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Just finished my 2nd round of shooting for my short. I had a little more trouble correcting these images as I shot a lot in lower light than the first round. But here are a few shots that turned out okay... I will say that I think ML Raw has ruined me for other cameras.

Anecdotal evidence cannot be a basis of overall brand reputation (I never used Lexar, but also never heard anything good/bad about them). In hindsight, you should've used the dual card slots for their intended purpose. Sorry for your loss, hopefully we can all learn a valuable lesson here.

Good point. I never intended to be a filmmaker, let alone a considerate one. I keep trying, some days it pays off, some days it doesn't. Every day I learn something, usually through my failures more than my successes.

I spent about 3 hours reading through a good portion of this fantastic thread... John, after reading the many posts and seeing your video clips, I feel like I know you! thank you for the awesome contributions. I wanted to share my settings and thoughts about the camera as I recently purchased it. I use either Natural or Portrait profile dialed to -3, -5, -5, -5 -- either profile gives me a pretty gradable image in Premiere. I also set -5 on the highlights, but leave shadows at 0. I really wish we had the Cinelike-d profile that the G7 and other Pana cameras get as that profile does show to have more shadow data (there's a good video sample on youtube showing GX85 Natural vs G7 Cine-d where you can clearly see more detail in shadows of a tree/bushes). I feel that Pana really arbitrarily ripped that profile out of this camera without a good reason (other than to perhaps move more people to buy the G85? I use the Zoom H1 for audio and that is the best solution so I don't even complain about no mic input ... the evf is better than no evf, but is far from good, so i find myself using the screen on the back most of the time. I currently have the 25mm f1.7 and kit 12-32mm, but am thinking about the 15mm f1.7 as another lens to get. This is my first m43 camera and I chose it over the A6300 (used to have the old NEX-6 at one point and moved away from the NEX/E-mount series due to handling issues). I am not a big fan of the image noise at higher ISOs... Fuji has spoiled me on that front... but it aint that bad. My biggest gripe with the handling of this camera is the annoying strap mounts, especially the one on right side, which presses against the middle of my finger whenever I am holding the camera. I almost want to cut that thing off entirely (I removed the annoying little strap clips already). Anyway, great camera overall, I've been very happy with it, especially the video, which is why I purchased it in the first place.

Shot thousands of hours on Sandisk cards and the eldest ones (four years) are as good as new.

Indeed, which witch is which?

Nice find. Summary might be: - probably have to add a little bit of sharpening in post - expose for highlights if you don't want clipping (80 ire) - expose for middle grey (18%) if you don't mind clipping (42 ire) or if clipping isn't a problem - the log curve is dark weighted 8:4 so you don't have to overexpose to the right if you don't need to. (ie. don't chase 80 ire 2 stops up for no reason) His summary: "aim to expose an 18% gray card at about 42 IRE, keep your Caucasian skin highlights to below 55 IRE, and set your Zebra 2 to 75 IRE to keep from clipping highlights." With the last point at 75 IRE being that some colour channels might clip before the white zebras show it at 80.

Hey friends! time to post some g6 footage again. shot 8months ago. I lit and shot this in 1.5 hours, no planning ahead of the shoot. All quick n pretty style! Talents´voices didnt make it in the edit because of my not so pretty audio job. Edit took a looong time, because I missed some shots. So next time, at least a small shotlist:) Panny G6 still a great cam. I like the ergos better than the G7. Grip is more lovely to hold and it somehow feels more solid. Still shooting with my G6, GX80 and G7 for test shots only so far:) Hope you can enjoy this faulty exercise of mine. cheers, Marty

My third lens is the Kowa anamorphiC 35 - 1.5x. The other two (Bolex 16/32/1.5 and Iscorama pre 36) I sold already. These three lenses belong to the top of anamorphics at 1.5x. They are different from each other but I like the sharpness and clearness of the Kowa. Perhaps this thread will give others to share ideas and footage. Here my first test, paired with the Voigtländer Ultron 40mm and Samsung NX1. Enjoy!

