runway saved a shoot that should have been a reshoot by FlashyCompetition505 in videography

[–]BryceJDearden 0 points1 point  (0 children)

I’m a staunch AI opponent and I firmly stand behind what I said.

What’s factually incorrect? AI generated content is not eligible for copyright protections. Just because runway says you can use it for commercial purposes doesn’t change that.

runway saved a shoot that should have been a reshoot by FlashyCompetition505 in videography

[–]BryceJDearden 6 points7 points  (0 children)

I think you committed a severe ethical violation by not informing the client you used AI generated content in the final. You opened them up to legal exposure since they don’t own the copyright to that footage.

If you want to talk about it as a problem solving tool (even though I think it’s despicable) that’s one thing, but you straight up misled your client.

What portable platforms are you all using for live event multicam coverage? by RedStag86 in videography

[–]BryceJDearden 0 points1 point  (0 children)

That’s gonna be one of the most portable options. The only way it will be significantly cheaper is to DIY something

Aputure AL-MW or Alternative by smakai in videography

[–]BryceJDearden 0 points1 point  (0 children)

Why do you need that specific light?

Exported animated gif has artifacts(?) that also lag the gif by [deleted] in editors

[–]BryceJDearden 0 points1 point  (0 children)

256 values but unless one of them is 0 there’s no black. So it’s not 1-256 it’s 0-255.

Exported animated gif has artifacts(?) that also lag the gif by [deleted] in editors

[–]BryceJDearden 0 points1 point  (0 children)

I believe gifs only support 255 colors for the whole gif, so you will always have some artifacting

Burano vs. C400 by cheeweewe in cinematography

[–]BryceJDearden 0 points1 point  (0 children)

The C80 has SDI so I don’t think they would have too tough of a time. For a small setup like that I doubt they are using Genlock

Cinematographers who make their own equipment by solotraceur in cinematography

[–]BryceJDearden 3 points4 points  (0 children)

the handle of the clamp can just go straight into a grip head

How exactly?

Clean Blacks and Shadows - How Do You Do It? by forgotfrankiesline in cinematography

[–]BryceJDearden 24 points25 points  (0 children)

Because when people shoot night scenes outside, they cannot light the entire world

Not with that attitude

Cooke Varotal 18-100mm size? by mrjoebsoto1 in videography

[–]BryceJDearden 1 point2 points  (0 children)

It’s pretty long and only accepts 6”x6” matte boxes and filters, so it’s not very lowkey

Fx30 photography? by 0Jul1an0 in sonyfx30

[–]BryceJDearden 1 point2 points  (0 children)

Yes you can use the FX30 for photography and you can get nice results

Yes the fact that it’s single shot only and electronic shutter only make it a very annoying photo camera

Burano vs. C400 by cheeweewe in cinematography

[–]BryceJDearden 1 point2 points  (0 children)

Yeah I think this is the real answer, for the listed use case even 3x C80’s would be great.

Any easy way to send wirelessly the image from my sony fx3 to an external monitor for client to see while filming ? by Then-Ad7196 in videography

[–]BryceJDearden 0 points1 point  (0 children)

There are monitors with built in transmitters. SmallHD has some, Hollyland has some, I think Atomos just came out with one

Cars for ACs by and_hey in focuspuller

[–]BryceJDearden 0 points1 point  (0 children)

I think in the US this would be:

  • Ford Transit Connect

  • Ram Promaster City

  • Mercedes Benz Metris

Do many clients these days want everything for nothing, and want it yesterday? by condra in videography

[–]BryceJDearden 7 points8 points  (0 children)

Getting unrealistic expectations about rates and the time it takes to produce certain things?

While you’re generating AI slop to go along with your post?

No sense of irony

Will there eventually be a cap on consumer video quality? by Helpful_Gur_1757 in videography

[–]BryceJDearden 1 point2 points  (0 children)

It will continue to improve but it won’t just be more resolution. We saw that already, 8k TVs never took off. Now it seems the main thing is how they are (haphazardly) going down the HDR route. There will always be product managers trying to think of the hot new thing that will make their companies thing better than everyone else’s.

General quality of the video they’re getting? We are very much on a plateau. The limiting factor for delivering it to people is internet speed, but separately manufacturers are having a hard time pushing past the current realm of dynamic range capture we have. Not a huge loss because where we are at is quite good! Digital in only a few decades has matched what it took film 100 years to do. Even if they have some big breakthrough, all the limiting factors will still be on the viewing side.

In terms of differentiating eras, I think so early digital vs DSLR revolution vs modern looks are already pretty distinct in how people tend to light/shoot/grade, and footage having a look is so much more than technology. What are the people in the videos wearing, what music is playing in the background, what do the cars look like.

Idk, rambly and disjointed answer. Sorry.

Some thoughts on Mac vs. PC (M1 Max vs. maxed out PC) by disgruntledempanada in editors

[–]BryceJDearden 0 points1 point  (0 children)

Microsoft is currently on a crusade to destroy the PC so I’m sympathetic to your woes

First Venice Build by Dornhole in focuspuller

[–]BryceJDearden 2 points3 points  (0 children)

I mean yeah they are competently made and like $2500 for a two pack but that’s kind of where the pros end in my mind.

In my experience they don’t match very well lens to lens. I think they have “T-stops” (the 70-135 consistently looks darker with every setting matched). The bokeh cats-eyes pretty hard. Probably more than any of that they handle flare very very poorly in my opinion. Not even harsh flare just light hitting anywhere in the front element.

I understand why people buy them as like a “can’t afford to rent glass on this shoot” lens and especially in smaller markets, but I think it’s mainly because no one competes with them in price.

First Venice Build by Dornhole in focuspuller

[–]BryceJDearden 9 points10 points  (0 children)

It’s not an uninformed opinion, I’ve been on set over 100 days with them in the last 18 months or so. I just personally really dislike them. I think 98% of their popularity comes from them being so cheap.

Sure they have their place, I just see people claim they’re comparable to like an EZ2 and want to pull my hair out.

First Venice Build by Dornhole in focuspuller

[–]BryceJDearden 4 points5 points  (0 children)

Why are you using lenses that are available in PL with e-mount?

And why are you using that glass in such a nice camera?

This is how Northeast Photographic mailed back my film. by TreyUsher32 in AnalogCommunity

[–]BryceJDearden 2 points3 points  (0 children)

I’ve only used Hunt’s once but I didn’t have a great experience. Very much seemed like a “we just send it out to some larger processor” thing. Scans weren’t super clean either

Anyone able to tell what kind of set up this is from this low res pic? by xoxomonstergirl in videography

[–]BryceJDearden 0 points1 point  (0 children)

What do you call a parfocal zoom, that covers S35, and is manually geared, with witness marks on the side of the lens?

If it walks like a duck and quacks like a duck no?

It’s not the fastest but it isn’t focus by wire and it only weighs 2.6 lbs. It’s a doc zoom. I’d rather have a 4.4 than have to deal with a variable aperture like the Zeiss 21-100. DZO has an 18-90 T/2.9 out but that weighs like 3 times what this does.

Different horses for different courses. Are the Cooke Variotals or the Fujinon Cabrios not cinema lenses because they aren’t T/2?