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This is an experimental/narrative film I made for my practice-based Fine Art PhD several years ago. Technically it will certainly be regarded as very poor in the context of this site: it was shot on an HV20 in 2008 and admitedly before I understood much about the technical aspects of filmmaking. However it was made in art school, not film school, and appropriately to this thread intentionally explores the degradation/materiality of the video/film image: the "poor" image is the point of the film.   The thesis I wrote alongside it had a significant section about La Jete and how it related to ideas that went into my film. No prizes for guessing the main film it alludes to though!   This is a recent re-edit, which has shortened it a bit. Go to Vimeo to watch in HD, and please use headphones or good speakers if you can - the audio is dense and relies on good stereo separation.    Critique welcomed (though please bear in mind that I'm very aware of its technical "deficiencies")!!   https://vimeo.com/63100819    

For those interested.  Check this link.  Good stuff on this website.  Link to contrast handling for the 7 cameras in the heading.  Lot's of info on other aspects too - search thru.  http://www.cinematography.net/edited-pages/NZCS-Contrast.html  

  I say, if it moves, post it :)

Alexa is the best, beatific detail, clean gain and shadows due to dual gain-stage sensor readout, lovely grain, no magenta blowout like Epic, no plastic sharp look like F65...   They nailed it.   Would be great to see 5D MKiii raw added to the list.

I really like zooming in on pixels, fake slow mo, degradation, noise, so on, so I enjoy the aesthetic!   I find it hard to take art films seriously these days though, unless they refuse to take themselves seriously that is ;) I must admit I was guilty of more than a few...   Hahaha that reminds me, when I lived in Brighton and was first shooting with Sony Z1 HDV, me and my friends made a piss take of art films to learn the camera:   You can probably tell I studied sound before video, the soundtrack was incredibly complex to build!   ;)   http://www.youtube.com/watch?v=TaZl-jPDX88

Adding movement to a shot with a gentle Ken Burns effect is a very common trick in post as an alternative to movement produced by using track & dolly (or slider on a smaller production). It works well with just enough movement to be interesting but not so much that the lack of parallax becomes apparent.

Congratulations on the video Andrew! It's wonderful! I worked as a VJ for several years and I can tell you this video could be projected and make any club cooler!!!

Used hook's lut in resolve, then a little FC after. I directed the color stuff, a buddy directed the zombie shots. I specifically shot mostly close up & intimate with the band to take advantage of that anamorphic space. Lots going on in the de-focused z axis :)

Shot this a few weeks back in 50d ML raw & a Bolex Anamorphic. Wouldn't change it for anything. https://www.youtube.com/watch?v=cCERCFJBKCE

Olly, some PhD student could certainly go to town on the second video!  There's an interesting detachment.  You didn't linger on any shots that one might linger on ;)  He's living the dream, yet it goes by so quickly, you can't see him actually enjoying it.  Is life lived as a dream enjoyable?   As for my narrative videos.  As much as I would love to shoot some of my scripts, I don't have the time, money, or appetite for the sacrifice involved.  When one says, "just go out and do it", that's easy to say if you're single or don't know just how much you need from others to get it done.  If you have a family, the risks are very high.  Once we had our first child I recognized that people don't watch the films I would have loved making.  I don't know if I could do a good film; I do know my natural audience would be very small.  In any case, masterpieces exist and few people watch them as it is.  So I spend my time trying to turn people onto them.    I've been working on technical issues involved in making the EOS-M a good RAW shooter.  If I succeed some filmmaker might use the camera to shoot a reel that gets them the opportunity to do a film I would call a classic. Certainly, I would love to shoot something worthwhile with it.   We are all part of each other's narratives.  Or as one of my friends so wittily put it, "we all play bit-parts in each other's screenplays"

I started watching La Jette last night but my daughter said the soundtrack was going to give her nightmares :)   But I could already see that it deserves to be on the "minimalist" list.     I went to see Rush last night with my brother in law.  Looks like it was shot on high-ISO film-stock.  Afterwards, I looked it up and discovered they shot on a multitude of cameras, from Arris down to 5Ds.  Lots of FX too, from backgrounds to crash sequences.  I enjoyed the film and what I thought impressive is how the technology never interfered, that is, I never felt something was done for technology's sake.      They could have used a 5D3 with the ML hack, but they used an Arri, because that is what was available to them and they used the best tool in their budget.  That didn't stop them from using 5Ds for other stuff, or other cameras.  Most important, they didn't use film though though they lovingly recreated that look.   JG, my oldest daughter has probably watched Kill Bill a gazillion times.  She in art school now.  I play that old foggy "that stuff is stupid" :)  But I agree, Pulp Fiction is straight up great film-making.

Pulp Fiction!   The script is a poem, it's engrossing, funny, clever, doesn't take itself too seriously. Lovely retro anamorphic cinematography, some crazy distorted old glass in that.   It's the film that made me realise film could be perfect by wearing heart on sleeve. I think I was 13 at the time.   I can nearly recite the script of by heart ;)   http://www.youtube.com/watch?v=uYSt8K8VP6k

Pricing is pretty competitive for full frame cameras. 1499 euro for the A7 and 2099 for the A7R.   I think the decision hinges on which camera you use for stills and video at the moment.   If you're a Blackmagic user you will like the practicality of the A7R and RX10 but it isn't a step forward in terms of the image, only in terms of the lensing and sensor size.   That full frame look CAN be special, but you might miss that 10bit and 13 stops dynamic range more. The choice is yours.   The A7R may well replace your stills camera. The 5D Mark III and Nikon D800 have a dwindling amount of advantages, namely the AF system and their lens ranges. If you're into MF like a Leica user and haven't invested in 20 L lenses the Sony will easily replace your full frame DSLR. Easily.