This was shot in Hiroshima over a couple of days in 2016. I'd just gotten the BM Micro Cinema Camera and I wanted to give the camera a good shakedown, and I thought a personal project was a nice way to do that. I shot a lot on the Tokina 11-16 with the BMPCC speedbooster, and various Nikon primes. I tried to lock in down in sticks where I could, since I hadn't really worked out how to rig it for handheld at the time, and since I was travelling I didn't have all my parts with me to franken rig it as I was shooting, so the hand held stuff (particularly in the car) is pretty messy. I struggled with moire like crazy, I only had a Tiffen IRND with me and it wasn't always enough ND so I was stopping down for some of those outdoor shots, which really amped up the moire. I managed to tone down the worse of it, but an AA filter is a must with this camera if you intend to take it outside. I shot it in Prores LT, edited in Premiere Pro and graded in Resolve. Some of the night shots needed noise reduction, but mostly to remove the colour noise -- I actually like the structure of the noise, just not that keen on red and blue ants crawling all over the screen. Neat Video does a good job of removing chrominance noise while leaving the luminance noise, and it blends nicely with a little bit of grain using Filmconvert. Hope you enjoy the film, love to hear what you think! -- Daisaku & Takae have run their local grocery store in the hills of Hiroshima together for the last 53 years. In that time they have seen huge changes in their neighbourhood, and profound changes in the way local people shop for essentials. From humble beginnings selling cigarettes from a window in their family home to a bustling grocery store that served their community, they have seen and felt the rise of supermarkets and convenience stores and the impact that has had on their livelihood. Here they tell their story of how it started, what keeps them working, and what they will do when they finally retire. CREDITS Direction/DOP/Sound/Edit/Grade by John Kung Translation and Interview by Iku Motonaga Very special thanks to Daisaku and Takae for their generous telling of their story.

Hi! I write short experience from last weekend. We had really long day studio shoots. We had this really huge practical effect build by our special effect guy, 50+ hours of work. Really awsome looking. I shot with my GH5 + my brand new few times tested Lexar 128GB 1000x memory card. We had shot all we needed and I took out the card. In the beginning of this week I took the card and put it to my computer. It said needs to be formatted. Tried 7 different data rescue softwares, nothing. I went local service where they do data rescue. They inspected it for two hours, nothing. Now I am in the moment we lost everything, and I tried to format the card. Can't do it in any camera body. Not on my computer in any fileformat system (deep or quick format). It is just completely destroyed. I am afraid to cut the card half with scissors or machete, because I think those will brake apart first. So my experience is now following: do not buy any Lexar cards ever, period.

Is why I brought up MLRaw, which has a much higher bitrate yet still the advantages in 10bit aren't that great. Above poster is right, V-log makes more of a difference, but there's still some drawbacks in certain situations.

You'll really see the advantage of 10bit in VLog. 8bit will apart straight away whereas 10bit is fine.

I agree completely on the Cinelike Profiles and the Mic-in. I think Panasonic made a mistake with those two, considering the Huge difference in form factor and fully articulating screen (apart form weather sealing and the next generation of the IBIS). Bad assumptions on the part of the design team. I actually love the screen on the GX85. Because it's easier for Guerilla Shooting. The fully articulating screen seems to draw too much attention. Also the Lumix App is a breeze for Guerilla shooting. I use it to shoot at places with the camera dangling around my neck like a dead goose. Btw, I got a New Camera from Diamond Camera in Adelaide. My original GX85 camera was a nightmare for the 6-8 months that I had it. First some issues with the sensor with vertical lines across the LCD and Viewfinder. It came back from Repairs and the Services guys were dilettantes who installed the replacement aensor in such a way, that the camera was unable to focus (in autofocus). Therefore I was unable to shoot with my Panasonic Lenses. After some email exhanges with Diamonds Cameras, I sent it back to Australia and Diamonds Camera sent me a brand new camera as a replacement. What a relief.

