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Yeah, I'll see someone I know say something incredibly disrespectful to me because we disagree on politics, but then when I see them at the grocery store it's all smiles and asking how my family is doing, etc. When I tell them to fuck off (quite literally) they act shocked and confused. I don't mean to paint all older folks with the same brush, but people that didn't use the internet much all the sudden became super connected once smart phones took over the market and immediately became the shittiest users on the internet. Now your 60 year old aunt spends most of her day shit posting and making casual racist comments on Facebook but wonders why things are now awkward with you on holidays.

hey lol im good. how are you? oh i agree 100% awww, sure, but it sucks lol. thank u tho. ill pm u ive been working on a bunch of new stuff. i made a funny pitch film to fund my next 5 lil films or so, and now im trynna get that out there. never give up

As I gradually get more serious about learning the art of editing, I've discovered it's a very under-represented topic on social media. There are definitely some good resources, but compared to cinematography or colour grading, it's much more difficult to find resources, especially if your interest isn't purely narrative film-making. A good strategy is to search for editors by name, as often the good stuff is just called "<name> presents at <event>" and no mention of editing or even film at all. However, you can search for editor after editor and find nothing useful at all. As such, I've now started analysing other people's edits directly, hoping to glean interesting things from their work. My process is this. Step 1: Download the video in a format that Resolve can read I use 4K Video Downloader for Mac, but there's tonnes of options. You're probably violating terms of service by doing this, so beware. Step 2: Use the Scene Cut Detection feature in Resolve Resolve has this amazing function that not many people know about. It analyses the video frame-by-frame and tries to guess where the cut points are by how visually different one frame is from the previous one. It's designed for colourists to be able to chop up shots when given a single file with the shots all back-to-back. This isn't a tutorial on how to use it (the manual is excellent for this) but even this tool shows useful things. Once it has analysed the video, it gives you the window to review and edit the cut points. Here's a window showing a travel video from Matteo Bertoli: What we can see here is that the video has very clear cuts (the taller the line the more change between frames) and they occur at very regular intervals (he's editing to the music), but that there are periods where the timing is different. Let's contrast that with the trailer for Mindhunter: We can see that there's more variation in pacing, and more gradual transitions between faster and slower cutting. Also, there are these bursts, which indicate fading in and out, which is used throughout the trailer. These require some work to clean up before importing the shots to the project. Lastly, this is the RED Komodo promo video with Jason Momoa and the bikers: There are obviously a lot of clean edits, but the bursts in this case are shots with lots of movement, as this trailer has some action-filled and dynamic camera work. I find this tool very useful to see pace and timing and overall structure of a video. I haven't used it yet on things longer than 10 minutes, so not sure how it would go in those instances, but you can zoom in and scroll in this view, so presumably you could find a useful scale and scroll through, seeing what you see. This tool creates a list of shots, and gives a magic button... Then you get the individual shots in your media pool. Step 3: "Recreation" of the timeline From there you can pull those shots into the timeline, which looks like this: However, this wouldn't have been how they would have edited it, and for educational purposes we can do better. I like to start by manually chopping up the audio independently from the video (the Scene Cut Detection tool is visual-only after all). For this you would pull in sections of music, maybe sections of interviews, speeches, or ambient soundscapes as individual clips. If there are speeches overlapping with music then you could duplicate these, with one track showing the music and another showing the speeches. Remember, this timeline doesn't have to play perfectly, it's for studying the edit they made by trying to replicate the relevant details. This travel video had one music track and no foley, so I'd just represent it like this: I've expanded the height of the audio track as with this type of music-driven edit, the swells of the music are a significant structural component to the edit. It's immediately obvious, even in such a basic deconstruction, that the pace of editing changes each time the music picks up in intensity, that once it's at its highest the pace of editing stays relatively stable and regular, and then at the end the pace gradually slows down. Even just visually we can see the structure of the story and journey that the video takes through its edit. But, we can do more. Wouldn't it be great to be able to see where certain techniques were used? Framing, subject matter, scenes, etc etc? We can represent these visually, through layers and colour coding and other techniques. Here is my breakdown of another Matteo video: Here's what I've done: V6 are the "hero" shots of the edit. Shots in orange are where either Matteo or his wife (the heroes of the travel video) are the subject of the video, and pink are close-ups of them V5 is where either Matteo or his wife are in the shot, but it doesn't feature them so prominently. IIRC these examples are closeup shots of Matteo's wife holding her phone, or one of them featured non-prominently in the frame, perhaps