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Thanks but the compliments must be addressed to Kenjo McCurtain to begin with. "The man" behind this piece of work. I've just tried to serve of a little help : ) There's team work, of course. So, everyone also has a role to play there for sure. This is the outgrowth of a collective effort without doubt. To each their own, anyways :- )

Since one of the stated reasons for documenting the journey was accountability, how did your first night of shooting go?

Congratulations!!

These images are really about what the camera captured - with colour grading there is a huge latitude to change things in post, which is where the taste and preference comes in. The challenge is what you have to work with in the first place. In the thread about colour grading 8-bit footage I showed that there is huge latitude to push things around in post - to the point that you can bring things up by 4-stops without ruining the image: Of course, if your highlights are clipped then there's basically zero ability to change it in post! After reflecting on things after posting the images above (and also of reviewing a bunch of other shots I didn't post) I think that the images look and feel like reality somewhere in-between the two extremes I posted. I can't recall how much I had to stop down to pull the highlights back into range, and it probably varied depending on the situation, but it might be a case of maybe shooting a stop under what the GX85 wants to shoot at that might give a nice middle ground. I must admit that the highlight blooming on the lens is quite nice, giving a sort-of magical feel to the lighting, while not making the image to surreal in daylight situations or being impossible to use with strong light-sources. There's always more lenses to add to the kit!! I used to shoot exclusively with manual primes and I worked out that for the travel work I do that the following were the right lengths: 16mm equivalent FOV: This is used for WOW!! shots.. buildings and landscapes. It also does crowded interiors too. Going wider than this makes things look too distorted, and going longer doesn't give that WOW!! factor. I forgot to mention it in my equipment summary, but I have the iPhone for the super-wides during the day (it isn't good enough at night unfortunately) so that compliments the walk-around zoom lenses. 35mm equivalent FOV: This is for environmental portraits, which is essentially the main subject of my work. I shoot mostly travel with family and friends and the subject of these films is the people interacting with the environment. Combined with the distance I am normally standing away from the subject, this is about the right FOV. If I went wider then the people are smaller in the frame than I'd like and if you get closer to compensate then lens distortion becomes undesirable. It's also good for landscape shots too: 80mm equivalent FOV: For things that are further away. When I first started travelling with the 3-prime setup I took the Helios 58mm F2 with a non-speed-boosted adapter but found the 116mm equivalent FOV on the GH5 to be too long - it was too much of a gap and I found myself swapping from the 17.5mm prime to the Helios and then swapping back. The gap between the 35mm FOV and 116mm is a 3.3x increase in focal length. I have since bought a M42-M43 speed booster which remedies this. So now that I've moved to the GX85 and the crop factor in 4K is 2.2x, the FOV of the lenses is: Laowa 7.5mm F2 is 16.2mm FOV TTartisans 17mm F1.4 is 37.4mm FOV (2.3x previous) Helios 58mm F2 with SB is 90.6mm FOV (2.4x previous) The 20mm F1.7 would be a 44mm FOV, which is a bit too tight in my experience. Of course, if I use the 14-140mm F3.5-5.6 zoom during the day and 12-35mm F2.8 for walking around "well-lit" places at night, the only use for the primes I would have is for very low light situations where I can shoot slower and take the time to MF properly. In terms of what those situations demand, I'm not really all that sure. The Olympus 75mm 1.8 might be a useful addition for super-tight low-light shots, although it might be a pretty specific lens. I want to capture what I see, so it's not a case of going out with a lens and finding the frame, it's a case of going out and experiencing things and capturing the most that I can. What use cases would the 75mm f1.8 capture that the 14-140mm F3.5-5.6 couldn't? If I had the budget, the 20mm F1.7 is so small that I could easily fit it into my bag, but the 15mm F1.7 is also a lot smaller than the TTartisans 17mm F1.4 as well that either one would work just as well, except that the 15mm is wider. The 4K from the GX85 can always be cropped slightly without much impact to image quality too. I already own the 17mm F1.4 so it's not a case of having a preference, although the 20/1.7 is 2.7x the price of the 17/1.4 and the 15/1.7 is 4.4x - so budget might have had something to do with it! I was using only fast manual primes, but now I've come to value AF over DOF, so the primes are relegated to low-light duties, however if I could get fast AF primes then that would be desirable too. It's probably something I'd look at upgrading to over time, assuming I stay in the MFT system, of course.

in Tokyo: https://www.google.com/maps/place//data=!4m2!3m1!1s0x60188d5e7c59b97f:0x444ba64953c2a2b?sa=X&ved=1t:8290&ictx=111 https://www.shirokumafilms.com/

Let them stand in their beach. The most unique cinematic is the less competition we have... LOL : ) BTW... MAKE-BELIEVERS will have national release in Japan... Ikebukuro Cinema Rosa on April 13th. https://www.cinemarosa.net/lateshow.htm 〒171-0021 Tokyo, Toshima City, Nishiikebukuro, 1 Chome−37−12 1F https://www.imdb.com/title/tt11530452/

I'm sorry to hear that. Maybe if you switch to creating content with an interchangeable lens camera, learning lighting and blocking, then you will be able to attract a viewership with a taste for more cinematic images? I hear that once the algorithm has pigeon-holed you in one genre it's hard to change because you have to break out of the echo-chamber you're currently in.

My intention is to document this journey here and I’m doing it for the entirely selfish reason of keeping myself on it!

The 50mm f/1 Noctilux vignettes like crazy on full frame.

Fascinating. Super wealthy hobbyists who make fancy home movies think 24p doesn’t look like cinema having never actually made anything with actors or working with a crew and using their family as their evidence of audience approval. Little to no understanding of the difference between acquisition frame rate and distribution or display refresh rate in multiple environments or global territories but still drawing conclusions. So many experts one one place. How lucky we all are.

I took my new camera to San Francisco last weekend to capture Christmas in the city. I filmed at 60p and showed the footage to family on Christmas day and I got the same reaction you did. No one said it gave them a headache or complained that it felt like someone peed in their eggnog.