You almost inspired me to buy a G6 the other day. There's one with the 14-42mm kit on eBay for a fairly good price. But in all honestly, I am just too mesmerized with ML Raw to test other cameras anymore... I'd love to see what you can do with Raw or a D5500. Your talent already looks better than mine... LOL.

The advantage with the large capacity cards is also their biggest potential undoing in that because you can get by without changing them all day then when they do fail you've lost far more. I prefer to stick with lots of smaller capacity ones and swap them more often to mitigate the risk. Funnily enough by the way, I've actually just made a multi card DIY Nexto device for just this purpose that can automatically back up a simultaneous combination of 3 sd and micro sd cards and a CF card onto an SSD. I'll put it up on here so you can have a look once it's in a proper box and not just blutacked together!

The subtle flares on the reflections on the waves- nice capture

Yes...your's is not the first bad experience with Alexa....I stick with Sandisk Extreme Pro....both in SD and SSD format...never a single failure....simply to much at stake when you do anything like you described in your opening post...or a wedding or anything professional for that matter!

One unit per device (so in my case 4). If syncing one camera to one external audio recorder, then you would need 2. I'm not affiliated with the company so have no gain in trying to push the product, but they are very good from my experience and provide sync very effectively. The price point is very reasonable considering the alternative solutions on the market. you can see the wide range of sync cables on the product page to see what devices/cameras they support (virtually everything with a audio/line in input). https://shop.tentaclesync.com/

Very cool, no visible artifacts on 1080p mobile. Nice! Thx!

Hi there, The Video Metadata clip is regarding the extraction of ISO, Aperture, Shutter speed etc data from the internally recorded video. Although the NX1 doesn't export it with the video file (stupid) if you playback the file in camera and then take a JPEG frame grab (internally) if will pull some exif data with it, so you can remember what settings you used for the shot. Regards.

I have 3 Lexar CF cards and 15 Sandisk SD and CF cards, and two of those Lexar cards have been replaced under warranty while I've not had a single issue with any of my Sandisk cards. It's circumstantial evidence at best, but I only buy Sandisk cards.

I haven't messed too much with the highlights and shadows. IMO, when shooting 4k, you've got a lot to play with. With settings, I'll say it depends mainly on your liking. I CAN tell you they can mess up the image in some situations- notably, contrast at -5 in soft light will not do justice to some people's skin. I did that once. After learning that, I don't fidget too much anymore. Mine are -2, -5, -5, 0 and nothing to the highlights and shadows. Also, I use AWB. The G85 seems like a great camera, but I'd still prefer the GX80 due to size. Panasonic actually moved the strap mounts further forward from the GX7 (on the right side). This was a major improvement. Still, I'd rather have an inset strap mount, flush with rest. "Useless" is a strong word, but you're right that I'd say this camera was made for smaller lens/camera combos. There aren't any adapters out there to raise the body off the attachment plate that don't protrude under the lens mount?

I get the sacrifices for the greater good! The cliché 'the best camera is the one you have with you' is so true. You just gotta make the best with what you have. Anything else is as obvious as it is useless.

One thing that's becoming increasingly apparent about Fuji is that the corrections that they have going on with their lenses don't play nice when you're using them in video mode. God knows what it would look like of they added their own version of IBIS into the equation.

