fuzzynormal

Close enough for a PR release.

Great editing choices too, btw.

We must not watch the same horror films.

One simple but intricate metaphor and 10 minutes of excellent movie making. Love films that are true cinema and are not overwritten.

It's all good.

I use these mics. They're great. Do as dafreaking suggest. I'll often record to an old zoom h1n and then synch my tracks in post. It's simple to do on a decent editing app like fcp. Easy and a whole lot better than relying on the dslr preamps.

Since 35 mm motion pictures were never full frame anyway, I'd say people aren't as conditioned to the FF look as alluded. At least with movies. That said, it's great for cool photos.

For me, it's more about how you create it than what is used to create it. The camera is only a small but important part of the process. You can shoot actual 35mm, but punt everything else --and you won't be able to create much of a film look.

Get your 48mm nd and then gaff tape it. That's what I do. I also glued a step up ring into a cheap CCTV Lens once.

The rhetoric is strong in this thread. Lots of new video-centric-photo cameras are going to hit the market in '14. It's a shame Nikon ain't gonna play. Andrew doesn't like their strategy. In the meantime, the cam is a good fit for some.

I'm in and will pick up some slack. Maybe I can stave off the reaper for you. Instead of death, maybe I can help you get to a catatonic state of oblivion. Of course, you have to wait until I clear off the five corporate vids clogging my desk right now...

Impressive. I wish I was half as prolific.

I'm thinking a lot of y'all need to take a break and go into the screening room here on EOSHD. Look at stuff that actually exists as a creative endeavor, for better or worse. Get motivated to create rather than pixel peep. Even if you have the latest and greatest camera, all that resolution is for naught if you're horrible at framing a composition and editing. And try not to get all sad and mopey if someone doesn't like a piece of kit that you like/covet. It happens, so what? Does your self-worth run tandem to the gear you own? Really? Someone owns a BM cam and you want a Pan4K. Fine. I'm not sure we need to hear convoluted rationalizations about your future purchase here online. Do we? (I'm attempting to motivate myself with this plea as well...too much dry corporate editing and procrastination forum reading. Making a dry training video turns me grumpy. Not enough creativity going on in my life this week.)

I feel the opposite, and I'm a GX7 owner. Depends on what you're doing though and how you want to do it. I have a project coming up that 5-axis stabilization will help make much more productive. If it were only about image resolution/robustness though, I'd stick with my GX7.

As I mentioned, nothing on the market is going to make amateur videos of your family look better than 5-axis stabilization. For the record, PP stabilization on extended clips is typically lousy, not to mention time consuming to accomplish.

Sure, rip off a TopGear segment. No joke. Just try to do one of theirs shot for shot. Every. Single. Edit. Print out each and every screen grab from one of their edits, carry that style book to your field production and cross off every shot as you go. Study how they use lighting as well. There's a lot to be learned when following the leader. Oh yeah, if you're going to interview someone and have them talking on screen, don't punt the audio. Either do it right and mic him up proper for high fidelity sound or don't do it at all.

True skill. Such informed use of wide angle too. Very impressed. Need a PA anytime soon?

No, not in DIY film making, that's for sure. But I've mired myself in the tech for decades. I do enjoy it and don't find it daunting. It's just that, for me, digital imaging has finally gotten to the point where it's so technically democratized that I feel I absolutely have to focus on the more important aspects of the craft. I've too often ignored the art to play with the newest buttons and switches. I'm now feeling that such propensity is not going to serve me well in a DIY film making career moving forward. Those switches and buttons are not as expensive and exclusive as they used to be. Anyone can afford them. I just saw a 5DII for sale on craigslist for $350. Put that camera and a cheap 50mm prime lens in the hands of a talented artistic kid and there's no limit to what she/he could do. And the gear is so good, even if it's not "the best", it will support and even improve their creativity...as you allude to. Sorry. I'm hijacking the thread. I know gear talk is the prevue of this forum and sensor stuff is the main part of it. Have at it and I'll shut up.

That's why I don't really care all that much. I'm the type that would just rather use the dang things to make something interesting and call it good. I mean, it's curious and cool to know the tech, but hardly a priority for making something artistic. Good for you if you want to delve in though. Lord knows I'm not inclined to be an engineer.

Still would love a hack that gave me some short term 4K bursts at whatever data rate was viable. Sure, it may never happen, but the thought is nice.

Because it's the maths. And the numbers say, "nope, not practical." As I say, the ability of a sensor to read the photons will be what matters. And what's wrong with that exactly anyway?

I work with a colleague that likes using them on his FS100. We did a local TV spot and the shots looked good to me. If you like how they perform, go for it. Video examples are easy to come by online, but try them yourself. If you can't test before buying, you'll always be able to resell 'em anyway. As for a 1.2 or .95, I try not to run my lenses that wide open regardless, unless that's a specific look I'm trying to accomplish or if it's doc production in an extremely low light setting. Neither of those things tend to happen too often to me so I don't fret too much about the super fast lenses. My goto prime is a 24mm Nikkor 2.8. I've also heard testimony that the Fujinon C mount lenses are impressive/cheap. Since they make 'em for different sized sensors you just have to make sure you buy ones that cover m43; plenty of forums/advice out there for help if you want to look into it.

Sure, there's some good lensing in that video and I like the editing choices. Yeah, I see a handful of common DLSR shooting mistakes that could be avoided and thus "fixed; some of the frame rates are too high for my tastes and the coloring is too uncontrolled, for example, but otherwise is still looks solid to my eye. Put it this way, I'd guarantee you that I could put an Alexa in the hands of some people (maybe on this forum), send them out into this environment, and they wouldn't make anything half as compelling or cohesive. And, even though it's already an anachronism, I still enjoy the image, flaws and all, from the sensor of my 5DII. It's like loving a filmstock that's not as good as others, but suits your sensibilities, youknow?

Dang right. And I need to get out in the desert and ride the twisties some more... On my motorcycle designed in 1962...