RedShark News

03 Dec

First short film on F55 - Made for European Launch

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F55 first short film in Europe F55 first short film in Europe Fried Pixel Films

We were a little bit underwhelmed when we saw the first footage from the F55, not because there's anything wrong with the camera - far from it;  but because it was shot incredibly flat, and we kind of expected something a bit more eye-catching than that. The whole experience set us off on what was essentially a rant about how you shouldn't use YouTube or Vimeo to judge the quality of a camera


(You can see our rant about YouTube etc here)

But now there's a new film shot with the F55, and, despite everything we said before about showcasing top end cameras with low-fi web streaming, which remains true, it does look very good indeed.

Curiously, it doesn't look like film, and it doesn't look like video either. Either way, it does look very engaging and some of the images (like the one with the sofas inside the cafe) are as smooth as the full-milk latte

It's a good film as well, with an unexpected twist at the end.

The film is by Fried Pixel Films and was first shown at the Camerimage Film Festival in Poland on 28th November 2012. The Director is Martin Scanlan and the Cinematographer is Steve Lawes. It was shot in 4K raw and posted in DaVinci Resolve.

 


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  • Once again that old adage of "Garbage in = garbage out" holds true, even these overly compressed web streams can look really good when the source material is perfect and a person who understands the compression doesn't try to push it too far.

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  • Nice! Very well done all around, and the footage looks quite nice and atmospheric. I'm a fan.
    D.

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  • In essence this short is a showcase for the camera's dynamic range and skin tones, which look extremely good to me, especially in low light. Compression of web streams don't do much harm in those factors, so even with streaming they can be judged with a good confidence.

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David Shapton

David is the Editor In Chief of RedShark Publications. He's been a professional columnist and author since 1998, when he started writing for the European Music Technology magazine Sound on Sound. David has worked with professional digital audio and video for the last 25 years.

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