Oh, 1000%. That f/2.8-4... it's just not for me either. I don't really get it. I mean, for that price you can probably get a Nikon speedbooster with the Tokina AT-X Cinema lenses in their stills versions (11-16, 16-28 & 50-135mm), f/2.8 throughout... boosted on top of it! Probably has better mojo too, because to be honest, there's nothing about the f/2.8-4 I've seen that really screams 'Leica' like their primes do. Then again, I'm thinking about video use and MF, probably follow focus, set-ups. I guess enough people want a versatile daytime walkaround lens with a certain quality level for shooting stills, for that, this might be sorta alright. But as I said before... I wonder how much the Leica then adds over the Lumix... except for a couple of hundos in price, it just doesn't offer much more 'fun' to stick with that. The Leica kits are sold out all over the place here, so people are taking the bait, just... I'm not particularly convinced either. Yeah, exactly, Fuji needs to embrace the future, add that sensor stabilization, front-facing touchscreen, overlays, etc! Sony needs to address those issues! What use is a small compact body (cause for the issues) when you hardly offer any interesting APS-C lenses and have neglected that line-up for years in favor of everything fullframe? Axx00 cameras are now only good as a stepping stone for fullframe? For people who want a A7/A9 series camera but can't afford it? They should make it a focus. Just to make a proper APS-C camera and eco system. If Panasonic and Olympus can make incredible camera bodies... and even Samsung and Fujifilm are ahead of you... you have to re-think things. But like I said... three years, give or take? Wouldn't someone finally figure out something proper? It's a wait 'n see game for now. Showing MFT some conservative love in meanwhile.

Which I think is actually a point that speaks against it I'd say... because, will you still be shooting micro four thirds in 10 years? That's especially where people with multiple systems have a hard time picking MFT over Canikon mount lenses. Within say the next three years there's a chance that atleast one of the following will have something compelling to offer... Be it Sony that might get their shit together... Canon might finally embrace enthusiast cameras with exciting features for consumers, Nikon might enter the mirrorless world and Fuji might continue the good thing they've got going on, they just need to loosen up a little (goes for any of them: less tradition, more forward thinking). We might even see BlackMagic do a handheld compact all-in-one shooter with S35 sensor? The real benefit of Panasonic then is the size of the lenses that ultimately makes it a compact system. I don't like the Sony system that priortizes fullframe lenses for their camera systems, Canon has a so-so compact mirrorless line-up, Nikon isn't in it and Fujifilm does alright, but a lot of lenses without stabilization and a body without sensor stabilization has become a hard sell. There are speedboosters and smart adapters for MFT, so it's very compatible... the real question is... is it very capable as well? Personally I can move within the boundaries of MFT cameras, but that does mean it takes a lot for you to consider when shooting, that ultimately makes you a better shooter, but it would be so so nice to have some of these restrictions lifted. Like I find dynamic range still a little on the challenging side... of course noise performance has been improved, but ISO6400 would really be nice to have clean. Set stuff is one thing, being out in a city at night or something, you might not have the means to go about it another way. Instead of looking for alternatives that do work, you're then just in the moment without 2nd guessing if it would turn out alright or not. That's a nice thing to have. Also, I do find a Canon, Nikon or Fujifilm a little richer/more organic. Partly color, partly crop, probably just different sensor interpretation making it less videoey. I'd say that it's likely that in the next few years I'll make the switch to S35. Also, speaking of stuff that lasts. Although a 1299 lens is epic to have, what if you don't buy the flagship lenses and spend a bit more of your budget on support gear, lighting and audio for example? Or renting a serious camera and some anamorphics. -- btw, I agree with you that a camera body is probably the least significant thing you can upgrade. Last year I figured that by now I would probably have already replaced the E-M1 and GH4 with their successors, but I find myself not really caring too much about the new ones right now. Guess in summer, when the updates have rolled out, I will upgrade to the GH5 though, but I'm quite liking both GX80 and G80 right now, might not be as productively laid out... but they're troopers when it comes to fun. Really loving sensor stabilization and adapting non-stabilized primes. That Leica 15mm f/1.7 is so neat too... it's super compact, nicely designed (though would've been cool to have had the Olympus manual focus clutch here), Leica mojo, affordable. You haven't checked that one out yet, now have you? And yeah, totally, when it comes to lenses everybody is always so enthusiastic about 'em. Guess it's like people, everybody has their own character, but we can all mutually accept and appreciate one another (well... sorta, the world is a messed up place, guess some people are more messed up than some vintage lenses). Lenses are the canvas, the paint and the brushes all at once. It's what paints the picture. Guess that's why it's gear that perhaps speaks to us the most on an emotional level and why we are so fond of them?