not even facing camera V4 and below do not feature our heroes... V4 either features random people (it's a travel video so people are an important subject) prominently enough to distinguish individuals, or features very significant inanimate objects V3 features people at a significant enough distance to not really notice individuals, or interesting inanimate objects (buildings etc) V2 are super-wide shots with no details of people (wides of the city skyline, water reflections on a river, etc) V1 is where I've put in dummy clips to categorise "scenes", and in this case Green is travel sections shot in transport or of transport, and Blue is shots at a location V2-V6 are my current working theory of how to edit a travel film, and represents a sort of ranking where closeups of your heroes are the most interesting and anonymous b-roll is the least interesting. You should adapt this to be whatever you're interested in. You could categorise shots based on composition, which characters are in the shot, which lens was used, if there was movement in the shot, if there was dialogue from the person in-shot or dialog from the person not-in-shot or no dialog at all, etc etc. Remember you can sort between tracks, you can colour code, and probably other things I haven't yet tried. NLEs have lots of visual features so go nuts. Step 4: Understand what the editor has done Really this depends on what you're interested in learning, but I recommend the following approach: Make a list of questions or themes to pay attention to Focus on just one question / theme and review the whole timeline just looking at this one consideration I find that it's easy to review an edit and every time you look at the start you notice one thing (eg, pacing), and then in the next section you notice another (eg, compositions), and then at the end you notice a third (eg, camera movement). The problem with this is that every time you review the video you're only going to think of those things at those times, which means that although you've seen the pacing at the start you're not going to be noticing the compositions and camera movement at the start, or other factors at other times. This is why focusing on one question or one theme at a time is so powerful, it forces you to notice things that aren't the most obvious. Step 5: Look for patterns We have all likely read about how in many films different characters have different music - their "theme". Star Wars is the classic one, of course, with Darth Vaders theme being iconic. This is just using a certain song for a certain character. There are an almost infinite number of other potential relationships that an editor could be paying attention to, but because we can't just ask them, we have to try and notice them for ourselves. Does the editor tend to use a certain pacing for a certain subject? Colour grade for locations (almost definitely, but study them and see what you can learn)? Combinations of shots? What about the edit points themselves? If it's a narrative, does the editor cut some characters off, cutting to another shot while they're still talking, or immediately after they've stopped speaking, rather than lingering on them for longer? Do certain characters get a lot of J cuts? Do certain characters get more than their fair share of reaction shots (typically the main characters would as we care more about what main characters think than what secondary characters feel while they're talking). On certain pivotal scenes or moments, watch the footage back very slowly and see what you can see. Even stepping through frame-by-frame can be revealing and potentially illuminate invisible cuts or other small tweaks. Changing the timing of an edit point by even a single frame can make a non-trivial aesthetic difference. Step 6: Optional - Change the edit Change the timing of edits and see what happens. In Resolve the Scene Cut Detection doesn't include any extra frames, so you can't slide edit points the way you normally would be able to when working with the real source footage, but if you pull in the whole video into a track underneath the individual clips you can sometimes rearrange clips to leave gaps and they're not that noticeable. This obviously won't create a publishable re-edit, but for the purposes of learning about the edit it can be useful. You can change the order of the existing clips, you can shorten clips and change the timing, etc. You could even re-mix the whole edit if you wanted to, working within the context of a severely limited set of "source footage" of course, but considering that the purpose of this is to learn and understand, it's worth considering. Final thoughts Is this a lot of work? Yes. But learning anything is hard work - the brain is lazy that way. Also, this might be the only way to learn certain things about certain editors, as it seems that editors are much less public people than other roles in film-making. One experiment I tried was instead of taking the time to chop up and categorise a film, I just watched it on repeat for the same amount of time. I watched a 3.5 minute travel film on repeat for about 45 minutes - something like a dozen times. I started watching it just taking it in and paying attention to what I noticed, then I started paying attention to how I felt in response to each shot, then to the timing of the shots (I clapped along to the music paying attention to the timing of edits - I was literally repeating out loud "cut - two - three - four"), I paid attention to the composition, to the subject, etc etc.. But, I realised that by the time I had watched a minute of footage I'd sort-of forgotten what happened 30 shots ago, so getting the big-picture wasn't so easy, and when I chopped that film up, although I'd noticed some things, there were other things that stood out almost immediately that I hadn't noticed the dozen times I watched it, despite really paying attention. Hopefully this is useful.

