I agree. I think many people underestimate Blackmagic cameras. The BRAW format itself, while not "officially" raw, still provides you with 12-bit footage with the flexibility of raw. Plus, BRAW files are about 1/3 the size of ProRes files. Which means it plays back smoother in post. Speeding up editing and post production by quite a bit. And for myself, I think the BRAW image is quite "cinematic" coming straight out of camera.
We sometimes joke that if you drop an Arri Alexa on the ground, it dents the ground and not the camera because they are such robust workhorses. (Clearly this is done in jest, don't intentionally throw your expensive cameras on the ground.)
@@bigrobotnewstoday1436 Depends. Some early ones were finicky and required reboots. Nowadays they are pretty okay. I do prefer Arri's interface (buttons!) over REDs more touchscreen-based UI though, since it's way easier to operate an Arri camera when you're, say, shooting in the snow and wearing gloves.
@@eruannster I know they sell winter gloves that have those rubber tips that will work on touch screens. I just forgot what they are called. But yeah Arri is better with real buttons. I hate taking off my gloves to make a phone call. Old cellphones had real buttons now I miss those old phones. LOL
As a visual effects artist, I can tell you that larger sensors are good for visual effects. Hollywood films tend to release the superhero and other visual effects heavy films over what is released by independent filmmakers. So, there's that.
Always thought the idea of larger sensors was kind of nonsensical. Good lenses come in smaller formats, cheaper, and sensors today dont even need the full format to be in 4k or 2k.
agree but that's one of the creative choices as dp/ director. a spectacle, large sensor gives a totally different look that something smaller, beyond just more light
@@Cinegavo that's not true. Sensor size has nothing to do with look. Look completely depends on the sensor quality and lens quality. My phone's camera performs better than the Alexa despite being hundreds of times smaller
@@LanaaAmor well maybe not 'totally' change it like I said. But it will change the field of view and the aspect ratio ... which is 'totally' a big part of any look. Plus with the higher res a lot of these 'LF' cameras are qualified to play iMax or even be shot alongside imax. That's definitely a huge part of the look, and the decision that the DP and director come together to do. Also, I would like to know what phone you have.
@@LanaaAmor and I know you didn't say this, but the look doesn't come from the camera and lens choice alone. It comes from almost everything in a movie except sound lol. Lighting, pd, h&mu, the grade, etc all contribute to the look even though those creative decisions may be made above the line. Sensor size is a creative choice in this mumbo jumbo of decisions that make up a movies 'look'.... if budget allows ofc
The choice of film in the Oscars, has more to do with older Directors getting nominated.... and their choice as film over digital.. Nolan, Tarantino, Scorsese, PTA all use film. The Alexa mini use has fallen off greatly in 2024. Most are using the Alexa 35 or LF instead.
Plenty of young directors are choosing film as well. I feel like the LF has been the most popular camera for a while now. 35 is likely going to take over or at least share the spotlight.
I've never understood the 4K standard from Netflix. The ALEV3 sensor has 2160 vertical resolution, with anamorphic lenses you can stretch that out to the equivalent of a 5K image at scope. You'll still be downresing it for presentation.
i think the new blackmagic ursa cine line will start to creep into the market now, with its pretty great dynamic range and large format
I agree. I think many people underestimate Blackmagic cameras. The BRAW format itself, while not "officially" raw, still provides you with 12-bit footage with the flexibility of raw. Plus, BRAW files are about 1/3 the size of ProRes files. Which means it plays back smoother in post. Speeding up editing and post production by quite a bit. And for myself, I think the BRAW image is quite "cinematic" coming straight out of camera.
We sometimes joke that if you drop an Arri Alexa on the ground, it dents the ground and not the camera because they are such robust workhorses. (Clearly this is done in jest, don't intentionally throw your expensive cameras on the ground.)
I heard RED cameras break down a lot. Don't know about the newest models but I heard some of the older ones had issues.
@@bigrobotnewstoday1436 Depends. Some early ones were finicky and required reboots. Nowadays they are pretty okay. I do prefer Arri's interface (buttons!) over REDs more touchscreen-based UI though, since it's way easier to operate an Arri camera when you're, say, shooting in the snow and wearing gloves.
@@eruannster I know they sell winter gloves that have those rubber tips that will work on touch screens. I just forgot what they are called. But yeah Arri is better with real buttons. I hate taking off my gloves to make a phone call. Old cellphones had real buttons now I miss those old phones. LOL
7:47 that math doesn’t math…
It's the Alexa Mini. Just saved you 11 minutes. Nothing new here.
Your butt is saving my butt! 😁
First thought that I had
Thanks 🙏🏼😂
Well you’re no fun
Thanks.
As a visual effects artist, I can tell you that larger sensors are good for visual effects. Hollywood films tend to release the superhero and other visual effects heavy films over what is released by independent filmmakers. So, there's that.
Always thought the idea of larger sensors was kind of nonsensical. Good lenses come in smaller formats, cheaper, and sensors today dont even need the full format to be in 4k or 2k.
agree but that's one of the creative choices as dp/ director. a spectacle, large sensor gives a totally different look that something smaller, beyond just more light
@@Cinegavo that's not true. Sensor size has nothing to do with look. Look completely depends on the sensor quality and lens quality. My phone's camera performs better than the Alexa despite being hundreds of times smaller
@@LanaaAmor well maybe not 'totally' change it like I said. But it will change the field of view and the aspect ratio ... which is 'totally' a big part of any look. Plus with the higher res a lot of these 'LF' cameras are qualified to play iMax or even be shot alongside imax. That's definitely a huge part of the look, and the decision that the DP and director come together to do.
Also, I would like to know what phone you have.
@@LanaaAmor and I know you didn't say this, but the look doesn't come from the camera and lens choice alone. It comes from almost everything in a movie except sound lol. Lighting, pd, h&mu, the grade, etc all contribute to the look even though those creative decisions may be made above the line. Sensor size is a creative choice in this mumbo jumbo of decisions that make up a movies 'look'.... if budget allows ofc
Finally an updated one also look into lenses
Personally... I prefer the venice
I think it's interesting that we have camera data on so many more Oscar nominees from 2022 than every other year.
Is it the Alexa mini?
Can you do a cinematography Style on Drew Daniels?
The choice of film in the Oscars, has more to do with older Directors getting nominated.... and their choice as film over digital.. Nolan, Tarantino, Scorsese, PTA all use film. The Alexa mini use has fallen off greatly in 2024. Most are using the Alexa 35 or LF instead.
Plenty of young directors are choosing film as well. I feel like the LF has been the most popular camera for a while now. 35 is likely going to take over or at least share the spotlight.
I am so proud the best cinema camera is a german camera. The first 35mm camera was a german leica also. We are foto and film people.☺️
I've never understood the 4K standard from Netflix. The ALEV3 sensor has 2160 vertical resolution, with anamorphic lenses you can stretch that out to the equivalent of a 5K image at scope. You'll still be downresing it for presentation.
Big productions like wasting big money.
is in depth talking slower?
👑
this earned an unsubscribe. literally a useless video.
It’s a good channel. Cut them some slack.