Thanks for the info everyone. What a great resource, to learn from so many generous people here. I really appreciate it. It looks like the Isco Blue Star is a good starting anamorphic. That's what their mini one is, with a part removed.Other sellers have it for less. I'm not sure about their focusing mechanism, but for starting, I think it might be best to just pick up the lens and simpler clamps elsewhere and try that first. There seem to be other options available for the price point they are selling their kits for.

I still in some respect treat every camera I use as if I'm shooting film...I think just burning through footage or photos hurts the choices one makes and you land up not knowing when you got it right from wrong.

Wow wow wow You guys are really amazing. I do not know where to start but I will say this: to @Emanuel I do not know why you keep attacking me, and start now by judging me. You tell me I take too quick conclusions on gear, yet you judge me personally without knowing me at all. Funny isn't it? to @jonpais well, I am not sure you realize what being in the backcountry under 120mph winds, rain, hiking 15 miles a day for multiple consecutive days mean. It means that I reduce my weight as I can (and have those cheap super light 12-32mm was a choice of mine in this regard) It also means I do not have the time to put a ND on when the light requires it, then remove it - under the rain - when the light changed, and so on and so on. You have to think different than a normal shooting situation. I am just an amateur doing is 3rd travel video, going to Patagonia to enjoy trekking. I try to have the shooting experience the most automatic and non intrusive possible. This was not a professional shooting. I did not go there for the movie but for me and my girlfriend. So I do not care about your ND filters. I cared about enjoying and bringing then back a memory taking form with this movie Now if you have a look at my Cuba video, conditions were better and easier and I had more time to shoot manual (including focus) as you can see below. I was just sharing the video as this is a GH5 thread. And giving my thoughts about the camera. I think that should be the last time I share something here if it is either to get personal attacks, either to try to say I am dumb not to be able to carry a 1 ounce ND filter. I really do not get your points. I received many constructive comments from friends (critics about some of the transitions being too repetitive for example). Yours were not. And the slowmo stuff VS filming in high res is a personal choice. For high res, I take photography (see my gallery here: http://bit.ly/2rMLPRb let me know if you have constructive comments) My previous video (Cuba) should be more to your linking in term of ND filter, resolution and shits

Media100?

I mostly use native lens as I hate the wobble when doing critical focus with adapted lens and adapter, plus AF is crap with adapted lens and drain more battery.. Hence I have dual native Sony E mount and MFT lens lol. Though I mostly buy 2nd hand lens which MFT is pure bargain (up there with Canon), Sony one is still more expensive, i can get both 12-40 and 35-100 2.8 for the price of one used Sony 70-200mm F4 OSS and still lighter. 18-105 on FS5 and Sony 28-135mm on A7S is my fav lens, too bad Pana doesn't have equivalent PZ lens on their setup which is a bummer. I used to have Leica F1.2 and Voigtlander 0.95 lens, but since I got Osmo X5 I just use small primes for gimbal stuff as I mostly use zooms nowadays for my shooting, and don't shoot night much at all.

Wooooow...very interesting. Old Nx1 destroys the new kid on the block, on my personal scorecard.

