From "Disclosure Day".

You can't get a shot like this with an IMAX camera.

Been using the Nikon Zr for a month now, and i feel kind of .....underwhelmed and disappointed to be honest. I expected it to be so much better , but then the reality of it kinda cemented after each day

1. Can't use the R3d raw all that much and beyond the out of box colors, I really need to know grading to maximise the footage. My colorist told me it felt overkill most of the time and he doesn't need to constrain his storage unless it was neccessary
2. The compressed codecs are downright ass. There's no way to sugarcoat it. It just feels so bad at times. And the noise has more than one occasion made footage unusable
3. The dynamic range is so constraining. I had to shoot a low light footage and it was nail biting to make the footage usable
4. no good exposure tools, no good ibis, which kind of makes me think twice even picking it up for personal use

The thing is the only good thing about the zr is the image quality. But that's it about the camera.

I have been borrowing a friends lumix for the last week and the only problem it has is the color science straight out of camera.(which he fixes with a realtime lut ) Everything else is just so fucking perfect. I wish I hadn't listened to the youtubers, Or maybe should have listened carefully as the only thing those people had to rave was the image quality.

But ykw? Its not all that greater than my sigma fp which can record directly to ssd.

Rant over. Just blowing steam before selling this thing. Peace out.

Hey everyone,

I wrote my first short film that’s a mix of romantic fantasy, black Southern Gothic, and historical drama, and I’m trying to bring it to life. I have a big vision for it, but I don’t have a big budget, so I’m hoping to find people who’d be interested in collaborating.

Whether you’re building your portfolio, looking for a creative passion project, or simply love stories with a magical, emotional atmosphere, I’d love to connect.

If this sounds like something you’d be interested in, or if you know someone who might be, please send me a message. I’d really appreciate any help, advice, or connections.

I’m looking for people such as:

Producers
Directors
Cinematographers
Production Designers
Costume Designers
Makeup & Hair Artists
Editors
Composers
Actors
Anyone passionate about independent filmmaking

Thank you!

Always hear about using diffusion filters or vintage lenses to reduce the harshness or sterile look of digital and give more character to the image. Even to the extent of printing digital footage to film and back to digital to take "the edge off".

I tortured a poor man in Instagram with questions about this and i couldnt fully understan why…

The odyssey was shot in 1,43:1 for 70mm imax

Most imax or liemax theaters are 1,90:1 which crops the top and bottom slightly

Why is the most common projection aspect ratio for regular screens 2,39:1 if most regular screens are 1,85:1?

If the point is to take up as much space of the screen, why not take advantage of the regular common aspect ratio of a movie screen by projecting it only in 1,85:1?

After listening to all the difficulties Nolan had recording an entire film on IMAX. They seem to be entirely because it's using a film roll. Everything from the loud cameras, the 3 minute recording limit, the size of the cameras, it could all be fixed with a digital version

If someone were willing to spend IMAX 70mm money on a digital system, why wouldn't it be superior?

Imagine a camera with:

An IMAX-sized sensor (~70×52 mm)

14K–16K resolution

16–18 stops of dynamic range

Exactly the same IMAX lenses

Compared to IMAX film, you'd get:

Potentially vastly longer recording time instead of ~3-minute film loads. A minute of 16k uncompressed video is about 10 terabytes. You could build a small array of 20 5tb SSDs and mount it to the camera, it could then record up to 10 minutes at a time and be swapped out and saved somewhere else

Silent operation

Instant playback to fix mistakes since re recording on the SSD is extremely easy compared to film reels

Perfect copies with no generational loss

No scanning or film processing

Easier editing and VFX workflows

Is there a fundamental technical reason a purpose-built digital IMAX camera couldn't surpass 15-perf 70mm film, or is it mostly a matter of economics and tradition? And might it not be better for the long term health of IMAX filming to build such a camera?

i just saw the odyssey, and one thing that really threw me off was that some shots had much, much more washed out shadows than other shots in the scene. particularly in the underworld scene, one shot would have deep, dark blacks, and then the next would have very washed out shadows with a noticeable green tint. this didn't happen a ton, so maybe it was only for specific types of shots with some thematic reason and i didn't pick up on it?

has anyone else noticed this? i haven't seen any other posts about it. i'm wondering if it was an issue in my theater or if there's just some creative reason behind it that i'm missing. i wasn't a fan of the washed out shadows at all.

edit: i think it's kinda noticeable in some of the youtube trailers too. compare the shot at 2:00 in the countdown trailer to the one immediately after.

Anyone have any clue if or when the next fx6 successor will launch?

Fx5 is great but it would make way more sense in an fx6 body.

Amateur here. Take hardware out of the equation. Since I’m confident that my primary editing machines are more than performance enough to handle any footage I throw at it. Aside plug-ins to get the format to work with final cut (my understanding is that Adobe handles the format natively) anything that you wish you knew when you got started working with the format that you can pass down?

Hi, I need advice about my Neewer CB150 LED Video Light with a 150cm Parabolic Softbox (Bowens Mount).
The issue is with the front metal Bowens locking/mounting section on the light where the softbox metal rods and mount insert. Initially, everything was straight and working fine.
However, when I attached the softbox and turned on/positioned the light, within a second the entire softbox mount (including the metal part that goes into the front of the light) suddenly fell out. The front metal locking section on the light became bent from the weight/impact.
I tried to straighten it and attach the softbox again, but the same thing happened — it fell out immediately.
Can you please advise what could be causing this and what my options are? Should I replace the front Bowens mounting section with a stronger/heavy-duty part, or does the light need repair/replacement?

The film takes you on a surreal journey into the protagonist's mind, where his childhood memories, dreams, and obsessions intertwine with his reality in a captivating and breathtakingly artistic way.

An unforgettable signature: The film's style and visual composition.

A visually stunning masterpiece, where every single frame is a standalone work of art.

Need some real-world advice before I spend the money.

I make educational/talking-head content (psychology-focused) — mostly solo in a room, fixed or lightly moving shots, not run-and-gun. Trying to decide between the Sony FX3 and FX30, and now that the FX5 just officially launched (July 22), I'm also wondering how that changes the used-market picture for FX3/FX30.

Questions for people who've actually shot with either:

Q1. For static/talking-head work, does the FX3's full-frame sensor make a real difference over the FX30's APS-C, or is that overkill for my use case?

Q2. Autofocus/eye-AF reliability for solo talking-head shooting — any issues with either body?

Q3. Low-light and skin tone rendering in a controlled room setup — is FX30 good enough with proper lighting, or does FX3 clearly pull ahead?

Q4. Now that the FX5 is real (not a rumor) and sits above the FX3 in price/positioning, do you expect FX3/FX30 used prices to actually soften, or does the FX5 launching not really move that market?

Q5. If anyone's selling their FX3 or FX30 (especially in India), feel free to DM:-)

I tried not to give too much away - while giving enough. https://m.youtube.com/watch?v=QrEvYNIfxSI&ra=m

Hello

after years in the lighting department i'm trying to become a full time cinematographer

I am curious to have some feedback on my cinematography website

https://theolharidon.webflow.io/

Pretty much all of it is shot with a sony FX3 and maybe 2 projects with a FX6

how mild is it ? i thinks i got some basics , like getting the right light pattern on the face , pleasant contrast ect ect ...

but nothing that interessing

And on the website , what would you recommend ? a white back drop ? Less but better selected frames ?

in france we say , it doesn't break 3 legs to a duck

thanks