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Author Topic: How to learn RED?  (Read 3834 times)
BJNY
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« Reply #20 on: April 02, 2012, 04:59:32 AM »
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In regards to the 4k Sony it looks good though shooting through an hdmi cord to a separate box is kind of a pain.  The real deal of the fs100 is the form factor (think modern square hasselblad) and it's light weight.

More details:
http://www.engadget.com/2012/04/02/sony-nex-fs700-cinema-camera
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Guillermo
digitaltechnyc
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« Reply #21 on: April 06, 2012, 03:45:20 AM »
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So, in summary unless you have a burning desire to shoot motion imagery, a passion to tell a  great story and a way to profit from it, stick with what you know until the industry settles down.

Once again IMO.

My experience has a different path.  I see clients driving their photographer to add motion to they business model.  12 years ago, I witnessed first hand clients driving photographers to shoot digital (those that didn't lose clients).  For most, digital was not popular (remember?).  Photographers went kicking and screaming into shooting digital, and now, it's the norm.  Catalog shooters are now shooting with HMI and Kinos, so they can shoot both without having to re-light (strobe/constant).  I believe, the biggest fear is the lack of knowledge (of the cinema rigs and workflow) keeping still shooters from going motion faster. 

More and more advertising agencies, want both, still and motion, but the infrastructure for learning motion for you is a bit bleak.  None of the larger photographic associations are putting on quality immersive, hands-on workshops, they host one nighters, and a platform for IMO hacks to showcase their work.  That is NOT learning, and has no business model making value.  I was recently in one of these 3 hour programs.  The speaker was not a photographer, not a career image maker, he was a screen writer that was asked if he'd shoot behind-the-scenes on a project.  That one assignment launched his business, and now he's speaking on it.  I was disappointed to see bad imagery, bad exposure, bad color correction, and bad story telling, what was the point?  This has been the norm, and I've listened to many complain about the lack of quality information while they pay dues to these associations.  I've been told that some speakers only give you so much, so you are not learning their trade secrets.  I've seen that first hand, they advertise hands-on, but deliver only a brief outline, leaving you with more questions than you started with.  I'm lucky, I also belong to Local 600 ICG (International Cinematographers Guild), where training (free) events happen monthly, and are full on classroom learning events.  We need the same for the still photographer.

The one thing I know is true, you as a still shooter, have lighting skills, often better that your motion counterpart, so use it to tell that story.


Von
« Last Edit: April 06, 2012, 09:43:43 AM by digitaltechnyc » Logged

fredjeang
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« Reply #22 on: April 06, 2012, 04:06:18 AM »
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The one thing I know is true, you as a still shooter, have lighting skills, often better that your motion counterpart, so use it to tell that story.


Von

That's the point IMO.

Whenever I could be on set when we were both filming, both I mean still photographers shooting motion and all life pro videographers shooting too, it was always the same:
The still photographers motion wanabees had better understanding of lightning and spacial and also the grading in post was finer.
But the videographers in the end were better at story telling and in the on-set orga.

It seems that we, coming from photography, are too often centered or distracted in equipment when our real chalenge resides more in pre-prod, (that is often to be desired), and in story telling wich is our weakest point.


 
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