Like I said there 'Now, I'm not saying higher quality lenses do not justify the higher price'. But to actually be willing to get one at that higher price is something different. It's a matter of personal perspective. Just, if you get the Sigma 30mm f/1.4 you're really getting a good deal, because they nail it at that price. You really get for what you pay. For me they're like spot #2 on the graph: Spend very little and there's not much reward, spend a little bit more and increasingly you will probably be able to find a better deal. At some point the curve flips and the more you spend, you do get better quality, but you have to spend a whole lot more for very little increase in results. Now, especially at the high end, you're not just paying for those extra few percents of results, it's an exclusive market and therefor alone prices are higher (like I said, target audience has deep pockets, drop in quantity results in higher pricing for same overall gains compared to say a kit lens that they sell a boatload off). I'm merely speaking for myself, but, I tend to dangle at the 2 and below section of the graph. I think it's also one of the reasons I'm not a mac user and my phones over the last couple of years came from chinese manufacturers (so not even Samsung, etc). So, when would the 42.5mm f/1.2 come in question for me? Say, at 1049, it's 250,- off from 1299, still over 1k, but then I might atleast consider it. It might roughly be where the results meet the price for me personally. The Voigtländer 42.5mm brings f/0.95 to the table at 999 bucks. And the lens cap won't say 'Lumix G'. :P Like it, for me, there are so many interesting options on the market, native, third party, speedboosted, that there's plenty of alternatives. I don't feel forced to have to go the Leica route at all. Especially not at 1299. Speaking of 12mm primes. I remember the Olympus 12mm f/2. I thought that would be an amazing one to fly on a glidecam or even when the Nebula 4000 appeared that got me excited. But at 999 launch price, there just was no way. It has come 300+ bucks down in a couple of years. Ultimately they have to become the price more people are actually willing to pay. But... if you care about the best of the best only and Panasonic/Leica is absolutely right aiming at you with your deep pockets... then... it's a match made in heaven, no? I'm not opposed to that. Besides, you can prance around in exclusivity, because you have the absolute best of the best and others do not. Just... I wouldn't be so easy to dismiss those others. Sure, lenses are one thing, but there are a lot of still really great lenses and people that can do marvelous things with 'em... a lens isn't going to tell a story by itself. Of course, I myself hate when people use extreme examples, like there's nothing in-between, so yeah, obviously the best gear in the best hands leads to awesome things. But, for me I don't have to have the best of the best at literally all costs. That's why we're shooting on Panasonics, Samsungs and what not and not everything on ARRIs. For me it's more about the value, and that's something on a personal level and very very subjective. Of course it's also because most of what I shoot is with lenses 35mm or wider (speedboosted 50mm (0.71x) ~ 35mm as well), that's another kind of thing you could take into account. Or perhaps you want to establish a consistent image character throughout your focal range and the Leica would be the odd man out.

I did a quick test shooting 180 VFR and apply twixtor (10%). This slow mo is equivalent of shooting at 600fps. Each sequence that last 10 sec in the video was 0.5 sec in real life. Obviously this is far from behind perfect, the subject it boring, twixtor soften the image and generates artifacts. Just a test to see how far I could push the slomo mode with somehow decent results.

An interesting document from Panasonic about how to work with LOG. The PDF is specific to the DVX200 but it does contain interesting info. http://pro-av.panasonic.net/en/dvx4k/pdf/ag-dvx200_tech_brief_vol6_en.pdf

Damn Marty, you are the master of the G6. You have got to make a feature on that little cam. Great work and color as always.

Just MFT makes it so easy to adapt from anywhere. Say... what makes you go with Panasonic or Olympus when you can have a set of these puppies for example? (You'd throw 'em on a ZY Optics/Zhong Yi/Mitakon Lens Turbo II EF - M4/3 (or Metabones of course, but again: value!) with a C/Y - EOS adapter) Or instead of going for a 1299 42.5mm f/1.2, get one of these for like a third of the price and throw it on your speedboosters (again, L/R - EOS -> boosted EF - M4/3) : Even the Veydras have been way less than 1000 a pop (12 & 85mm came out later): Love primes as well. Primes, boosters, IBIS. The holy combo. To me/us atleast... maybe we are a select few that delve in a little deeper than going to our electronics store and letting the sales guy advise us on what to get... but to me, there are so much alternatives to pick from that in my eye are so much more bang for the buck... you'd have a hard time selling me that 1299 lens. But they're sticking to it, in fact, it seems the focus is shifting towards the high-end (which kinda makes sense, because smartphones are getting better and better and it's harder to sell people cheap cameras that can't really set themselves apart from smartphones in terms of looks and quality, it's starting to take more to make a difference, so we are seeing more expensive options and even more entry level, still high-end, medium format gets offered now for people to set themselves apart even more) so it must be working.

this looks great. wanted to share something I learned to do in resolve. see at the far left and right of your image the blue/red chromatic aberration along hard lines of dark and light? I get that with my Kowa B&H anamorphic too. but in resolve, if you split your image into red, blue and green channels, you can apply slightly different horizontal scaling to the red and blue channels to eliminate the aberration completely. it also sharpens things up a tad. and you'll get to experience the same, very satisfying, feeling I get everyone time I apply this fix.

