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I wouldn't take any artistic advice from anyone on this thread, or from any forum in general if i were you. I think you;re on the right track as you are. Clearly you've done your work creating a style, a look. The whole thing captures that b-movie vibe. It feels like you made an effort to make it look as if it's not meant to be funny, but is - the reason old b-movies are entertaining. watching films of this style you put yourself into a different mindset and absorb the film how it's meant to be absorbed. The critique I see above is kind of like a random guy with no film making experience going up to Tarrantino and Rodriquez and telling them that the cut is shabby and the image quality looks bad on Death Proof / Planet Terror. Missing the whole point. my take on the politics of the thread... It was nice to see a piece shot completely on an iscorama. It illustrates to those worrying about lack of wide angle anamorphic solutions that with a relatively low investment of lenses ( for the price you paid for your iscorama and the taking lenses you'd only be able to rent a single panavision c series lens for half a week) and a bit of hard work and creativity you can shoot something that looks like it was shot in the late 1970's and cost 500k. and the bonus for you is that it has driven traffic to your film. I'm looking forward to seeing the entire film

the workshop has their own sony FS700 and rokinon lenses which i'm not the biggest fan of frankly. I brought my rectilux/kowa combo. it was the camera depts first time shooting anamorphic. we did no more than 3 takes per setup.

So in other words the 8bit LOG is broken, kaput. It shouldn't be. No need for it to be. Canon LOG is 8bit on their cameras. Works fine. GH4 V-LOG is 8bit internally. Works fine.

That camera already exists, it's called t3i

I just want a camera that gives files that look like what comes out of an alexa, I think samsung could do that without much trouble.

I have the Sirui P204. It's great. Super sturdy and the build quality is great. It replaced a Benro A49T Monopod which in comparison is pooh. Sometimes I'm glad a beautiful blonde left it in a cab in Tokyo.

Ah, OK. We all have our favorites. My experience with Bogen/Manfrotto hasn't been as good, unfortunately: my Manfrotto 755B (MDeVe) broke after relatively light usage with one of its leg locks suddenly cracking. Really bizarre. I can only hope it is rare. Anyway, good luck in your search, and do post your findings back here.

thanks Renaissance Man! I only need one pancake so I can keep camera with me at all times (the 20mm 1.7 will do perfectly). Will be investing in quality glass afterwards regardless of size, for specific uses (right now I have a Zuiko 50mm 1.4 which I will be adapting). I found this good (imo) example of graded gx7 footage https://vimeo.com/100958195 and it's convincing for my needs. thanks for the links to that shootout, going to check that out!

I quote you on this.

https://crashthesuperbowl.doritos.com/video/1400 I put a Zeiss 1.8 24mm lens on a Sony A5100. I shot in XAVC mode 30p. A Lumahawk LED light was used for inside cave shots. To see the true quality of video the youtube settings should be changed to 720p or 1080p.

Still not jacket pocketable. Despite the bitrate, the quality in video mode is neck and neck--the GH3's bitrate advantage is offset by the GX7's better sensor. At least in my experience. Are you looking for the most compact lenses, or the best? IMO, SLR Magic makes the best Mu43 lenses, but they're manual focus only. If you want AF, it's between the Olympuses and the Panasonic Leicas, depending which look you prefer. Here's some food for thought. You needn't take Shane's words as gospel (the Olympuses look great wide open to me, if a bit sterile--more of a corporate/broadcast documentary look), but it's a good place to start finding what look you like. https://www.hurlbutvisuals.com/blog/2015/01/cinematography-online-micro-four-thirds-lenses/ https://www.hurlbutvisuals.com/blog/2015/02/cinematography-micro-43-lenses/ https://www.hurlbutvisuals.com/blog/2015/04/film-school-online-micro-43-lenses-3/

I have shot in 24p in the past and sometimes it looked jittery to me. This was my first time shooting 30p. There were no requirements mentioned but I think Television uses 30p.

The a5100 looked great! I have this camera and I was all ready to sell it and today when I was getting everything together I messed around with it a little bit and remembered how cool that little guy is and then I see this. It really looks great. If you told me this was shot on a 3000 dollar camera, I'd believe you. Btw, did they require it to be 30p?

Nice work!!!!

