My Super16mm camera shoots 13 stops of dynamic range but doesn’t have any image stabilization- yet the wild thing is: the images don’t need it- there’s no moire at all.
My first short is sitting 25 feet away from me, that I shot 15 years ago. I’ve never paid a cent to the electric company for a HD to spin aimlessly for the decade since.
On top of all of that, I’ve never purchased a plug-in to chase the goal of looking more film-like.
All in all, I use a camera that, despite being 40 years old, seems to have solved all the problems of today’s cameras.
But I shoot docs too, so I’m not crazy, I’ve ordered BMPCC 4K as well. :-)
Fantastic. 'Love to read about film getting cheaper.
I'm holding out for the 18k
I have nothing to say about breaking the forth wall.
But if you haven't seen 'The Dictator', you must.
I think you're mostly correct.
But I think IATSE members in Vancouver, while displacing LA workers are at least earning health care and pensions.
There are advantages to doing business 'locally'. I don't think keeping all work in the U.S. is possible, but I think we should start by making sure those who do work locally are treated fairly.
IMHO, vfx artists smugly distanced themselves from unions as their art-form took off. Associations with blue-collar union workers was below them.
Now, every awards season and randomly sprinkled throughout the year, vfx artists make a plea for their jobs being unfair. Its difficult to feel bad, I hope its not too late to see what many other tradespeople have learned prior to them- collectively bargain.
Heck, didn't some of the biggest names in software get busted a few years ago for collectively and illegally pushing down wages? Fight back people.