No profile --flat or otherwise -- will be able to properly capture what you will be able to recover in post, so you might as well use it to help with other things. A punchy profile like Standard will help with manual focusing. Couple this with digic peaking + magic zoom, and you'll be surprised at what focusing precision is possible with just the camera display. Also, learning how the monitoring profile relates to the specific post workflow pays good dividends, especially if you are in the habit of exposing consistently. And if you know which profile value ends where in post, then all you need for exposure is the digital spotmeter (which is really the ultimate digital exposure tool anyway). For B&W Monochrome might be useful in that you get to view the tones only, without color distractions, and this might help with lighting choices and judging separation. But this can also be a detriment since color cues can help with space orientation and framing if there is movement in the shot. And the profile's mapping to grey values will not necessarily match the channel mix you will do in post, so it might be misleading.

Im loving resolve 14. The lens distortion tool seems to be super useful at emulating the bend of anamorphic lenses

Pan GX80 + Pan 42,5 mm 1.7 WB - auto Portrait -1,-5,-5,-3 i.dynamic - auto sh/li - 0/0 Skintone is perfect for me, Printscreen Video RAW without adjustments directly from the camera , 1080/50p , It's a surprise for me

I was buying one anyway, now this is just gravy that will fulfill those days when I feel like messing around with 4K Raw... just the fact that we can shoot 4K Raw on a $2000 or less camera is nuts. I will use mine for micro shorts, 3-5 minutes long. So I am not too worried about storage space and any other hiccups that may occur. The projects are already small enough and I am pretty much a one man band filmmaker, so I won't have the costs more professional productions would accrue. But even still, I will treat 5D3 Raw like we used to treat shooting 16mm short ends... basically a 3:1, 4:1 shot ratio with a completely planned, story boarded script. Hopefully it will make me a more considerate filmmaker in the end and story, composition and lighting will be bigger concerns.

FWIW, the basic technique of match-cutting has certainly been part of the craft from the earliest days of montage editing. Now, since the tempo of modern editing is so frantic and kinetic I'd call this evolution of the style "hyper-match-cut" as it's over and above even the fast paced stuff we're used to in more "standard" edits. Also, the craft to aggressively accentuate the blend of movement is obviously such a huge priority it becomes the prominent aesthetic and the entire justification of the video. Cool, to be sure. Enjoyable in short doses as it's style above substance and fun to look at. Perfect for impressionistic travel films. How well does it work for fictional narrative though? I suppose it depends. Alright, so this is going to be a bit of a tangent, but I must say since this thread has me thinking about it, after watching "Jason Bourne" last night, I felt that the fast cut style was pushed beyond my tolerance. Your mileage may differ, but for me it became unnecessary distraction rather than an effective technique. However, it was interesting to note how incredibly short the editor/director was willing to make a shot and still attempt to maintain narrative cohesion. The answer, as much as I could tell, was about a 4th of a second. For me, it was like this: visual mess, visual mess, visual mess, okay I see a knife falling to the ground, visual mess, visual mess, visual mess, he landed a punch there, visual mess, visual mess, visual mess, okay I see a gun, visual mess, visual mess, visual mess, his wound is a liability, etc., etc. --And all that happens in about 2 seconds. I'm actually not being dismissively critical of the "mess" part, (flying elbows, CU's of motion blurred faces) because I realize it's designed (or tolerated?) to be a sort of impressionistic din and then the incredibly short but important visual clues let the viewer connect to the unfolding sequence. I'm just fascinated by deconstructing the technique and the limits they were willing to push. So, it works for me when it's short and highly stylized as in these travel videos, but kinda annoying when looking at it for extended action sequences.