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Who wants to make these with me? http://www.tonyhillfilms.com/rigs

The bokeh of FF can be a bit overkill though tbh. Like even in Game of Thrones which uses Super 35 I find a bit annoying that they have all these amazing sets but then everything gets blurred out when someone speaks and theres a head shot

Vimeo has a promo for their Pro subscription (which is $199/year), where they're giving away $150 in B&H gift card if you get it by 5/17. Any opinions on Vimeo and specifically Pro? I'm thinking on jumping on this, mainly to host 4K videos, I understand Vimeo is now supporting 4K streaming for their Pro members.

​MacGregor did this with this test - check it out!

​Well I do, I have the NX1 and A7S - but this is a test of RGB cameras - those cameras all output a limited 4:2:2 8 bit YUV or equilvilant and have bad rolliing shutter and are CMOS. These cameras I want to test output 12 bit to 16 bit RGB and are CCD minus the Red One - the CMOS of the group. But I do like the motion of the Red One over the Epic for some unknown reason - something about it feels right. The KineRaw would be a nice camera to experiment with - but I'll wait till it's available stateside. Also of course, the BMCC is nice as well - but I'm testing cameras I have right here.

The high cost of CFast cards make some people think about workarounds, here's one interesting project: C-Box

Looks like it's even better with an STM lens! This video uses the 24-105 STM 24-105 STM

Looking forward to that test. Do you have dslr, Gh4 or something to throw in as well?

I still like the idea behind this:

-In Photoshop open your movieclip. Menu> Command O… The animated version. -Drag the movie clip on the 'New layer' Icon in the Layer palette. This will duplicate the layer. It's an animated layer. -Create a Selection for the part of the sky you want to put on top of the lady bug -With the duplicate layer and the selection active click the 'Layer Mask' icon on the Layer Palette. The 'Layer Mask' is now active on the duplicate layer -Drag the duplicate layer in place. -Shorten the timeline for the duplicated clip to your needs. The still version. -Select the part of your footage you want to clone. -Command C/V. This will paste the selection as a duplicate on top of the original in a new layer. It's not an animated layer. -Set a sample with the clone tool somewhere in the duplicate layer. -Make the movie clip layer active and start cloning. I don't now how FCP works exactly but you should put a masked clip on top of the other (still or animated) and be done with it.

Here's something I shot on the red one mx - it seems to have a better motion feel to it than the dragon or red epic - I don't know why and I can't verify this - but something about it feels better. Still it feels really nice - the red one mx. I'm testing Red One MX vs F35 vs Digital Bolex on Thursday. testing motion, grading, skin tones, etc etc.

​To be fair, most of the cameras sitting at the edge of convergence between stills and video have a limit on the clip length. For most it is under 30 minutes. The number that go past that can be counted on one hand. Of course for a camera that is being marketed for video at this price level, even the dinosaurs at Canon realized they had to do better.

​Well apparently it's from a series: 'Delve - video essays'. So... that leads to http://delve.tv/essays/ which leads to http://delve.tv/the-long-game-part-one/ where it says ' Watch Part Two here '. Which leads to http://delve.tv/the-long-game-part-two . Which tells you 'Oops! That page has disappeared...'. But given the Vimeo style video, you just search it up at Vimeo, https://vimeo.com/search?q=the+long+game , et voilá:

​Wolf, an F4 on S35 sensor will deliver less bokeh and easier focusing than F4 on full frame sensor ( due to difference lenses, obviously ). To match the same look on FF, you will have to go several stops above F5.6, which will require more light. As I said, cameras like A7S are beginning to make this a non-issue, but why would you throw away several stops of "free" light?

