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Short film directed and written by Jessica Yu-Li Henwick who has starred in various big budget productions for cinema and tv, such as "Game of Thrones" or "Glass Onion: A Knives Out Mystery". She is also acting in the leading role. The film was shot pretty barebones on a Xiaomi 11 with a gimbal being put to use. Here is a very cool interview, talking about finding the right DP, why she shot on a phone and requirements to film without extra lenses or big accessories. Also about scheduling and preparing the shoot while being on set starring in "Glass Onion: A Knives Out Mystery" and where she drew inspiration from for her film. Great interview and insight about the filmmaker, her film and her process. I really enjoyed film, cinematography and image quality as well. The other film above my post looks equally appealing to me btw. So here are the article and interview with Jessica Yu-Li Henwick: https://directorsnotes.com/2023/02/11/jessica-yu-li-henwick-bus-girl/

Thanks for your very thoughtful response to this thread, @kye. Your remarkable ability to distill and articulate is one of the reasons I still check this forum. I worked for a large corporation for eight years before freelancing, and I've "consulted" with dozens of other corporations since. What you've written above rings true. There are a lot of people hiding out under ill-defined roles and abstract goals who spend their days shopping online and watching YouTube. Their job, quite literally, is to create the illusion that they are accomplishing something. And yet, it's so hard to even be considered for one of those jobs. Something that I like about video work is that you always have something to show for it, and effort is evident. I think you are right about smaller organizations. If I make the switch, I'm more more interested in less pay for an organization that is actually trying to do good in the world than more pay for a company exists to increase wealth for the shareholders. Glad to hear that your sister is doing well in her new line of work. Do you know what her reasons for leaving were? And out of curiosity (and without knowing her role in the film world) have you ever collaborated on a film together? IT is for bigger brains than mine! It seems like you're really plugged into the film world in NZ. Are you seeing any noteworth trends? Do people tend to go into different careers at a certain age or life stage?

Guess I'm bound to now:) What's that fugly confused emoji for under my beautiful post? You are in trouble now. 😊

Wait! Not listed as one of the Netflix authorized (Approved... no less, insane!) cameras?? Really? No way! Who wants such crap of device? *cough cough* Who will buy to exhibit it anyway? LMAO hehe Sorry guys, couldn't resist! Marty is one of those who will fully understand me! Fortunately, not the only one! ;- )

Thanks for making the connection. Pretty cool! She’s great. I got emotional at Little Garlic shot on iPhone - so well done! If I’m being for weddings etc I probably wouldn’t default to the iPhone. But as a non paid enthusiast it’s quite the tool. It’s probably going to be my next platform. I’d love the a6700 form factor but even when I had the xt4 the size of the footprint between lense and body wasn’t convenient for casual use with friends family or travel. It would take too much to be in the moment. I still have the Ricoh Giiix and will compare it to the iPhone 15 when I grab one. Just waiting on an ND solution so I can use a quality VND.

I'm definitely not convinced (to upgrade as an OM-1 owner) - I think it's too expensive at the launch price of £2200 in the UK, especially now the £1700 G9 ii is around. And as for that very large & heavy (for micro43) 150-600mm lens that's only F5 max aperture and costs £2500...what are they thinking - have they forgotten what micro43 is supposed to be about?

Just a follow up - I've been playing with D5300 footage shot in the Neutral and the Z-Log L profiles. For Z-Log-L, an input color space of Rec 709 or srg with the input gamma for Fuji F seemed to get me to a quicker good starting point when using a CST starting node on a non-color managed workflow. But with Nikon's neutral profile, I found it odd that input settings of Rec 709/Rec 709 gave me a slightly more contrasty starting point than when selecting srgb/srgb for the input color space and gamma settings. I assumed the results would be identical. Selecting Rec 709 or srgb for input color space made no difference - the shift was caused by the different srgb or Rec 709 gamma setting. What's more, leaving it to Davinci Resolve to do the conversion in an automatic color managed workflow led to a third different starting point that was in between the Rec 709 and srgb gamma input settings in terms of contrast. And taking a closer look at the gamma settings Davinci chose for the managed workflow, all Davinci would tell me was that it was an "other" gamma setting. So poking around the interwebs I came across this handout on Nikon's Color Management System: https://cdn-10.nikon-cdn.com/pdf/manuals/Scan4/NikonScan-4_CMS_en.pdf. While it is focused on color settings for Nikon scanners (and their previews) it does discuss Nikon's color management generally. Long story short - the handout points to an srgb color space and gamma 2.2 for images that are previewed on window's based computers. And sure enough, in Davinci Resolve when I selected srgb and gamma 2.2 for the input color space and gamma on a starting CST node, the results were identical to the results that came up in the Davinci Resolve automatic color managed workflow. So somehow Davinci Resolve seemed to pick gamma 2.2 for its input setting when doing the transform on its own. Granted the gamma shifts are not that dramatic from one setting to the other and we're just "transforming" from Rec 709 to Rec 709 or srgb to srgb. But still, for what it's worth, a Rec 709/srgb with gamma 2.2 might be as good a place to start when input color space and gamma settings are required.