The only flash I use is Godox AD200 off camera. I don't use on camera myself and haven't in at least 7 if not 8 years, but OCF, at dusk or after dark yes. Mostly outdoors, but not always, lighting up folks speaking during wedding speeches etc. Direct if outdoors or bounced if indoors. Great bit of kit and all I need. I went off flash a bit the more I did video, but I'm bringing it back quite a bit for '22.

yer this old tony is good value. At times i'm so close to lashing out on a metal lathe, sigh some time ago i saw something on utube about peeling and coring apples with a cordless drill. That week an old hand operated peeler / corer turned up at a sale, i bought it for $2 had a local machinist turn up a universal chuck to fit on the end. That now slides onto my markita cordless drill. I can now peel and core a box of apples in less than ten minutes. one box of granny smiths now gets stewed and goes into the freezer to make apple pies for the rest of the year. One of the smarter things i have done or copied 😀 i have been revisiting a couple of old vids and new for ideas on tables and work tables for my own personal use, geared towards video / photography. Depending how the next video challenge evolves and my interpretation, it may get some use. English is or will become the universal language eventually i think. Also i have done my time in a multicultural workplace i can understand how coming from different languages things get miscommunicated quite easily. So its never really bothered me when dealing with people from other nations in the work place. I do however hate it when people are lazy and try to palm it off on poor english and its usually pretty easy to tell. I have also seen good friendships ruined forever over someone saying something really dumb and not realizing it. Thats why i try not to get too excited over posts online. People can and will say dumb things from time to time. Getting agitated serves no useful purpose. I vaguely remember a saying about wrestling pigs, everyone gets dirty and the pig loves it. I try to keep that in mind when online and reading comments. As a bunch of film connoisseurs and to get back on topic, i feel this is particularly apt 😁

Someone, somewhere, will be asking the question, "what SD cards did they shoot Dune on?"

Your points are all true, but what I'm getting at is that the balance is off. If I got a family car and made it sportier it would be good and appeal to a wider audience. If I made it faster still it would appeal to a narrower audience and most people would want other improvements rather than speed, for example perhaps safety or comfort. Making it faster and faster and faster leave behind most people because they'll never need the speed but would really prefer to pay for extra safety and comfort and a better stereo instead of paying for speed they won't use. Cameras are like that now. The only people where 8K is actually better than 6K in any meaningful way (when actually looking at the end result) is people doing VFX of some kind (crazy stabilisation, severe cropping, VFX) but they're specialists. So 8K is really a feature for specialists that is implemented in every camera. So we all have to pay for this feature that we won't really benefit from. But it's worse because all the energy being put into that feature is investment that could have been put into the other things that would have been of more use to a wider audience. Take the OG BMPCC for example. It was 1080p RAW internal, but had terrible battery life. You'd think that in a decade they'd have a camera that would take care of the battery life, because that was one of the cameras leading issues. Not so, the R5C can record 8K RAW, but not on battery. They've under-improved one feature and over-improved another. It's like Canon announcing "Last year we announced our 25K flagship camera which required external power to record, and that wasn't the ideal camera for everyone, so we're proud to announce that our new camera is 50K and still requires external power to record!" and people are sitting back and thinking "WTF - you worked on the wrong thing!". Similarly, think about the reaction when Panasonic keep releasing camera after camera with more and more resolution, larger sensors, but the AF is still the Achilles heel of the whole thing - "WTF - you worked on the wrong thing!". That's what I'm doing now. I'm sitting here looking at my OG BMPCC, my BMMCC, my GH5, my GX85, and thinking that all those cameras had weaknesses that would be great if they were fixed, but the current crop of cameras has been improved in ways I didn't want (and very few people actually benefit from) and most of the current cameras still have the same issues as before. They're working on the wrong things, diverting money from the right things. Hahaha. I love the old "I found one example in the entire history of mankind - therefore your argument has no merit at all so go home and let the rest of us forget you ever existed" logic 🙂 There's an interesting error of logic that people seem to be making around colour science. I keep saying that I wanted better colour science, and people keep saying that now 10-bit and RAW is more affordable so there I have it, but this is missing the point. Colour grading RAW is very difficult and manufacturers are much better at doing it than we are (otherwise, why are people so enamoured with Canon colour, if anyone can do it?) so actually, the lower the cost of the camera, the better I want the colour science because the worse the owner will be at colour grading and the less money they can devote to it. I think you're hitting the nail on the head here, The Aesthetic is about getting the right look. It's a "right amount" mindset rather than a "more is always better" mindset. If you concentrate on the right amount, then you're interested in getting the right amount of resolution from the sensor, the right amount of resolution and sharpness from the lens, the right amount of distortions, etc. The challenge is that, for everyone except specialist VFX applications, the right amount of camera resolution has already been gained and now they're just piling on more and more, but we haven't gotten the right amount of other things, like functionality or reliability. The R5 was a classic.. it can record way more pixels than you need, for way less time that you needed. It doesn't average out! The trip to film and back is a perfect example of an artistic treatment rather than a 'fidelity' treatment. Essentially it degraded the process in every way possible, when viewed from a technical perspective. Lower sharpness, lower resolution, altered colours, and cost both time and money. Worse technically, but better aesthetically. If I make two versions of a camera, one with a lower resolution sensor and one with a higher resolution sensor, the higher resolution sensor one will: drain the battery faster, or require a larger heavier more expensive battery (camera has to process more pixels) fill the memory card faster, or require a larger more expensive card have worse low-light and noise performance have worse colour (think about how colour goes to shit in low light) cost more to manufacture require a faster computer to edit, or require time to render proxies To a certain extent these costs are hidden, because technology is getting cheaper, so the cost of getting a memory card that can record an hour of footage doesn't go up from year to year. However, if I already own a large enough SD card for a given resolution, and they don't increase the resolution of the camera, the cost of an SD card for that camera drops to zero because what I own now is fine and I don't have to buy anything. This is a point that most people don't realise. I've seen it. Great film, really really enjoyed it. For anyone in this thread using this as an example of higher resolutions being useful, absolutely. Anyone shooting a VFX film with a budget more than $100,000,000 - please understand that I'm not talking to you! 🙂 LUT support in camera would be great. Guess why they don't include it in lots of cameras? It takes processing power. ............processing power that would be spare if the camera wasn't processing so many pixels!! This desire for "authenticity" through the smartphone look has been around for years but is interesting that it has permeated this far. I remember reading about it years ago when I wasn't even into video yet. IIRC people don't trust the more polished, longer focal length, shallower DoF image because they became so associated with big corporates (the only ones who could afford that look) making highly polished videos that lied about crimes against humanity and the oppression of the poor and working classes etc (you know - business as usual). Yet, the vloggers still seem to want shallow DoF, and go to extraordinary lengths to get it, so who knows if that aesthetic will somehow gradually be redeemed due to the huge volume of honest authentic people vlogging with a shallow DoF out there. Conversely, I wonder if we're in for a spate of heavily misleading content with the smartphone look somehow tarnishing the 'authenticity' that this look currently enjoys. If you get enough people spouting anti-social crap through it then that would do it, but of course that would require the people watching to realise that the content is anti-social, rather than radical free speech. Seems we're losing the ability to tell fact from lunatic in the current climate! Still, it's a genuine thing since the authenticity came from the content of that 'look' being more honest than the previous 'look'.

