Emanuel

Might they include some customization desqueeze feature I guess? ____ Yet, and from your review: "Shallow DOF is overrated because it covers up for a lack of good lighting and motion cadence. I’ve noticed a subtle interplay between motion cadence, shallow DOF and the film look. A shallow DOF can help to give you a three dimensional pop and film look with a LongGOP codec and hide the fact that 24p doesn’t really look like film 24fps. When you have true 24p and an ALL-I codec like on the GH5 with the 2.0 firmware update, you find yourself liking the look of deep focus more, because the movement isn’t as eye fatiguing and everything looks more film-like. If you have ever seen projected film from a Super 16mm camera you will know what I mean, it has a cinematic dreamy look that you don’t need an extreme shallow DOF to compensate for." Yeah, the results are always a commitment that works. Without the usual sugar, the sweet will variably have a different taste going on with some other attempt to figure out how to replace it. That is, we're speaking about something else, that's it.

https://youtu.be/_mB4RS1y8ok?t=575

Here is: https://youtu.be/_mB4RS1y8ok?t=628

John Miller's stuff (Congrats man!) on the 1st one. Nick Driftwood is another part of the chain-link fencing.

We live and will live much harder times, that's for sure... : (

^ No mercy for production issues.

The year was 1999. Under Sicilian mob threats because of the plot -- a true story to be told... a DAT tape lost. Hundreds of thousands lost. The major credit card had about 300 bucks of remaining limit. Flights to pay. Weeks of shooting to repeat for direct sound and dialogue. Script re-written with Marco Tullio Giordana on the purpose in order to fit the Portuguese actress (Ana Moreira) casted for the lead female character had to be reduced. And the character had to be cut off. The actress had no role anymore for her contribution and ours as co-producer despite the hard work and participation in the movie as such, after never ending hours of working time. I went to hospital with heart arrhythmia (my 1st experience with Inderal) following two nights and days with absolute no rest for the weary. In the end, the movie is still considered one of the major hits of recent Italian cinema (won five awards in Venice BTW, nominated for the Golden Globes, USA and so on) and helped to launch both Marco Tullio and Lo Cascio careers in their next collaboration together La Meglio Gioventù / The Best of Youth, an epic of 2003 all Italians easily recognise as the History of the second half of their XX century. http://www.imdb.com/title/tt0238891/

OK, placed the provocation; show us where those pages are then... ;-)

@PannySVHS, you're on the spot : ) and we live cinematic days from Walmart toys... *cough cough* Real movie cam, yeah, seems more appropriate to call them so, when the results are beyond any screen requirements. BTW, speaking of big-big-screen, a dozen years ago, in a Master Class with Tonino Guerra, the great master had all his eggs for the future of motion pictures in those 'cineprese giapponesi'... His words when he pointed one of the attendants with one of those consumer digital cams in his hands filming his lecture. Nice to see he stands fully right ;-)

Sure, all about the shooter... There are better capture devices than other ones though ; ) Here's more from the same production house. Worthy to take a look. Those two couples shine because there's an eye beyond the camera and skillful hands to handle it.

Nothing wrong to assume predictable framing for cinematic purposes. On the contrary, people go to film school in order to practice predictable techniques :-) Cinematic can also be the word for Russian wedding cinematography: No need to go to the movie theater... at all.

http://www.4kshooters.net/2017/08/13/mtf-services-can-convert-your-fuji-mk-cine-zooms-to-sony-fz-and-micro-43-mount/

http://www.4kshooters.net/2017/08/13/mtf-services-can-convert-your-fuji-mk-cine-zooms-to-sony-fz-and-micro-43-mount/

Indeed. That's my point exactly. If you're happy with, why to move along? : ) I have to be pretty sincere on here. I normally resist to trade in my tools for the newest promise to keep up the vibe. To me the secret is always on combos. That's just my weak point :-D Speaking of devil, 5D2 only had two flaws: DSLR form factor (I did the move to the GH series to begin with the GH1 and never looked back in any way other than as when ML RAW popped up) and aliasing/moiré. The latter one much prone to overcome with the proper handy skillful workarounds. We did a feature film with (even before ML hack) becoming a web series too later, at least:

Yes, it's true : ) Funny question... I've just posted a new thread on topic: I have enrolled myself in some productions (mostly narrative, aside a few docs or experimental stuff when happens) of other people, although in sabbatical retirement these last two years. When and where I've practically dedicated myself to photography as personal path of my own or funding new projects to come next year or to luckily start in the end of this year. Let's see what happens... :-) 5DII, earlier GH series' offer and G7 by this chronological order with or another exception aside, as shooter.

What's your current personal camera nowadays?

Not yet Glenn, I have so many cameras over my desk, I can't decide to quit from any of them yet. But, I surely will ;-)

Not bad at all... :-)

A new one from Jurek (stoneinapound here):

Because there's a new distribution model nowadays based in your personal display, no matter the size of it (resolution matters... : D).

Indeed. They did a bigger leap, just not exactly forward in order to keep the regulars there as myself for example. Why not? Netflix is currently the most successful major out there...