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Approved Cameras

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Re: Approved Cameras

#41

Post by lekevicius »

colechristensen wrote: post #30
OliverJones wrote: post #15

This 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…

When you used actual film it was long lengths of the stuff, hence footage. Lots of words have weird no longer relevant sources. Like “logs”.

Not what I expected at all:

log (n.2) "record of observations, readings, etc.," 1842, sailor's shortening of log-book "daily record of a ship's speed, progress, etc." (1670s), from log (n.1). The book so called because a wooden float at the end of a line was cast out to measure a ship's speed. General sense by 1913.*

So it does have a relationship to the wooden log - it was originally a series of measurements from a floating bit of wood.

https://www.etymonline.com/word/log

Re: Approved Cameras

#42

Post by tootie »

mdoms wrote: post #38
OliverJones wrote: post #15

This 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…

> The stuff with the red N on the poster -- some of it is REALLY good An overwhelming majority of it is total garbage. It's such a bad ratio that I treat the red N as a negative signal when I'm choosing something.

Yeah they greenlight almost anything. It means they take a lot of risks which can produce some really creative and unexpected treasures but also a ton of crap. It's basically the VC model applied to content creation. One blockbuster is worth ten flops.

Re: Approved Cameras

#43

Post by mayli »

OliverJones wrote: post #15

This 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…

Yeah, footage.

Re: Approved Cameras

#44

Post by Mizza »

dylan604 wrote: post #36
baxtr wrote: post #21

Top of the list is Munich based ARRI. A fascinating story by itself: https://en.wikipedia.org/wiki/Arri

Industry holds Arri color science above all others. Even when Red and others were shooting higher than 2k images, people preferred to shoot Arri for the color. Arri was quite proud of their RAW format. I was told that on top of the price of the camera body, it was $20k to license the RAW format for the camera. Their RAW format was a sequence of frames that used the frame number derived from timecode appended to the f…

All that color science just for some lazy editor to drop a blue LUT over it and make everything nice and drab and samey.

Re: Approved Cameras

#45

Post by dylan604 »

colechristensen wrote: post #35
erikstarck wrote: post #23

Earlier quoted context omitted.

Nikon does video cameras?

Not much separates high end still cameras from video cameras besides taxes and a bit of firmware (some other stuff too, but all minor issues). The big reason all high end cameras aren’t video cameras are mostly taxes in some regions and lazy product differentiation.

Unless you're the camera operator. Shooting motion on a stills camera in a cinema environment is absolutely attrocious. While the small form factors are attractive for various reasons, they are notoriously hated to actually operate. Tiny tiny buttons. The most actively used button start/stop tends to be in a difficult location to access when not being used as point-n-shoot style camera. Mounted on gear, it becomes difficult to access. Accessing other settings is also tucked away on the smaller camera as well that have discreet/dedicated knobs/buttons on a cinema camera. Some times, small can be too small to be friendly. Some of these can now be accessed via app to help, but it's still a pain.

If you're a youtube creator, these cameras can make you look "pro" for a small budget. The price points to entry because of this type of gear brings the creation market to a much wider market, which can be a good thing. Bringing this gear to a full camera crew with DP, AC, etc makes integration harder. Good times!

Re: Approved Cameras

#46

Post by wmf »

colechristensen wrote: post #39
chirau wrote: post #29

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?

I’ve seen people try to make “uber for camera rental”, I’m not sure if any of them succeeded. Most photography specialized retailers rent equipment. I think there’s a good mix between rent and own as there’s a lot of diversity in creators.

It went horribly wrong when people realized that theft is easy and it wasn't covered by insurance. https://www.documentary.org/column/peer-peer-rental-cautiona...

Re: Approved Cameras

#47

Post by bredren »

mdoms wrote: post #38
OliverJones wrote: post #15

This 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…

> The stuff with the red N on the poster -- some of it is REALLY good An overwhelming majority of it is total garbage. It's such a bad ratio that I treat the red N as a negative signal when I'm choosing something.

The streaming services are in strong competition for original content. Sometimes buying exclusive rights to completed work off the shelf. This content seems to get labeled as an "XYZ original," be it Apple, Netflix or something else.

Do you differentiate between content greenlit and produced by the streaming services from those purchased? I'm curious because they are two different capabilities and it seems each service is attempting some amount of both.

Re: Approved Cameras

#48

Post by nerdbaggy »

chirau wrote: post #29

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?

PRG is one of the biggest in the US for camera rentals, its rather unexciting. They have all the cameras, but for whatever reason most of them you have to specifically ask for. https://prggear.com/product-category/camera/camera-camera/ca...

Re: Approved Cameras

#49

Post by wyager »

OliverJones wrote: post #15

This 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…

> I bet the higher resolution makes it easier, with big*ss GPUs to clean up the raw footage.

Even if you don't do any other post-processing, downscaled video looks better than video captured at sensor resolution. This is because you can implement a steeper low-pass filter (closer to ideal brick-wall filter) in software than you can in actual optics. Hardware lowpass filters tuned to block most stuff above nyquist will also block a lot below it.

A 1080p video captured off a good 1080p sensor will have vastly lower amplitude at, say, 500 line pair vertical than a 1080p video captured on a 4k sensor and lowpassed in software with a good filter.

Re: Approved Cameras

#50

Post by pvarangot »

chirau wrote: post #29

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?

It's not a bad gig but you need contacts and one of your primary competitors is a camera manufacturer, I think it was Panavision that has a big rental branch (and they rent Arri or Red too I think).
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