I think the reason we spend so much time writing and obsessing about gear on forums is that there are actually two processes involved in getting better at the craft of making films. One is a technical process: how to achieve better shots, better sound, smoother motion, dynamic range, etc. This part is easy to talk about -- we often don't own the gear we're arguing about. And it's fun! The second process needed to improve is an artistic or aesthetic process. And it's more difficult to talk about because it derives from feelings rather than facts, taste rather than spec sheets. It's much easier to say 4k is better than 2k, and much more fraught to say that, gulp, Michael Mann is better than Oliver Stone, etc. And it's even more difficult to prove. Further, there remains some part of being an artist that requires you to walk off into the extremity of your experience and actually come back to people with something unique to say. Something touching or funny, and above all true. Years ago I wrote a series of posts on No Film School about the craft of directing, and have shot (directed) short films, a feature film, and numerous music videos and works for clients. It's not that people don't want to talk about directing or the craft of the art form itself, it's just that some part of that is personal. Maybe somewhere on the web there's a place where people launch into polemics against "fake Wes Anderson" style, or dolly-zoom shots, but I haven't found it. And the truth is it's hard​ to talk about one's artistic process, and even harder to hear someone tell you why it sucks. But point of view does leak out over time on a forum like this. That's why getting to know the various voices over a series of posts counts for something in the long run. One of the longest threads on Reduser is called "shut up and shoot that Scarlet". But there's an even longer one with people posting pictures of their rigs. To reply to fuzzynormal's original post, no I don't need a new camera. But I always want one. And talking about it will do in the meantime.

FWIW, I'm on M43 because it's compact. Photos and Videos for me work great. So this consumer in particular isn't caught up in the sensor size angst. And, if you really want mega DOF you can kinda get there with certain lenses. But, yeah, the small size of body and lenses is really a killer feature. The National Geographic mantra "f8 and be there" really resonates with me therefore I'm less about FF and more about just being in the right spot at the right time. All that said, you can't beat an interview shot done on FF with a fast prime 50 or 85.

Agree, S35 is far from dead, primarily because it's still far more practical for cinema. This might start to change when ALL cameras have super low light abilities that can shoot at F8 at night without grain.

​Everybody is right on the internet. :-) Some even more so because they know how to caps lock. Anyway, regardless of what this forum is or isn't I think it should be applauded for existing. Personally, I like the chippy-ness and passion around here. Freedom is usually a bit messy and I like it. I'd rather be offended than bored.

Considering most still shoot with Super 35 mm sensors, that they strike the balance between DOF/ being impossible to focus, and I'm actually think of using the new Black Magic Micro Cinema camera as my A-camera if it lives up to spec, I have to pretty strongly disagree. FF is the future for photography, but not all video projects.

​True. But lens size will always be linked to body size. I also prefer full frame for photography. That doesn't make aps-c or m43 dead. Of course Sony 'admits' it, they have been focussing heavily on fullframe cameras. Sony is a good example of the lens size 'problem' though. Most of the FE lenses are huge. On the other hand, that is a design choice. Sony could make more small full frame lenses. The 28mm f/2 and 35mm f/2.8 are perfect examples and lenses I'd love to use if I had a A7. I don't like huge beasts like the 35mm f/1.4 or 70-200mm f/4 OSS. I wish Sony would make more f/2 - f/2.8 lenses. 20mm f/2.8, 24mm f/2.8, 35mm f/2 OSS, 50mm f/1.8 OSS (just a cheap one :)) would be nice. They could be small and not crazy expensive. One thing that does disappoint me is cost of lenses for smaller sensors and the inability of Olympus/Panasonic to make really FAST lenses. Take the new Olympus 7-14mm f/2.8 for example. It's compact, 534 grams, costs €1299. I'm sure the image quality will be great, but essentially it uses half the glass (and is half the weight) of a full frame equivalent like the Nikkor 14-24mm f/2.8 (€1679), but it is not half the cost. Volume is probably a problem here and again - the quality of the M.Zuiko will be outstanding, but so is the Nikkor. I just wish M43 lenses were not only half the size and weight, but also half the cost. Or the same price with an aperture that makes the lens actually an equivalent. In theory a 7-14mm f/1.4 should be possible with the same size as a fullframe 14-28mm f/2.8. So far only Sigma has accomplished something close to this with the 18-35mm f/1.8. Lenses like that show the value of aps-c imo. Would be great if there were more like them.