Internal variable graduated ND. That’s fantastic for minimalist travel/landscape photographers. This is an absolute gem of a camera and I wish I had a place for it in my life, but along with anything that begins with the word Hassleblad, at this point in time, it cannot and may not ever be.

I had an S1H...went to the s5iix and am back to my S1H. S1H image was truly one of a kind with that OLPF.

The TL;DR is that you're incredibly valuable to any office environment, but the challenge is that compared to the average (borderline useless) office worker you're so different that the entire system won't be able to see your value, so the challenge is how to get in the door and then get your bearings. I've spent my whole career in offices - starting with IT background and working through project management to program management to various consulting and transformation engagements. I am an independent consultant not under the umbrella of any consulting firm, so I'm on my own for networking and finding new contracts etc, so have navigated this territory for a while now. The most significant things I have observed are these: Almost no-one understands the concept of transferrable skills. There is no understanding of this in the recruitment process or HR department at all - zero. Offices and corporate environments are designed to treat staff as pre-programmed robots. If your entire career history isn't the same job title over and over again then they don't know what to do with you. Offices and corporate environments are places where the rules of the game do not include things like productivity or practicality (or probably anything you'd recognise), they are about perceptions and processes and culture and not rocking the boat. The only people that appreciate people who can take ownership of an outcome and actually get things done are a select group of middle/senior managers who are being suffocated by red tape and actually trying to move the needle on some outcome. There are two types of people, those who change things and those who run things and maintain the status quo. You are the former, not the latter. As you are someone who knows how to actually get things done, I'd suggest the following: Any kind of role with a focus on making changes or solving problems and hitting deadlines should be a good fit - this is likely a management role but don't confuse the management roles that are just managing a team of people that do repetitive tasks Smaller organisations are likely to be a better fit, as they'll be more comprehendible for someone not familiar with the corporate world (think of it as a parallel universe completely separated from reality with different rules) As much as you can, bypass any recruitment process, and try and establish contact with the people inside the business who make decisions and can see your worth (and if necessary can ensure you're not filtered out in any recruitment process that is required) Try and meet these managers directly - many people have needs to hire good people but don't have advertised positions because the job market is pretty devoid of sensible people - so if you get in contact with these people they might make a new position for you What you want to do is get talking to the managers who have money and decision-making authority and have them decide to hire you. This is the whole purpose of networking. The other challenge is once you're in the door, how do you work out how to fit in and get people to work with you. Things like running meetings, getting people who don't work for you to do work, how to explain things to management types so that they understand you (including how to tell them things they don't want to hear without making them want to fire you), etc. My sister made the transition from film to 'normal' work. She retrained in Business Analysis (basically analysing a problem and designing solutions) and Project Management. She got hired into a large corporate firm into the call centre, but very quickly started doing things on top of the normal work (which she absolutely hated) and was internally promoted, and has now been internally promoted several times as they gradually see her potential, and as she gradually learns the new culture and ways of doing things. It's a long learning curve, but it can be done. Good luck!

It's easy to tell... When you look in the mirror do you see a long majestic flowing magnificent beard? If so, then you might be Ironfilm, or potentially a member of ZZ Top, but if not then it's ruled out definitively.

Something I’d welcome would be combined battery and SSD grips as in here is your basic body with 1 or 2 card slots and here’s your ‘pro’ version with twice the battery power and an SSD. Or for those that would prefer not to have a ‘larger’ grip, a non-battery, SSD grip that is more slimline.

The latest Samsung USB SSDs get 2000MB/s, which is 16,000Mbps. The BM 6K FF camera does 6144 x 3456 (6K) with Blackmagic RAW 3:1 at 323 MB/s for 30p, so 2000MB/s would be able to do 10810 x 6080 at 60p. Of course, that's BRAW, but I don't think it being a removable drive would be the bottleneck. Also, if it was removable, not only could you swap them out in the field, but over time when the SSDs got larger / cheaper you'd be able to benefit from that progress.

And then I know I would immediately wish I’d spent a couple of hundred more… 😜 I think it’s an inevitability re. my smaller, lighter, faster mission that I am currently on but as the least important part of my puzzle and readily available, I want to see how my Nikon Z6ii + lens vs all my L Mount kit goes first and when that is settled…

They're simply better. True diversity + more features + slimmer bodypacks. But anyway, I quickly upgraded to Lectrosonics. Ahhh... I remember the Samsons C02, it was awful, yet I did all of my first feature film with it for anything indoors. Get a better shock mount?? The boom pole can't be that bad??? Nice, it's better than nothing!! nah, it will make you look high end 😉 Also a good option! I worked on an overseas Reality TV show where they used that a lot. Get the older secondhand generation of it?

To be fair, even Olympus themselves weren't interested in keeping Olympus cameras going anymore. Better to have been bought and transitioned this way by a company that was - at least in the current term - interested in producing them rather than it being bought strictly for the name and it then be used just as a brand stamp on a succession of low end OEM stuff. There are numerous examples of this in different industries but one example from photography is Rollei where that brand has gone from meaning this : To meaning this : With Olympus, we will now at least be spared that indignity and so it can be remembered for the cameras up to this point rather than being subsequently associated with a raft of shitty products.