One of the great cine features that made it to R5C is LUT import support. I use this all the time on my FS7 in order to get specific looks SOOC (Venice, ARRI, Fuji/Kodak etc but also super custom LUTs). This opens up an infinity of SOOC looks as you are no longer reduced to the 5 or 6 manufacturer picture profiles. An essential feature when working on projects with fast turnaround. Different needs and different requirements.. for example Yellowstone is a a Paramount Network show, meaning it is broadcasted in 720p / 1080i (and in 1080p on streaming network). Meaning the Alexa Mini's 3.2K is more than sufficient. Quick search reveals this interesting info: We shot three-cameras most days, on the ARRI Alexa Mini and the ARRI Amira in ProRes 4444 3.2K, Log-C. We carried several sets of ARRI Ultra Prime lenses, and a selection of Angenieux zooms, including the 45-120 and the 24-290. I am a big fan of the Ultra Prime lenses for their simplicity and gentle rendering. I shot Wind River on the older ARRI/Zeiss Standard Speed primes and have always admired their elegant sharpness and gentle yet detailed falloff. The Ultra Primes carry that same DNA in a more modern housing, suitable for the scale of a production like this one. I find them unfussy and gently flattering, with just enough personality to enhance the natural lighting scheme we were striving for. I viewed on-set--and subsequently completed the DI--through a custom LUT I have been refining over several years.” Kind of ties in to what I was saying above about custom LUT support being such a great feature. The hybrid making of Dune is definitely interesting. Reminds me of a big trend in electronic music production which is called analog summing (roundtrip through analog) in order to shave away digital harshness.. "it gave us the feeling we had been picturing a certain texture that’s painterly but feels timeless…The film has softened the edges of the digital. It gave us something that film acquisition couldn’t give us, and it gave us something that digital acquisition couldn’t give us" Yeah it is really quite subjective but also depends on the content/medium. Narrative fiction often requires a heavier look, whereas documentaries are much more neutral. Again depends on content/medium, but you're certainly right about Gen Z: I can tell you that when contracted to do certain social media content like IG stories, clients usually insist on using iPhones so that the content appears "authentic". And if you do use an MILC, then you need to avoid shallow DoF, shoot in vertical, avoid LUTs etc. Basically you're emulating smartphones. A lot of Fashion brands have also switched their aesthetic to shooting online photo campaigns on smartphones instead of FF or Medium Format. This includes the likes of very famous photographers which is kind of a shock and a trend change nobody would have predicted a couple years ago.

