This week, James Shapiro celebrates New York's love affair with Shakespeare; Mark Nayler goes on the hunt for monsters; and Lily Herd introduces this issue's In Brief pages.
'Monsterland: A journey around the world’s dark imagination', by Nicholas Jubber
'The Perilous Deep: A supernatural history of the Atlantic', by Karl Bell
Produced by Charlotte Pardy
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David talks to Lea Ypi about her new book Indignity: A Life Reimagined, which tells the story of her grandmother’s extraordinary life and in doing so uncovers the hidden history of mid-twentieth-century Europe. But it is also a book about the different philosophies of dignity and how those ideas can shape, make and break individual human lives. A conversation about death and displacement, identity and betrayal, secrecy and salvation.
Indignity: A Life Reimagined by Lea Ypi is out now – get it wherever you get your books. https://www.penguin.co.uk/books/458930/indignity-by-ypi-lea/9780241661925
The 2nd film in our autumn season of Films of Ideas at the Regent Street cinema is coming up on Thursday 25th September: a screening of My Dinner with Andre, followed by a live recording of PPF with playwright and screenwriter Lee Hall, creator of Billy Elliot. Tickets are available now https://bit.ly/4fWDa7V
Next up, the start of a new series: Fixing Democracy
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Nikon are a strange company, and you could say that Japan is a strange country. Having made cameras for 100 years, you’d think Nikon would know a thing or two about marketing cameras. Nikon bought RED for the cinema brand prestige. The original pioneer in digital cinema, is now apparently too unimportant to deserve a proper RED badge on the front of the Nikon Zr, the first Cinema Z camera which is less Hollywood, more vlogger.
Strange as it may seem, I am currently a RED user.
Yes there’s been dark things in the past, abusive lawsuits, unkind words and even unkinder YouTube videos but EOSHD has a RED EPIC sitting on the shelf. I want to sell it… 2000 euros for those interested. But that’s besides the point…
RED was one of cinema’s most valuable brands. Nikon’s deal to buy the pioneers of digital Hollywood cinematography was a decision Panasonic should have taken. A masterstroke, which gives them the best RAW codec license-free and the best brand. What’s more RED sold at the right time – just as the cinema industry headed into a death spiral.
But Nikon’s first hybrid stills/video camera with RED tech, the soon to be announced Nikon Zr is a cheapening of the once great cinema brand.
With this first Nikon x RED camera (x as in kisses?), the Japanese corporation had the chance to make a big cinematic statement. Canon have already done so… long, long ago, when in late 2011 Martin Scorsese appeared on stage introducing the Cinema EOS C300. This was a proper cinema camera, aimed at indies and docus and even TV crews.
Nikon’s debut with Cinema Z is a strange one, they have entered not cinema but content creation.
The Sony ZV1E-look-alike is a significantly less Hollywood, more consumer-point&shoot camera than the latest Canon hybrid… which actually bothers to uses the word “Cinema” properly in its name, the Cinema EOS C50. The Zr seems to strip back on what made the Sony FX3 and soon the Canon C50 so popular with video people…
High spec, high build quality, serious looks, and Cinema branding (and cinema usage in terms of the FX3 in feature-film production).
This makes me think Nikon does not have a good plan for RED, and indeed does not know how to market the brand.
Will we be getting a higher-end ZR8 soon?
Unless they quickly follow-up with something more exciting, with the RED badge actually on it more prominently, with headline specs that are at least Z8-level, with 8K REDCODE RAW at 60fps and 4K 120fps without a crop, the RED brand risks becoming like Hasselblad in 2025… a patent holder for an Asian corporation, and a badge for some colour profiles.
It’s not that the Nikon Zr is a terrible camera, it’s a similar concept to what I wanted RED to make way back in 2012 in the DSLR video days.
It’s just that the reborn, revitalised Japanese version of RED deserved to hit the headlines with a big splash and a big dollop of CINEMA.
“Content creator” camera does not have quite the same value.
The post Has Nikon devalued RED’s CINEMA brand immediately with low-end content creator camera? appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.
What do you get when you take the viewfinder hump of a mirrorless camera?
A cinema camera, apparently.
The Sony FX3 really seems to have set a trend, but there looks to be important differences between the C50 and Zr.
The Zr (below) looks to be a more YouTuber style of camera, and appears to sport a very large 16:9 aspect ratio screen. It’s rumoured to have 6K RAW video along with IBIS. A bit more like a Sony ZV1E than an FX3, perhaps. We’ve yet to see what RED technology it implements, whether it’ll shoot N-RAW or REDCODE.
Whereas the Cinema EOS C50 looks to be aimed at the higher-end of the market, around the $4K mark, it is rumoured to lack IBIS and the RF mount isn’t as flexible or adaptable as Nikon Z, but it is one of the first Canon mirrorless cameras to shoot open gate, with an anamorphic mode.
Rumoured C50 specs:
Rumoured Zr specs:
The C50 is set to be officially announced later today, with the Zr to follow tomorrow (10th September).
The post Nikon Zr and Canon Cinema EOS C50 pictured in the wild appeared first on EOSHD.com - Filmmaking Gear and Camera Reviews.
Today’s episode is the first in a three-part conversation with philosopher and writer Lea Ypi about the idea of dignity and its role in the history of ideas and in the story of our lives. What is the difference between dignity and dignitas? How does our conception of dignity shape the ways that we think about death? And why is Kant so important for showing what the idea of dignity is capable of?
Out tomorrow on PPF+: Part 2 of this conversation, in which David and Lea explore the role of dignity in human rights and in identity politics and ask how much it matters that our politics has become so undignified. To get this and all our bonus episodes plus ad-free listening sign up now to PPF+ https://www.ppfideas.com/join-ppf-plus
Lea Ypi’s new book is Indignity: A Life Reimagined – get it wherever you get your books. https://www.penguin.co.uk/books/458930/indignity-by-ypi-lea/9780241661925
Tickets are available now for a special recording of PPF Live at the Cheltenham Literature Festival on Wednesday 15th October: Who Rules The World? Trump, Tech and the Fight for the Future. David will be talking to writer, philosopher and ex-politician Bruno Macaes plus a special guest to be announced about where the power really lies. Get your tickets now https://www.cheltenhamfestivals.org/events/who-rules-the-world-trump-tech-and-the-fight-for-the-future
Next time: Lea Ypi talks about her remarkable new book Indignity: A Life Reimagined
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This week, Professor Jonathan Bate on a tiny Elizabethan portrait with an illuminating history; and novelist Gwendoline Riley assesses the mysterious life and work of Dame Muriel Spark.
'Electric Spark: The enigma of Muriel Spark', by Frances Wilson
'The Letters of Muriel Spark – Volume 1: 1944–1963', edited by Dan Gunn
Produced by Charlotte Pardy
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Neste episódio, a cantora e escritora Letícia Novaes, a Letrux, apresenta seu novo livro de contos, Brincadeiras à Parte (Planeta), inspirado em jogos e passatempos divertidos e viciantes, como o baralho e a loteria. Em conversa com a poeta Bruna Beber, colunista do 451 MHz, Letrux fala sobre os motores de sua escrita, a influência dos pais na sua formação e seu trânsito entre a literatura e a música. Ela ainda revela que escrever a ajuda a lidar com as dúvidas, ao mesmo tempo que é uma grande brincadeira.
Apoio confirmado: Lei Rouanet – Incentivo a Projetos Culturais
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