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  • u cant see 4:4:4 with ur naked eye.. its called pixel screwing

  • In digital resolution is an achievement; In film it's a given.

  • 35 mm FTW

  • ok it looked real goood! when the man approached us (the screen). that looked like an episode of the sopranos!

  • Hi everybody. Never worked on film, and I'm forcing my eyes to understand the real difference between the two shots... maybe in the film one there is more details in highlights (latitude)? But the difference is not so appreciable for my (probably not skilled) eye. Any in depth comment is appreciated. Best regards.

  • @stebianchivideo

    Don't worry, its hard to see the differences even to the trained eye. Basically the film holds more information in the highlights (even the in bright bright white you can see some definition, whereas the D21, extreme brightness looked blown out).

  • Film looks better IMO.. :)

  • I meant to say: Resolution should be considered on a film by film basis.

  • Interesting, getting ready to shoot a feature on the D21 and this helped. I agree with the comment on the rendering of the 10k. Not a fan of the latitude of the D21... my preference is less latitude. I am also not a huge fan of the coloring of the D21 (I am more of a Fuji fan, rather than Kodak), but that is easily correctible.

    I have to agree with Kevbombs Latitude comment. Resolution should be considered on a film basis. My last feature was on S16mm for the intent purpose of graininess.

  • the 35 mm is better but damn that's pretty close in quality! how much does a "ARRIFLEX D-21 HD" cost?

  • @nosemint05 I think around 50 grand.

  • MajicPictures don't waste your time fighting against stupidity.

    Cameraman from hungary.

  • Thanks for posting such a great test.

  • Latitude is where film kicks ass. As this video shows. People talk to much about resolution

  • @kevbomb Well, latitude wise, this is shot correctly. But, yes... Film has wider Dynamic Range.

  • @MajicPictures I've used panavision film cameras. I probal ave ore experience tan u do. No-one uses an optical adapter. u degrade image qualit. Panavision even said so wen te tried to use a 3CCD cip wit teir 35mm film lenses.

    Enoug said.

  • Why are you guys talking about lens adapters for, lets not degrade optical quality here.

  • a number of people want to achieve a film-esque look, and the majority of people need to do it on a budget. considering this is a video dealing with film quality/look, the subject would naturally come up. why shouldn't people talk about it? save your ignorant comments - i don't think you realize how frequently adapters are used on professional productions.

  • because u can't! Film is film. digital is digital. If u cannot afford to use te proper tools, ten don't make a movie period, because no-one wants to see pure garbage!

    If u like film so bad, ten just use it!

  • you're by far the most ignorant person i've heard heard talk about film. you have no idea what you're talking about. have you ever been involved in the industry in any sense of the word? it has nothing at ALL to do with affordability, it's all about style (unless you're a teenager, in which it's perfectly acceptable)

    miami vice..shot on freaking video

    district 9? digital

    half of television..digital with high end often customized adapters

    not to mention our industry is going all digital.

  • you have absolutely no clue what you're talking about. just stop now. you seriously don't want to make yourself look more ignorant to the subject than you already do

  • and also, what defines "proper"? it's all about that particular artist, project, and vision. it has nothing to do with the materials as long as they're being used CORRECTLY and with PURPOSE.

    may i ask what your background in film is? because i don't see anything of any substance

  • the d21 looks really good, but when the 10k light kicked in it looked better on film.

  • Man the D21 looks insane, has anyone used it at all?

  • it's far more efficient on set, which is to be expected. post is far more efficient as well, and the entire process is cheaper.

    personally, i love the look of 35. if not 35, i'd choose 16 - depending on the project. but, of course, digital is starting to slowly take over, and should be embraced.

  • Yeah definitely really good to know that thanks.

    I'm considering shooting some stuff on the Canon Eos 5D II just to see how it feels and looks. You tried it at all?

  • I've never used it, but I've heard the quality is great. I much prefer shooting on a full set up and rig, so I don't have much interest in working with that camera. However, I've used a number of Canon lenses with 35mm adapters, and the quality is amazing. If you're able to shoot on that, try to get a hold of a 50mm 1.8f lens. When comparing to 16 I almost couldn't even tell the difference. A regular audience would certainly think it was shot on film.

  • Awesome. We have the Panasonic HPX at uni with the SG Blade Pro adapter, unfortunately its set up to take Nikon lenses and I have a handful of Canon lenses for my DSLR.

    Have you got any of the footage that you shot with the Canon lenses so I could see how its come out?

  • sounds like a decent set up. do you hve any basic hd camcorders at home? i've come to realize that if you search for the right equipment, you can get an adapter for under 200 and have results just as good as a brevis or letus.

  • I haven't at home no. At the moment I just use the set up at uni as there isn't much point buying one till I leave. I occasionally work at a rental company too so I get to use a lot of their kit including the RED One and stuff. I was thinking about getting an EX3 with nano flash and letus adapter though?

  • i haven't worked with the EX3, but i've heard it's a good camera. the letus is certainly the top adapter.

    i guess it all depends on what you plan on doing with the equipment. i don't have much interest in making huge investments as i won't be trying to get freelance cinematography work. i'd probably look into a scarlet if that's what i was leaning towards.

  • Really? I'm a little sketchy with RED. Purely due to having done some tech work with it for 3 solid days I encountered a couple of problems with it. The overall manufacture feels a tad rushed and the 3rd party components is a big set back, people don't anticipate how much they'll cost.

  • true. i don't have all that much experience with them. reason i'd go with one is that every director/producer i've networked with won't even consider a DP without either being proficient with just about everything ARRI manufactures, the panavision genesis, or owns their own Red One package.

  • That's very high standards, especially for indie filmmaking. It would help but I wouldn't at all say its crucial to have in your arsenal.

  • true, i haven't been entirely networking with indie filmmakers.

    then again i don't even know how to define indie anymore. seems as though the majority of "indie" films nowadays are shot on 16 or even 35.

    of course..the freedom in independent film is far more attractive than mainstream. i think a viable income is important too, however lol

  • for exmaple - i think costs and competition have gone up so greatly with the accessible technology.

    i'm currently in pre-production of my first professional short...we're currently looking at costs of $4000, and we're scheduled for a 2 day shoot.

  • @MajicPictures What adapter are you talking about? I'd be very interested to know.

  • well essentially the Jag - but take that comment with a grain of salt.

    yes - it can have the same look..however.. you need to know how to professionally light your set, and use the adapter to tha max while knowing its limitations. anything can look amateur if not done correctly. if you know good (not just basic) lighting and cinematography, you should be able to do nice work with the jag. ironically, the cheap adapters require far more skill

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  • film only love film

  • film only......love film

  • Comment removed

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