Hendrikus De Vaan
Producer - Director
I’ve been in and around film for about 10 years now, starting in make-up & spfx, then working in lighting, gripping, camera department, post production & acting. Over that time I’ve made over a dozen short films of my own, but my first big debut came in 2014.
I’d spent the previous 2&½ years in a garage singlehandedly making a stop motion animated short film, DISAPPEAR, between other industry work. I’ve experienced a lot of serendipity since then; I got to meet Danny Boyle, when I won the Young Filmmaker Award at Shuffle Festival. Then I met Darren Aronofsky and had a private tour of Pixar during my Mill Valley Film Festival screening. Finally, I won a Silver Young Directors Award at Cannes Lions in 2015. Going from living on a farm in New Zealand, to meeting my some of my heroes in such a short space of time was really humbling. My film played in competition at the BFI too, but lost to an Oscar nominee (no shame in that, I figured).
Recently I've been working as a voice actor.
Film has always been a huge part of my life, and over the last decade has become it. I watch over 200 films a year, alongside developing projects and working on various live-action and animated pieces. I still distinctly remember watching “Goodfellas” when I was 12. The opening speech will always be one of the most memorable lines in film for me. Mine’s not so different: As far back as I can remember, I always wanted to be a director. To me, being a director was better than being President of the United States.
Anomalisa - 7D and various nikon slr lenses.
It's about the ability to quickly reframe shots without having to adjust the exposure. This is pretty key for a lot of RnG situations.
I still think non-constant aperture is gonna kill a pretty big percentage of their potential sales.
I would have been interested in one for doco work if it had constant aperture. Maybe next time they should team up with sigma instead of Leica.
I think you just answered your own question - it won't replace editors, because editing is subjective, it can't be boiled down to a mathematical equation.
For home movies, however, I think this is great. I hate politely sitting through a 10 minute shot of the same thing, followed by another 10 minute shot of the next thing. This will make home movies much more tolerable for third parties.
Hey, only just saw your message. I still haven't bought anything. Just sticking with my t2i for the time being until the last minute.
Modern camera designs are frustrating, to say the least. I really want xlr inputs etc, as syncing a docos worth of audio is not exactly my idea of fun.
I'm thinking about a couple of routes now, but altogether undecided. If the digital bolex shot proress, I'd go for that, but I don't want a gazillion gigabytes of RAW footage.
I may end up building something tiny around a Blackmagic Micro camera, in sort of a s16 Aaton formfactor, but a touch smaller. I could make a custom handgrip with a lot of controls using the expansion port and programmability.
As much as I love the formfactor of shouldermount cameras, there isn't one I like. FS7 is out of my budget, but even still - doesn't look super durable. The URSA 4.6k mini looks nice too, but again, Durability may be an issue.
One things for sure, I want global shutter (I wish I could afford a mechanical shutter or soft global shutter, but that's another story). Rolling shutter and motion cadence are not two things that go together.
Finally, I was set on 4k at one stage, but not so much now. In fact, I don't care about resolution at all, as long as it's 720p+. What I DO care about is DR, color depth, highlight rolloff, and motion cadence.
For drama, I'd just shoot s16mm or two perf 35mm. But for doco, this is not practical.
So yeah. No decision yet. Sorry...
I'd argue that "tactile" and "touchscreen" are mutually exclusive...
The idea is good in principle, but the whole point of having a tactile console is that you don't need eyes on it. This is not the case with a touch screen as you have no tactile frame of reference.