybe, but crazy shallow DoF goes back at least to Kubrick famously shooting parts of Barry Lyndon at f0.7.
Barry Lyndon was shot with an f/0.7 lens because Kubrick wanted period-correct lighting: candlelight, which required a super fast lens with the film used. To my knowledge he wasn’t going for shallow DoF.
You are correct. This wonderful article taken from American Cinematographer goes over this very topic in great detail:
Re: Approved Cameras
#216This means Netflix operates as a production and post studio for their many and talented film-makers. The stuff with the red N on the poster -- some of it is REALLY good -- uses Netflix-operated handling. Any video production goes through a lot of steps from raw studio footage to edited, finished product. This web site says that Netflix processes and people handle a lot of that. Also it looks like 4K is their minimum…
Regarding "footage", notice that you also refer to them as "film-makers." There really isn't film involved. And Netflix is named after the term "flick" which refers to the flickery effect you get with movies (especially in the old days), which hopefully isn't there anymore.
Re: Approved Cameras
#217Earlier quoted context omitted.
I don't know a whole lot about camera lenses, but it's this the reason shows like Sabrina have that extremely annoying distortion/aberration near the edges of the frame but covering almost everything not in focus at close range? I find it extremely jarring. Edit: grammar
They toned that down by the end of Sabrina season 1. I think the idea there was to make a sense of otherworldly spookiness.
And yet they gave her that thirsty wig. I stopped watching the show with Season 2 solely based on the poor wig work.
Re: Approved Cameras
#218Earlier quoted context omitted.
The really interesting part is that ARRI Alexa was pretty much the #1 camera in Hollywood but Netflix won't accept it because it's not 4K.
The original Alexa, yes, but that's from 2010.
I guess this list is not exhaustive or they are more flexible with their major films, because of the Netflix films that I've heard of from 2021 some were shot with the Alexa Mini, which isn't on the list. One was shot partly on Betamax, partly on super 8 film.
Re: Approved Cameras
#219Earlier quoted context omitted.
“Dreck” is a German word.
I didn't know that! I got it from my mum who presumably got it from her British mum.
It's traveled fairly broadly on account of having been adopted into Yiddish - I picked it up as a very young child from an issue of MAD Magazine, and was somewhat surprised to find the New Englander side of my family very familiar with it and only bemused at the happenstance of hearing it from a five-year-old.
Re: Approved Cameras
#220This is totally arbitrary. Many Nikon cameras match those requirements but are randomly not listed. You could use an “unapproved” camera and just overwrite the metadata. Nobody would know (unless you’re using an iPhone or something).
Canon and Sony make cine cameras. Nikon makes still cameras that happen to shoot video, but not all that well - I shoot Nikon myself, but I shoot Nikon because I want the best still cameras I can get. If I cared about video at all, I'd probably have gone with Canon instead, not least because their cine and still bodies can share EF-mount lenses.