I think so also... I don't think people outside of the industry have much say in regard to the aesthetic and nor do they/we have much say over the content other than voting with our feet and wallets in regard to the latter. Plus our all important keyboards of course. I just watched Dune this weekend and was blown away by the aesthetic. Best movie ever? Well that one is debatable and in regard to the aesthetic, is it all 100% real? Of course not, but that combination of real + manipulated, the lighting both at the time of capture and fiddled with in post, the tonality of each scene etc... Shot on digital, transferred to film and then scanned back to digital in order (in their words) to combine the best of both for some kind of crossover look. It appealed to my aesthetic anyway!

Another astonishing film editor I can never forget the fortune I had of a personal contact with and I could make part of my own learning from, is La double vie de Véronique and Trois couleurs: Bleu & Rouge's editor, the French Jacques Witta... Where editing is not a matter of space but much of time... Bazin and Deleuze are there ; ) https://www.criterionchannel.com/three-colors-red/videos/jacques-witta-on-red

darn, well, that will help keep the secondhand prices of the F3 high 🤣😂

If there are some other collections and barrels not exactly glass related, what about ours? ; ) Inspired by this post from one of the most dearest ones among us and a most part of us after all... Show us your Nerd ;- )

I gotta believe a sub culture dedicated to minimizing this reality has got to pop up sooner rather than later. I ain't talking about creating some hippy utopia nonsense, but just a collective of people willing and able to dedicate their precious time to things that are actually that, precious... rather than the trivialities we currently allow to dominate. I'm as guilty of it as anyone, but at least I'm TRYING to regulate my exposure to it. I don't know we've always been awash with banal possibilities, but the sheer volume we're expected to endure; doesn't feel healthy both mentally and physically.

Similar to @MrSMW I use a Godox AD200 (or an AD360) for off camera flash. Probably for on-camera flash I would use one of the Godox flash guns as well. They are good and "pretty durable" (I have managed to kill a few though since I am not particularly careful with my equipment). Generally, Godox designates the flash guns that are compatible with the Panasonic S5 / S1 with the letter "O" for Olympus, since Panasonic and Olympus cameras use the same flash communication protocol (as far as I know). Do note that the S1 has a flash sync speed of 1/320th BEFORE going in to High Speed Sync (HSS), but it only does that with certain Profoto flash guns, which are way above MY budget. And finally, for the Godox options, the on-camera flash guns that take AA batteries are fine for light duty work, but for serious work, I do strongly suggest the ones with LiON batteries. The recycle time is faster and they just take a lot more shots. The problem is if you lose a battery (or forgot the battery at home), you can't just pop down to your local grocery store and pick up a replacement battery (the way you could with a flash gun that uses AA batteries). Likewise, if the battery fails (or the charger dies), then you will have to order a new battery / charger online .

I generally also use just straight cuts or the occasional dissolve, but even when doing straight cuts I find that doing J-cuts, L-cuts, inserts and in general, timing shots and audio together the way I want can get quite complicated due to dependencies between shots in timings between audio and video and that some editors make all this a lot easier than others. This is one of the reasons why I haven't transitioned to Resolve yet. Maybe I just never learned Resolve properly but I do find it's interface to actually edit, combine and time in- and out-points between shots and audio not particularly convenient. E.g. if you learn the keyboard shortcuts in Vegas Pro which I currently use, you can basically do anything you want without having to lift your fingers off the keyboard and slip and slide all event edges or clip content anyway you like. (Too bad I don't use it often enough to become really proficient in it :-/) I haven't discovered such convenience yet with Resolve.

Is anyone using a flash with the S5 or S1? Which ones work? Thinking of the Godox TT350o as it's for occasional use. Anyone tried it?

kayleerumors is reporting that is was 12k SD

Does anyone know what SD cards Villeneuve used to shoot Dune on?

