Thread: F**k the Numbers (Geoff Boyle)

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  1. #31  
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    In the beginning you do it because you love making images.
    Along the way you love the tools.
    In the end you come back to what counts most, the expression of humanity behind your images.
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  2. #32  
    Senior Member JanneJansson's Avatar
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    Geoff Boyle is a great cinematographer, teacher and inspiration. I just don't like him.
    JJ
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  3. #33  
    Quote Originally Posted by John David Pope View Post
    My interpretation of that point being that we become overly obsessed with the "numbers", overly obsessed with the tech and tech talk.
    I agree. Most Alexa's only have 2 & 3K resolution (until recently) and still make the best looking images imo. Resolution isn't everything. Same point was made here and discussed on another thread: http://yedlin.net/ResDemo/ResDemoPt2.html
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  4. #34  
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    Quote Originally Posted by Carlos Garcia-Diaz View Post
    I agree. Most Alexa's only have 2 & 3K resolution (until recently) and still make the best looking images imo. Resolution isn't everything. Same point was made here and discussed on another thread: http://yedlin.net/ResDemo/ResDemoPt2.html
    You can always try to use Topaz A.I. Gigapixel to upscale afterwards when the resolution was to low.
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  5. #35  
    Senior Member Karim D. Ghantous's Avatar
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    A commercial DP who usually shoots the Alexa said of the Panavision DXL2, "It was the best thing that I have ever seen."
    Good production values may not be noticed. Bad production values will be.
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  6. #36  
    Quote Originally Posted by Karim D. Ghantous View Post
    A commercial DP who usually shoots the Alexa said of the Panavision DXL2, "It was the best thing that I have ever seen."
    And this uses the Monstro sensor (Red's best sensor, imo), so what is Panasonic doing differently (if anything)? Yedlin makes the point that other factors (processing algorithms ect) are just as important. Looking forward to the day when the Monstro sensor is in a more affordable package. One can dream.
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  7. #37  
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    Quote Originally Posted by Carlos Garcia-Diaz View Post
    And this uses the Monstro sensor (Red's best sensor, imo), so what is Panasonic doing differently (if anything)? Yedlin makes the point that other factors (processing algorithms ect) are just as important. Looking forward to the day when the Monstro sensor is in a more affordable package. One can dream.
    Monstro is a steal already, compared with an ARRI 4.4k sensor.
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  8. #38  
    Senior Member Karim D. Ghantous's Avatar
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    A forgotten factor as to why resolution seems more controversial in cinematography: because taking single frames is easier than 24 each second, stills cameras that offer 5K or more have been around for much longer. And they are quite cheap.

    Now we have 100Mpx digital backs. They are not necessary but they are nice luxuries to have. If you have a really good 24Mpx sensor, you don't need more. Even the Leica M8, with only 10Mpx, is plenty. 10Mpx is approximately 4K. The M8 was released in 2006.

    Low resolution is okay if the package is really small. The S35 Alexa sensors would be justified in a really small body at a really low price - but ARRI can't or won't do that.

    A lot of people really like the now very old Leica Digilux 2, or Panasonic DMC-LC1, at base ISO. It's a small CCD with a mere 5Mpx:

    http://www.overgaard.dk/leica_digilux2.html

    Would I use that today? Sure, why not? In some ways it was superior to many DSLRs of its time (e.g. Canon 10D).
    Good production values may not be noticed. Bad production values will be.
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