I know we can't do this here, but can we talk about the scroll-locked header which takes almost a third of my screen?
Approved Cameras
51–60 of 315 posts
Re: Approved Cameras
#52Top of the list is Munich based ARRI. A fascinating story by itself: https://en.wikipedia.org/wiki/Arri
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.
Re: Approved Cameras
#53Earlier quoted context omitted.
This pretty much ended around Blu-ray/HD-DVD switch from DVD. It was pretty standard to have a dedicated 2.0 Lt/Rt (sometimes a Lo/Ro) mix that was typically included as the first (default friendly) audio track on the DVD. This was convenient for people that did not have a surround system. Ideally, these were separate mixes vs automated downmix. They typically sounded good in stereo only. With the HD formats, it beca…
Still, Bluray discs with the downmix metadata set correctly should still sound better in stereo than a streaming source that was downmixed without dynamic range and mix preference metadata. The technology is old enough to be long out of patent either way.
Dolby's DialNorm setting was their true bit of gold. Incorrectly setting that value on surround encodings had a huge impact. Correctly getting that DialNorm value required Dolby gear. Many people could not afford that gear, so a -27 value was set across the board whether it was correct or not.
Metadata only isn't a panacea
Re: Approved Cameras
#54Earlier quoted context omitted.
When the sound design is targeted for 5.1, most of the dialogue comes from the center speaker. This is great if you have one. However if its downmixed on the fly (ie done on the client side) the center channel is often just played out of both speakers. This means that sound can be muffled, because its drowned out by the incidental noise that comes from the left/right channel.
> the center channel is often just played out of both speakers Well what other option do you have when there are only two speakers? Only play it out of one?
The next sentence explains why this is a problem.
> This means that sound can be muffled, because its drowned out by the incidental noise that comes from the left/right channel.
Re: Approved Cameras
#55Earlier quoted context omitted.
When the sound design is targeted for 5.1, most of the dialogue comes from the center speaker. This is great if you have one. However if its downmixed on the fly (ie done on the client side) the center channel is often just played out of both speakers. This means that sound can be muffled, because its drowned out by the incidental noise that comes from the left/right channel.
> the center channel is often just played out of both speakers Well what other option do you have when there are only two speakers? Only play it out of one?
A separate stereo audio mix.
Re: Approved Cameras
#56Earlier quoted context omitted.
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.
At the directors approval
Re: Approved Cameras
#57This is really high end stuff. Makes me realize how much I'm getting for just 10 bucks.
Re: Approved Cameras
#58Earlier quoted context omitted.
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 di…
Yeah I guess I should have narrowed my statement to the “capturing frames” aspect, surely the interface is better adapted to specific use case like you say.
Though you definitely hear about productions using them anyway.
Re: Approved Cameras
#59Earlier quoted context omitted.
I mean, this isn't for movies that are bought by Netflix from an existing rights holder, it's movies and series that are commissioned by Netflix. It seems reasonable that they'd want to capture as high quality as possible for as much content as possible, as you can always lose quality in post (or distribution). I don't suppose this would preclude directors using cameras that wouldn't work otherwise when needed (like…
You may have mixed up where you're responding to: This particular comment thread is not really about the cameras that are in use, but instead about the sound. (Sound recorded by the camera itself -- if it can even record sound -- is essentially never used.) The problem is that the camera requirements are defined, presumably to try to have some lower bound on the quality of the visuals, there is no requirement for aud…
I think you're right, I mistook OPs comment about the video, not the sound. Does seem weird they wouldn't have minimum sound quality, but it is a tricky thing moving 5.1 to stereo, so that's more about the mixing.
Re: Approved Cameras
#60Earlier quoted context omitted.
> the center channel is often just played out of both speakers Well what other option do you have when there are only two speakers? Only play it out of one?
The next sentence explains why this is a problem. > This means that sound can be muffled, because its drowned out by the incidental noise that comes from the left/right channel.
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