I think you a word.
If it's graded dark (which it was), then the way to watch it was with the lights out.
Thats a big ask for a TV show, but I heard about all this before I watched, turned out the lights, and all was fine.
It had the added bonus of making any scenes with fire all that more impressive, which I think was another intended effect.
So yes, it was too dark for viewing on your phone in daylight while waiting to get your car washed. Or daylight viewing in your living room. Or most casual viewing cases. But they made a creative decision that required some cooperation on the viewers part. I back it.
Sliders were invented for this problem 15-20 years ago by a couple key grips in Los Angeles. Then they trickled down to the DSLR crowd.
The original nickname for sliders were “overkeeper”, as in “over the shoulder” keeper.
So I guess hooray for re-inventing the wheel?
One thing, Vladimir, that I will agree with you on. The pressure to stay on top of the latest greatest camera in LA is there. And since all the latest greatest cameras can do 4K, I can see where it might become a way to weed out old gear for some buyers of services.
Also, yes, I agree with Gene, shooting in 4K is common amongst a certain set of clients that do a lot of 2d post work. And since I know Gene, I also know he’s knee deep in those clients. :-)
Here’s another way to put it...I own an Alexa. Only in very certain situations will a client insist on Red, and usually they have a very good reason for needing those extra pixels, because they’re doing post work that requires the res. And in those cases we shoot Red. But nobody turns down the Alexa otherwise even though it lacks “real” 4K. What does that say about 4K delivery being standard?
I work in Los Angeles. I have some notable brands on my reel.
I promise not to make this a pissing match, but what clients are you speaking of? I'm really serious. Without directly speaking of you personally, because I have no idea what you shoot or who you work for, but I think *some* people THINK they have to have 4k. And I think inexperienced clients and producers always ask about 4k. Because that's what the camera press is always talking about. But at the end of the day, hardly anybody is hitting the 4K button on Youtube and hardly anybody is paying for 4K on their set top boxes, and savvy content providers know that nobody (relatively) is asking for it.
I've found that as I climb the ladder, the only thing I need to be marketing myself as is "good" and "pleasant to work with". If somebody who calls me is saying "do you know how to shoot 4K?", that's a red flag.
I think a lot of aspiring shooters think that 4K capability is a competitive advantage. I'd say for the vast majority, it's a red herring.
I don't wish to be negative, but there is a lot of misinformation about large-format going around last few years, and this article is really romanticizing large format.
Simply put, nothing changes in large format except in film, the grain gets smaller and the lenses have a harder time covering so much film or sensor. Thus you get fun and cool looking effects such as vignettes, edge softness, distortion, and because a large format lens may have a larger aperture all other things being equal, shallower focus.
Steve Yedlin, A.S.C. has written a number of essays debunking this, and as an owner of a MiniLF, I can tell you my experience with it supports Mr. Yedlin's assertions. You get a modern enough lens on the MiniLF that covers without vignettes, softness, and distortion, and it looks just like the ALEXA Mini I owned previously. I'll link Mr. Yedlin's writings, and also link a mirror box rig comparison video of Alexa 65 vs S35:
The Vimeo video shows the 65 is nothing but lens distortion and vignetting (which looks awesome). It's all about the technical proficiency (or lack thereof) in a lens for large format...there's nothing inherent about a wider shot on a 50mm that is magic.