Editing might be, perhaps, one of the only things in film-making where you can't buy results. Writing might be another one. With editing, if you have equipment good enough to edit, then the only difference between a blah edit and a spectacular edit is the skill of the editor. In terms of classic movies, while editing on film was obviously not as easy as an NLE, they had most of the tools at their disposal. Even if you're just limited to making a simple cut, most edits would not be diminished by this restriction. The ability to dissolve, either fading to black or white or cross dissolving, gives more expressive freedom, but it's not a hugely common technique. ie, it's used very very rarely compared to the straight cut. The addition of the NLE feature to gradually crop a shot can allow the fine-tuning of match-cuts, which I notice in older film films are sometimes not quite aligned and so it diminishes the effect. However, the match cut is even rarer still, making the availability to match framing almost, but not quite, irrelevant. When I was choosing which NLE to go with, FCPX, PP, or Resolve, I realised I needed very powerful colour grading functionality, including stabilisation, but only very basic editing functionality. I find this to be true now, even more than then. I haven't used anything except a straight cut or the odd dissolve in any serious way in any of the dozens of videos I've edited. Resolves ability to do fancy things is going up and up, and my desire to use anything fancy at all is going down and down and down.

loool no i do agree 😂 no irony i swear oh i well i find that quite touching. i needed that. thank you very v much thank you, i wish it was better tbh, but i keep making things. oh good news: if you get deep into it youll hate it MORE /ive been making things. the pandemic kinda messed me up BUT as long as we're talking about art here........ i take my art practice super seriously. im super self critical and it can be paralyzing – im sure many of you can relate but every time i make a lil film, it gets so much better. and i take these things as defeats, still, because there are inevitable (yet unpredictable) disasters one way or another, but i LEARN SO MUCH that after the shoot and im done licking my wounds i can go back and say Wow im growing as a filmmaker. i just learned not to do 1000 things that ill never do again. and my Big Idea turned out pretty well, i was right about a lot of things, not perfectly executed, far from it – but im getting better all the time. and one day my reach will catch up to my grasp. so my point is that the only advice i have for any filmmaker is: just keep making stuff. you'll see

I'm hanging in there, thanks. Well played with the "100% agree." Well played. Thanks for the link. I don't remember it sucking at all. I remember it showing a strong artistic hand crafted it. 5 more films?! That's great news. I admire your work ethic. Did you pitch a producer? I am so horrible at pre-production. I just want to write a script and shoot it. I hate casting and funding, etc... you know all of the things that make a movie happen.

also @kye i fundamentally agree with your point, as an artist, profoundly less is more – i did not make that up 😂 but now we're getting into weird territory that cant be evaluated with lens charts (paintings by chuck close)

Hey Kaylee, how in the hell are you? I don't think you're wrong at all... but neither is Kye. In fact, I think his point is being missed here. Higher resolution is fine... to a point... but it's completely unnecessary when you consider that it's all the camera manufacturers are giving us. Two years ago when 6K was popping up, most people here were saying that 4K is more than enough and we'd rather have higher bit depth and better DR. Instead, they give us more resolution and now some of those same people really NEED 8K. I can't tell you how many times I have almost bought a Sigma FP because I thought I needed 4K raw, but at the end of the day, I still haven't made enough with my 5D3 and ML Raw. I'd rather have 14bit color and internal 1080p raw than 4K raw, a bunch of new storage and a computer upgrade. I actually don't think any upgrade, shy of a Komodo, or better would be worth the trouble at this point... especially when you consider the OG Alexa Mini is probably still the most used camera in Hollywood. I, mean, Yellowstone, the highest rated TV show still shoots with the Mini... and nobody could say that's and outdated image... that's gotta mean something. But everybody has different needs, so YMMV. Btw... can you send me a link to your short film? I've been wanting to watch it again.

Thanks you very much for the insightful reflection and all the work! @kye Now i need to montage and edit all this information in my head.😊 @Emanuel I was always astonished by the montage of "chelovek s kino apparatom", which was edited by Elisaveta Svilova. I am astonished by some classic movies, by how good or great they are when I watch them for the first time. Some modern masterpieces are equally mindblowing and breathaking of course.

I don't know there is a pretty big push for older aesthetics among young people. The entertainment space is becoming more and more diverse. Classic anime is hugely popular with younger people. There is room for all aesthetics imo. I kind of agree with you on anamorphic lenses, I am not a big fan, at least for most stuff. I value lens choice a lot more than camera though. The lens you use is the difference between a sharp and soft image.

Maybe you have a bum HDMI cable?

i must have missed something, does btm_pix win as the xiaoyi has af ? or are all the answers winners. you make no mention of af being a requirement as far as i can see.

