Instead of unusable unafordable lenses.
It would be bloody nice if we could have
An affordable usable camera...
Pro bloody Res or dnx 444 right out the box
N bloody D in-board (thanks manufacturers)
Fast AND bloody reliable af zooms
XL bloody R
a simple and bloody accesible menu
At 2500 bucks max with a gifted bloody good evf
And the list goes on...
In regards to Kubrik he was a great film maker and if I work 140 hour weeks for the rest of my days, I'll never hit his level. Still, some of his work I like, some I don't. Personal preference.
the .07 lenses I just think is silly, but I didn't shoot it, but Kubrik worked in a different time with different expectations. I'm sure it was hard then, but today he'd be given 1/2 the time, 1/4 the budget, 10 times the approval layers.
I agree. It's not possible that the people that make cameras, NLE's, colour suites, actually know what our clients are asking for.
We all see it . . . that camera demo where they put some b+ model in the desert with a fan or in a studio (with a fan) and shoot, stills or video, put it into a computer, move some sliders and say "see how easy it is".
That's not how we work. When a client tells me video is not "that" important I know i'm going to spend 2/3's of the post time on video, or if a client says it's not going to be reproduced that large, you can just bet it's head for times square.
It's not the client's fault or the art director, agency, marketing manger, because until it's shot and until it's a hit nobody knows where they're going to run it.
I just don't get how every camera requires about 30 additional things to make work in todays world. Menus? crazy. Sound? crazy. Transcoding? crazy and colouring files? whew.
People can talk look up tables, colorspace, gamma all they want but digital has a mind of it's on. I can move the camera 6 ft. with video and the color changes and that's with any camera and no matter what colour I see on any camera monitor, ovf, evf, screen, hdmi out it doesn't matter. The color I shoot will never look like the colour in a computer.
I'll tell you how goofy our present cameras are. We have this zip lock bag, that holds just connectors. mini xlr to xlr, 3.5mm to xlr, or mini xlr, hdmi micro, medium, large, and extensions.
That bag weighs about 6 pounds.
I think the people that make this stuff assume that during a shoot we have all the time in the world and in post, it can't be that hard, just put it in a computer . . . right?
I had camera makers call me and asked what I wanted and i offered to let them come to our studio, take notes from preproduction, production to delivery and then they'd know. In fact I've made that offer a dozen times and nobody wants to take me up on it.
Every maker wants to come on set, drink some wine, look at the models, do a few snaps or bts video and say see "he" uses our cameras . . . they're so great.
They don't need to see how we work, they need to find out what our clients want.
That's a big divide and disconnect.