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Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools. Cheers! David P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights

Watched it today. Have a direct comparision to the original, as I have watched it for the first time right before some friends and me went to the cinema. The original was very enjoyable as was the recent incarnation. Both with similarities but total different beasts in other ways. 2049 is a real cinematic experience like the first one is. The longer and calmer scenes gave it its own rhythm and tension. Some of the deaths felt not necessary nor helpful for the story and the film itself. The photography is impressive and must be seen on a big screen. The bigger the better. James Bernadellis review describes the qualities of this film very well. Visually it´s a masterpiece, plot wise it does fine.

I didn't see anybody on the forum talking about this amazing-looking new camera from DJI. 4.6k at 60p, records to C-Fast cards. Poorly translated page suggests 16 stops of dynamic range. More specs and info here: http://dronereviewsandnews.com/dji-october-11th-reflections-guess-1-zenmuse-x7/ Supposedly this thing is supposed to be announced on October 11, but somebody got a hold of the details early. 4k sample footage here: What do you guys think? With an Inspire 2, as well as paired with an Osmo, this could be a pretty formidable combo.

One way is to make a duplicate track of your footage, and, then, make a mask that is transparent, except for the dead/hot pixels. Attach that mask to the top video track. Then, Guassian blur the footage in the top track (that is attached to mask), so that the values/color from the adjacent pixels seep into the hot/dead pixels. Here is a demo:

What is confusing is that this line below is also in the free versions description: "Added support for hardware accelerated HEVC decode on supported NVIDIA GPUs on DaVinci Resolve Studio on Windows and Linux" But yes there is the Studio word. So it must be that there is no support for HEVC in the free Windows Resolve version.

Kidz, You really know how to get the best out of this camera. Your pics of the city just above are really outstanding. I just wish there was some way of getting the color performance at 4K instead of having to goto 1080p to get the 10 bit 4:4:4.

I would just add that while 1-2 stops is a good rule of thumb, there are scenes in which you don't need bright shadows but you keep the highlights so normal exposure of slog can be preferable Like night shots or with late sunset light.

I think we often see that massively-hyped films with great opening weekends often fail to sustain their momentum as word of mouth gets around that they're not actually that great! Hopefully BR2049 will do the opposite (I haven't actually seen it yet, but I'm salivating at what I've seen so far of Deakins's photography).

I'm not stuck with domestic grosses, where do you get that impression? In fact, this movie was probably greenlit mostly because of foreign market revenue since the original Blade Runner was a flop in the US. It is a cult movie nowadays so it could gather a worldwide audience to make it financially viable -let's hope it does-. The issue is that whatever international distributors spent on international marketing is irrelevant to studios. Most of the times, studios make movies, market them and exploit them in the US -where they control the whole production chain up to movie theatres-. That's why we can sort of calculate how much they spent and their break-even point. International distributors usually pay for their own marketing campaigns and simply give back 50% of the BO gross. Well, that prediction may not be far off! giving a x4 performance through its box office is kinda optimistic, though. That would be an ideal -yet possible- scenario given the good reviews and word of mouth. Take into account that more "hyped" movies like the Twilight films only manage to double the first weekend gross during their box office life. And no, those figures do not include DVD/Blu-ray, Streaming on TV rights... those are the very last chance for the producers to get their money back. Hey, even Waterworld eventually broke even...

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

You're welcome, amico mio! : ) Sent you PM, please check your PM box :-)

Short film of a hike during our holiday in Filzmoos - Austria. Samsung NX1 - Voigtländer Ultron 40mm - Bolex 16/32/1.5x - Rectilux HCDNA.

It all depends on the story. Once you have it as tight as possible, is it a 30-40 minute story or is it a 15 minute story?

I just came back from the movie and I entrered the cinema with maxotics notion in mind. If this really were Personal passion project there wouldn't be so much mainstream content in the film, and the philosophic aspects would be a few levels above teenager masturbations. While watching the movie a 70 years old couple answered the phone two times, two fat people in front of me opened three soda cans and a few gigantic snack bags that made horrible sounds, the projector lens had problems because the keystone correction was at max so the upper part of the screen exibited chromatic aberration, etc... Anyway, at least it was in my 27.000 people hometown shit hole and I only paid 5€ to see it, can't ask for more.