Why does this matter so much to some people? Like I understand the difference, I know the benefit's of each format, I've owned pretty a lot of the sensor sizes but it's still not a huge deal for me at all and one of the last big considerations when I buy a camera. There are ample great cameras out there for all types of shooters, no need to trash one sensor size because it isn't what you want/need/like. We live in an incredible time, just enjoy the ride.

​You know who else got that speech - me. Well everyone has had this speech. Let's see who else - oh right - Louis C.K. who started making short films. But this is the thing I sense talent in baxter's film - he has something to say, more so than most of online films that are Terrence Malick rip offs or Wes Anderson rip offs or Horror films - I feel that there is something here. And I'm sure Louis C.K. wanted to quit, but he didn't - he kept going, he got more honest - he found his voice. If you are an artist, you're going to do your art whether or not "the public" likes it - because you need to - it's a tool - a coping mechanism for life. A way to process life. Maybe Baxter can do it for fun and not try to make money off it - that's fine. Once you "start making money" you get a lot of people telling you to change things. And that's not fun either. Shoot your weddings, make them beautiful - do whatever you are doing and make it beautiful - if you have a mop, mop as well as you can. I spent 7 hours last night regrading two pieces I shot, not because someone asked me to but because I wasn't happy with them. And I'm still not happy with them, but I am happier.

Hey baxterquinn - saw your post and it hit a nerve with me, mostly because I think everybody has gone through that depressions at some point or another. The idea that you "just make it" is film school bullshit fed to us in order to jack up tuition (although we do actually learn some stuff). Here's my short advice. 1. Keep making stuff. Something. Anything. Shoot it with your iPhone. But make it a story or a documentary. Challenge yourself to make a short 1 minute film every month about whatever. And then put it up on Facebook/youtube/etc whatever. Submit it to short film festivals with no entry fee if you are proud of it. This forces you to stay creative and unblock yourself. Don't worry if you only have 1 story to say, many creative people only have 1 story and they tell it over and over again (Christopher Nolan=Puzzle Movies, Michael Crighton=Science destroys man, etc). But think about who has an interesting story and capture it. For me, documentaries are easier since I don't have to write it out ahead of time. I can find the story after. It helps me then unblock myself for narrative projects. Anyway, keep creating stuff because everybody only wants one thing: to work with people who make content and make a lot of it. Not everything has to be awesome, but you'll get better with each project. 2. Find your braintrust. Who are your allies? You mention your girlfriend, which is awesome. My wife is my biggest supporter and I couldn't do anything without her, but I also have others that I send stuff to for constructive feedback. Your braintrust are people you get a long with, who aren't afraid to tell you the truth about your work, but also with a mutual understanding that harsh critiques aren't personal. My braintrust also includes some DP's, sound guys, actors, writers and directors that I can also make stuff with, because there is nothing better than working with friends. 3. Don't equate success with happiness, but also don't be dumb when it comes to filmmaking. If you want to have a career making commercial movies, then you need to think about your audience and you need to balance writing what you want to express with something audiences will tune in for. There is a lot of competition out there. If you just want a place to express your art, then that's ok too, but you'll need to have a day job for a while. So get one that has flexible hours and access to interesting people so you have access to interesting stories. Drive an Uber car, work at a nightclub. Do you have a technical skill? Use it for a high paying job that gives you flexibility to create your small projects so you can grow as a filmmaker and storyteller. Mostly, the advice of other people on this board is pretty good. Don't give up. Most directors didn't find their stride until later in life. I'm 30 and no further along than you. Made 1 feature, trying to find what that next thing is, frustrated I can't seem to "break in". Patience and determination will get you there. Good luck.

This is big, for videography this is seriously big news. That GH4 peaking is damn misleading, it takes practice to really know when it's in focus at large apertures. They have my money, i hope they can keep up with the orders.

What I would like to see more focus on, on various blogs, are the tools that complement the cameras.... Dollies, gimbals, cranes, lights etc The cameras are hitting saturation point, but there are some really interesting tools that can help with the cinematic look, every bit as much as DR, resolution etc.