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FCPX or R15?
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The last commercial shoot I did the client said to me “You’re just setting all that stuff up for show, you know you are just going to shoot it with your iPhone.” It was a funny joke and everyone laughed. He was joking though. If I had actually broke out with my iPhone no one would have been laughing at all. They would have said, “What am I paying for, I have one of those?
Even if the iPhone lens looked as good as my Zeiss Prime 50mm (It doesn’t) there are so many other factors to shooting.
It’s fun to talk about it on a forum like this but on real client jobs it’s irrelevant because they don’t want to see you using it when they are paying significant money.
If you go in for free they might not complain, but I’m not working for free, so I’m not brining it (except to return text about my next jobs : ))
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Whilst shooting on an iPhone is definitely usable, I don’t see many of the successful new “kids” shooting on them, they seem to use the cheaper DSLRs instead. That’s where real changes are happening, we use an A6300 as a “B” cam to our FS7 and the difference between the two is minimal to say the least and most of them don’t cost a great deal more than an iPhone X!
\”Traditional NLEs have timelines. FCPX has storylines\” W.Soyka
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[Robin S. Kurz] “If DaVinci and Picasso had just not used such shit paint but TODAY’S superior hi-rez paints, mixed to perfection”
What on earth makes you think DaVinci and Picasso used anything but the finest, most expensive materials known to man when they created their works. Do you think Picasso was running around with crayons ?
Herb Sevush
Zebra Productions
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nothin\’ attached to nothin\’
\”Deciding the spine is the process of editing\” F. Bieberkopf -
[Tony West] “If you go in for free they might not complain, but I’m not working for free, so I’m not brining it (except to return text about my next jobs : )) “
Besides if we all started using iPhones, Peli would go out of business!
\”Traditional NLEs have timelines. FCPX has storylines\” W.Soyka
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[Herb Sevush] “Do you think Picasso was running around with crayons ?
“Surely you’ve heard of Picasso’s “Crayola” period?
Did you know the COW has an \”ignore\” feature?
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[Steve Connor] “Besides if we all started using iPhones, Peli would go out of business!”
Of course, an iPhone shoot may or may not require less gear. Smaller, yes. Less? Hmm…
https://www.youtube.com/watch?v=PQmzuT0C8T4
I would argue that BMD is actually serving this filmmaking market much better with the 4K Pocket Cinema Camera. As is Sony with its A7 series cameras.
– Oliver
Oliver Peters – oliverpeters.com
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[Herb Sevush] “What on earth…”
???? Super bonus points for not getting it the least. Congrats. ????????
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[Tony West] “It’s fun to talk about it on a forum like this but on real client jobs it’s irrelevant because they don’t want to see you using it when they are paying significant money.”
Just as I finished shooting a job (3rd) on an iPhone X in 4K with an DJI Osmo 2. The client was ecstatic over the results. Go figure.
I’m not talking theory. To date not single person has complained that anything shot with it anyway looked “cheap” or somehow sub-par. Quite the exact opposite. Either the client trusts your judgment (and the results prove it) or they don’t.
– RK
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Deutsch? Hier gibt es ein umfassendes FCP X Training für dich!
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[Robin S. Kurz] “If DaVinci and Picasso had just not used such shit paint but TODAY’S superior hi-rez paints, mixed to perfection… they could’ve actually made some quality work and something of themselves!”
Nice try, but no cigar. Your analogy fails on at least 3 points. (Although you could explain what “high-resolution” paint is, since actual paint – oil, latex, etc. as opposed to printing – doesn’t have a resolution, like dpi.)
1. While paint development might have been on a linear path, that’s not true of image capture. We have, in fact, had better tools before digital in the photochemical process of film. Digital capture is just now getting to a point where it rivals (some might say is better than) film negative. Then add top-end optical glass, which is still vastly superior to anything plastic. Where digital image capture is getting better (or at least equal to) than what preceded it, is at the highest end of the business, not the mass market. Panavision, RED, Arri, Sony, Panasonic.
2. Yes, content is important, but if the delivery and quality are so poor that it takes you out of the experience, then content takes a back seat and the message is lost.
3. The tools used are primarily important to the artist and less so to the audience. If you use a tool that you believe is better, then regardless of whether or not it is, your work will benefit accordingly, because of your own headspace at the artist. This applies to NLEs just as much as it does to cameras. Why does Fincher stabilize nearly everything, while other top directors are perfectly fine with the actual camera move? Does it matter to the audience or is it just the director? Or is there really a subliminal effect that is perceived invisibly by the audience, after all? I think that applies equally to questions of color science, compression, and so much more.
The choice of tools is critical, which is why some directors still shoot on film. It’s why Spike Jonze shot his HomePod commercials with an Alexa and did practical effects, instead of an iPhone and CGI. It’s why most leading guitarists still use top analog gear and not their digital counterparts.
Based on the iPhone premise – if an iPhone 6S is really equal to an Alexa or 35mm film, then one has to wonder why companies like Apple try to improve the iPhone camera system to even more closely approximate what has been available in actual cameras for years, like shallow depth-of-field.
– Oliver
Oliver Peters – oliverpeters.com
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