PS: Not only a matter of space... to clear up as a disclaimer, bien sûr ;- )

Yeah, uncredited, sorta cameo à la Hitch : D with whom he started his career BTW with The Wrong Man, on which he worked as assistant editor. Here's more stuff from Bobbie O'Steen and her husband's life dedicated to the movies, already in a period where the modern cinema comes up to the silver screen; brings a contribution of his own to the motion pictures within the mainstream -- interesting the fact he collaborated with them for decades: https://www.bobbieosteen.com/blog/ Many videos on topic right there in this channel to prove YT is not only shills, money and garbage ;- )

Rumors are canon rumors is going to Spotify. (C1)

I remember how pedantic the replies to your last trivia question got so I'm going to get an early bid in by saying Metabones.

Indeed, Walter Murch is a monument : ) Something I could immediately extract from his testimony, is the cut over the characters' movement -- I think it's one of his finest contributions, obviously, too little to define it: https://www.premiumbeat.com/blog/when-and-where-to-make-the-cut-inspired-by-walter-murchs-in-the-blink-of-an-eye/ https://www.studiobinder.com/blog/walter-murch-rule-of-six/ https://musicbed.com/blog/filmmaking/editing/editing-secrets-from-legendary-editor-walter-murch From a conversation with him: https://www.provideocoalition.com/aotc-murch-bcpc/ More around from: https://blog.filmsupply.com/articles/5-editing-lessons-from-walter-murch/47/ https://www.yoair.com/blog/editing-on-film-how-a-good-cut-creates-an-impactful-message/ And an interesting recent degree thesis about his famous rule of six. Some other important individual I got the chance to have her as one of my instructors at film school but personally in her case along his nice husband the legend John Bailey, is the Lawrence Kasdan and Spielberg's E.T. editor, Carol Littleton. Here's an interview and a free audiobook with her to whom loves her showpieces and cutting work: https://cinemontage.org/silent-revolutionary-carol-littleton/ https://www.audible.com/pd/An-Evening-with-Film-Editor-Carol-Littleton-Audiobook/B002V01IR6 Finally, a last contemporary bibliography reference, another woman and wife of Sam O'Steen (The Graduate, Rosemary's Baby, Chinatown and many others), also available at the Manhattan Edit Workshop BTW as much as the above-mentioned audiobook: https://www.bobbieosteen.com/2020/12/watch-my-panel-inside-the-cutting-room-of-sam-osteen/

Oh shit! Did they digitally crop for an artistic intent? Amateurs!

Editing is a fascinating but smokey art. It seams to slowly blow away when you try to talk about it, a bit as waking up and trying to remember your dream, imho. I don't know how much it is repeatable. I always felt that I haven't studied enough of it. Your idea of detecting cuts with Resolve is great! I am on a video editing FB group in Italy. Not once editing is talked about. Just usual Mac/PC, GPUs, Premiere problems, which NLE to choose, how to deliver to some TV, etc.

Until a couple of years ago. Now people with their full name and with a profile picture of their family, posts in FB wishing death to someone else. It is sad, more than anything. But adults are turning into rabid teenagers with zero responsibility.

I might get a lot of hate here for saying this....but he came across as a complete prick to me and I personally will not miss him one bit; I will miss the rumors site and information itself but his behavior towards me IMO was not much better than the behavior he is saying he received from others. When the Canon R5 overheating fiasco happened I was the first one on that site to really tell it like it was. I wasted many hours getting into endless debates with the Canon fanboys on that site who swore the overheating wasn't a big deal and wouldn't affect the camera's useability. I kept everything respectful, simply stated my opinion and basically said the camera would be completely useless for even light professional work (which turned out to be right in a big way), and Craig banned me for it and labelled my account a troll. Incidentally, getting banned from there helped me discover this site so for me it all turned out fine. Craig made it clear that on his site any post that wasn't worshipping at the feet of all things Canon would get the user banned; not even a warning.

Interesting hard work, Kye : ) At the film school following a full-time three years program on editing plus a year of internship, we had basically two bibles : Edward Dmytryk Walter Murch (on YT) The invisible editing mannered by the neorealism towards the synthetic contribution to the current contemporary forms seen today, comes essentially along the pioneering effort and findings from three fathers of all this I vividly recommend ; ) Lev Kuleshov Sergei Eisenstein Dziga Vertov

I'd also really like to have more visible markers, but I'm not aware of any way to adjust them. I have previously looked through all the menus looking, but didn't find anything. Maybe @Andrew Reid can shed some light?