This card SONY M series, me perfectly working GH5 400MB/S https://www.sony.com/electronics/sd-cards/sf-m-series

Having worked in Hollywood I can say categorically that the marketing department (money, budget, etc) is less connected to the filmmakers than the person filling the popcorn at the movie theater. Also, the money can come from different sources. Even back in 1985 when I worked in the biz foreign distribution money could give/take-away a green light. That is, there are many "interests" in the film, from academy nominations to simple worldwide gross. When I was at Orion they made "Dances with Wolves" only to keep Kevin Costner happy so he would make other films with them--who saw Waterworld coming? ;). While it was being made, people practically laughed to his face about that movie. Blade Runner is partly a vanity project for all involved. I remember when they were making 2010, or whatever that 2001 sequel was and had to build all new sets because Kubrick had purposely destroyed the old ones. At first I thought he was a jerk. That changed after watching the sequel. They must have known it would be no 2001. They didn't care. For many reasons, various people wanted to invest in it. Bottom line, if money was the only reason to make blade runner, I doubt it would have been made. It's an adult story. They're not money makers. All the money makers have children in them as lead characters--well, children to me

I am sooo tempted to buy an a7s for its amazing lowlight 1080p and then some external 4K ProRes. But it’s still a few hundred away from a must buy for me. When I can get a like new one for $1000 or less, I’m on it. With that being said, I would stick with my 5D3, unless I could afford a C200 or an Alexa Mini. I’ve also been really impressed with a lot of the LS300 footage I’ve been seeing lately. I’m just waiting for an indie film to use that camera. I can’t believe nobody has yet. A friend of mine sent me this link and it looks amazing...

Keep your delusions in check - 'full frame' is just another format and not a new standard.

Simo, have you already tried any one of these tips? https://www.eoshd.com/comments/topic/24937-gh5-autofocus-improvement-on-new-firmware-update-for-soon/?page=3 https://www.eoshd.com/comments/topic/24937-gh5-autofocus-improvement-on-new-firmware-update-for-soon/?page=2

True. Although I've never gone to an electronics store and seen a "real nice picture" on a TV. Oh, well I think I did once, but I suspect Philip Bloom had been there and already turned off all the extra bells and whistles. Thank you Philip!

Hey Eric It's amazing what you are doing. I'll make this post a sticky. Cheers!

I am a screenwriter before I am a filmmaker. One of the reasons I began with screenwriting is because I always had ideas for movies but never the money to make them. So I may look at the storytelling process differently but for me it always begins with a "What If?" I've also always been a people watcher... always curious who is who and what is what. So being in tune with your surroundings and asking rhetorical questions about what you see can also be helpful. There are ideas all around you, they just need to be grabbed. By knowing the types of stories you want to tell helps your brain weed through the irrelevant ones. Also like the old editing adage... if you can't solve it... dissolve it, for storytelling... when in doubt... adapt. There are hundreds upon hundreds of public domain stories, poems and songs that could make interesting modern stories. Since there is no such thing as an original idea any longer, we as modern storytellers, need to embrace that the only key to an original piece of work is our own take on a tired tale. Also, although confusingly named, this subforum is designed to show finished work, so you may want to ask a moderator to move this thread to the main board... especially since, sadly, this subforum is rarely visited.

What complete nonsense. Every statement here is without any basis or just plain wrong. 1. You believe the Sony was overpriced, which is irrelevant. In any case there is no price reduction. The selling price now is the same at introduction. Look it up. 2. There is a lot wrong with EIS, requiring a crop of the sensor and reduced resolution among other issues - artifacts. 3. It is preposterous to say that BOSS was implemented because it "CANNOT do EIS". First, BOSS is superior to EIS and second - read slowly here - the SONY also does EIS (should I repeat that?) - that is what "Active" mode for stabilization is, a combination of EIS and BOSS. You can turn EIS off and just do BOSS. No one in their right mind would do EIS instead of BOSS. It is obvious you know nothing about the Sony. Active mode stabilization has been a feature of Sony's big camcorders for years. 4. You do not understand why Sony chose a "curiously (to you) rectangular" sensor because you do not understand aspect ratios. Sony chose a sensor shape so that there would be few wasted pixels for 16:9 video; the sensor size corresponds to the 16:9 picture size. It is the standard 4:3 sensor (like on GoPro's and Yi's) that wastes a lot of pixels for 16:9 video. "Rectangular" 16:9 is the aspect ratio of video. Pixels would be wasted for 4:3 stills, but this is a video camera. 5. Sony chose to "only" put 8.2 megapixels on the sensor to maximize pixel size while keeping the sensor size small - it is the number of pixels corresponding to 4K (UHD) video. This is why the Sony has superior low-light performance compared with other action cams, which pack 11+ megapixels on a similarly small sensor - bigger pixels, which absorb more light, means better low-light quality. Because of 4 and 5, the X3000 is a not a good stills camera, it is designed for 4K video. Btw, the sensor and processor are exactly the same as in the Sony AX53 4K BOSS camcorder - the X3000 is essentially a miniature AX53. Your final, desperate, argument is essentially - if the Sony is so good why is it not dominating the market? Your ignorant rant is an example for why, as it is similar to others. Evidently most people do not understand video and the features of the X3000. Oh, and your belief the processor of the Sony is inferior is belied by the fact that the Sony processor can do 120 fps in 1080 (with stabilization), while the Yi can only do 120 fps at 720p - 4K60p is a real advantage, however, although the lack of any stabilization for that frame rate severely limits its use.