Here's a photo of my B&L attached to the camera

I'd definitely look up some work with the SLR Magic 10mm before you despair over the distortion. It looks bad on brick walls, but natural subjects look totally fine. https://vimeo.com/110024810 https://vimeo.com/105817747 https://vimeo.com/105531318

if you were actually still looking to be convinced... true that not many pros shoot with it though, and in my search for footage there's a lot of heavily LUTted and improperly exposed footage with jello, but these are probably my favorites so far from the camera and hard to argue that they aren't fantastic. https://vimeo.com/brainstem/review/136679800/daa914d0aa

It's pretty great. Visually awesome. I personally would massage the audio a bit more, especially the sound effects. Even if it is a cheesy b-movie vibe with blatant sound library effects, they should still be mixed correctly. Trust people to take notice anyway. i would also cut almost half of the lines that each character says at the beginning. "Is that your woman out there in the car?" "Yes sir." "She said y'all just moved to the area." "Are you sure this is the same house?" "Ted said it needed a little work." "Is that his trailer?" "We're gonna have to toughen you up me n you gonna be neighbors." "What?" See how that flows and still makes sense without the other lines? That's one thing I had to work hard to teach myself when editing my own work: if a line is unnecessary, you cut it. Even if you wrote it, doesn't matter. The dialogue has to have a conversational flow, and that means timing things right too.

This looks really good, Jeff! I shot a feature ten years ago for about the same budget and I WISH I'd had the set up you have here (that was back in the days of mini-DV). If you want some constructive criticism, I'd say start your trailer with some wider shots to establish the environment and mood before cutting to close ups of people talking. (Unless of course, it's a famous person, then absolutely start with them.) Audio is a beast all its own and will probably take more of your time than the edit. I'd suggest enlisting some experienced help as soon as possible, especially if you don't feel like you have an "ear" for it. The audience will totally look past imperfections in the photography, but they are absolutely unforgiving on the sound...

Mhhh, I love the smell of neurosis in the morning.

That lens looks awesome, I had assumed it was more expensive so wasn't considering it. I only use manual focus and it has a stepless apeture ring too, which for me is a bonus. They also make a matching variable ND filter with steps, which is another a big bonus. The only downside is the center distortion shown on Andrew's review- it is pretty horrific and I plan to film sunsets which would be ruined. As a noob I am unsure if distortion can easily be corrected in Premiere Pro without losing resolution for videos, so will have to do a bit of reading before forking out for this one. It looks like a lens I would treasure though compared to the old plasticy vibe of the Olympus 9-18.

jeffpb7, love the look of it! However the audio is messed up :-/ I'd focus on that next time.

I have both: the Minolta MC 35mm 1:1.8 HH and the 28mm MD 1:2. Both are great lenses: the 35mm is a kind of magic in terms of sharpness and 3d rendering! The 28mm MD is also very sharp, but better in case of colors...(in my opinion). I do the conversion by myself, so that wasn´t expensive, but has cost a couple of hours - work. Here is the 35mm 1:1,8 and the 50mm 1:1,4: Minolta lenses are underrated!

I think it also make sense when we call our camera/sensor size: I film in Full Format (5d) and after testing a lot of lenses, especially primes, I came back again to the Canon 24-70mm/2,8 L MKI as my main lens! In the end it has beaten all of my other lenses in case of "character" and color rendition! But under special circumstances I love several Minolta lenses, (modified to EF mount): Minolta Rokkor MD 45mm 1:2 - a 30,-€ lens with a beautiful color - and 3d performance! Also the Minolta MC 35mm 1,8 HH (excellent sharpness, very 3d-ish, but colors not as good as the 24-70, too blue, too magenta). The Minolta MD 24mm 1:2,8 (Collaboration with Leica) - a ultra sharp and clean 24mm wide angle lens on FF! Nikkor 85mm f2 ai - simply a nice, sharp and affordable lens. Nikkor ai/ai-s lenses always surprised me. They innately deliver a very special cinematic image! I want to have more of it, so I am looking forward to further recommendations... Here a quick test of the Minolta 45mm (f2 is very ordinary, but from 2,8 it shines:)

On the big screen, I've found that lenses and grading make a far bigger difference in apparent resolving power than 4k. That's why Leica, Zeiss, etc demand such high prices.