Well ARRI already have the 4.5K LF & the 6K Alexa65. So to me that statement was already made a while ago. Well technically they all needed to be above 4K as their Netflix original content minimum requirements. This is why so many Netflix DPs dropped the Alexa for RED/Venice. Changed the whole game. There are real benefits to higher resolution too. Now wether or not this matters to you the end user watching a show on your 7" iPad is a different story. You're always trying to pigeonhole people in two categories it seems. Very black & white logic. Higher resolution is simply an inevitable reality. Tech moves forward. So do requirements. That doesn't mean you are directly concerned or that non +4K footage has become obsolete. Cinema is still 2K, terrestrial FHD and everything goes on the internet..

Hoping for some RAW goodness from 5d, Sigma FP and Bmpcc/Bmmcc. Also some 8bit nerd passion and fun vintage oddities. Andrew could show off his Canon dream lens. So many cool combos I would love to see. Someone had a Tokina 60-120 2.8. There is a photo of a Sony PMW F3 with a Nikon 28 to 70 with a Isco video 16:9 in the treasure corners of the EOSHD archives. Or the lightest gear, camera, lens like CyclingBen suggested in the original post. Well, I surely am with you on getting out again for some leisure time camera fun! @leslie

3/4 years ago I almost bite this one here: https://nikonrumors.com/2018/06/30/this-camera-and-lens-collection-contains-1750-pieces-and-can-be-yours-for-65000.aspx/

With a name like Cycling Ben I think I will pass lol. 😬

Darn me, and i still have not used my F3 yet. Cannot wait to try this beauty! I wanted to use it on a shortfilm but the director wanted the c300ii. I sneaked in a bit of GH5 and S1 though.:)

Yeah, the colours are always gorgeous with ML thanks to the bit depth and colour science. I get a cropped real-time display in Live View, then I press the 'info' button to show me a grey scaled live view (low fps) of the actual raw framing. Then I go back to real-time and click record. I'm so used to it these days haha 🤣🎥

Just posted my latest Video with the EOS M & 2.8K Raw. Truly remarkable what this camera still can do. Tried to emulate the Super 16 look although I mainly used Canon L Glass. https://youtu.be/ohDS3ErANOs - - Gear Used- - *Camera - EOS M (Original w/ ML) *Lens - Canon 17-40 F/4 | Canon 24-70 f/4 | Canon 35 F/1.4 *Tripod - - Settings - - *2.8K RAW 2800x1190 [2.35:1] * 23.98 FPS, 1/48, WB 5200, ISO 100 - - Editing - - *All graded in MLV App (ALEXA LOG C Profile w/ Creative Adjustments enabled, Exported Prores 4444 * Finishing touch in FCPX 8K Timeline & Export (LOL), added little saturation and exposure adjusted, No sharpening at all.

you should shoot more mono no0ne. Thats rather good 🙂 I'm on my third russian lens. This one is interesting in the fact, there's no play anywhere, its quite smooth to turn and it came with an ef adapter that has the tiniest amount of play i have experienced in any adapter so far. putting on the 60d it seems to focus on infinity going to try it on the p4k tomorrow. The orchard near me is out in flowers so i want to capture it with the p4k. Downside is the last few days have been 60 km an hour winds. Which isn't really conducive to me videoing anything outside.

I can not believe that Ebay "thinks" my ancient Canon 24 1.4 L FD is worth more than my Canon 17mm tilt shift? This photo with the TS (with a lowly 12mp "non photo" camera) got a highly commended at the Mono awards 2020 (Australian B&W photo competition that attracts thousands of entries) and highly commended means it got past the second short list but not the final thirty. IF live music ever starts up again, I look forward to getting back to using the TS for both video and photos of full bands from next to the stage.

Below is a short excerpt from his post but this is not surprising as so much goes on behind the scenes that most don’t know about. https://www.canonrumors.com/thats-all-folks-for-me-anyway-canon-rumors-will-live-on/ This has sort of been in the works for about the last year or so. I haven’t had much fun with this site over the last 2 or 3 years, a new demographic of people have exhausted me. I think a lot of this change started with the proliferation of YouTube personalities over the last 5 years. Nothing is about information anymore, it’s only about whose saying it. This is true for all forms of media and I really don’t want to be a part of it. However, yesterday they came at my children and my wife. They came at my family….. little fanboys of certain YouTubers that have obviously been raised horribly. What was in my inbox I won’t even show my wife. I’m tearing up writing this with absolute disgust for how horrible people are becoming. All of this is created by the personalities (I refuse to call them creators), they feed off of it, they profit off of it and they don’t care