fuzzynormal

Well, it's definitely ballsy to do that in Japan. What he's doing, as an artist, makes sense to me. Still, I lived there for a year and just watching him film stuff makes me slightly uncomfortable. As Gaijin I would always ask permission to film someone.

It sounds like something you're doing wrong in your post work flow.

FWIW, I don't use AF, nor would I be comfortable using it on a paid job anyway, so that part of the camera function is a mystery to me. We edit everything with proxies and then export in whatever resolution desired. For instance, we did a 6 part PBS show with 2 GX80's shooting 4K, pulled everything into Premiere, made proxies, edited, and then exported at 1080. Not really sure what advantage your suggestion of doing scale-down-transcoding would actually offer, but I'm sure there's some situations where it might be useful; just not part of my workflow.

My wife and I shot a doc with the G85 as the b-cam, was not disappointed at all. If I was told to go out in the field and use this as my only camera, I'd be okay with that.

Yeah, no doubt. But there's a lot of audio recording options these days for outboard recording w/monitoring. A good audio solution is very important. Been looking at the Rode GO system recently. FWIW, I shot a series of 6 documentaries with two GX85's, wireless mics, separate audio recording, and it worked well. Sync'ing in post is a step, but nothing I found too daunting.

I've been considering the EM10III for awhile now. Might be worth looking into it for you as well. It's around 300€ used too. Personally, Olympus impressed me when I owned the EM5 and EM5II. Liked the way the colors looked, the IBIS, and the ergonomics.

But why exactly does he have to mention a certain specific in order to make his case? Should not mentioning other injustices, even if it's only the ones he's aware of, be enough?

As much as I'm not a fan of (imo misguided) Phoenix' acceptance speech, this sort of argument is ridiculous. Ignoratio elenchi. Because he failed to mention specific injustices his entire point is diminished? C'mon. If you don't like what he's doing, just say so.

In this era of information, his courting of notoriety like this is probably by design. It wouldn't be the first time he did this. Hope you're right about the self-defeating part.

Maybe you'll find this interesting: My wife volunteered to make a modest video roll-in for a local festival thing in our hometown. Just for kicks I used the organization's old 5dII to shoot it for them. I have a 50mm nikkor prime with an EOS adapter, so I used that. It's a modest clip, but here you go: 12 year old IQ tech: https://www.dropbox.com/home/BSL?preview=PERFECT_PICTURE.mp4

All I need to make it into Sundance is a ALEXA Mini? Alright! Rental time.

When the shutter is slower than the multiple of the frequency, I've not witnessed it showing up much in the footage. So, under 60hz you can shoot 24fps, 25fps or 30fps with a 40ss and not see any of those sync issues, for instance. At least I don't. Anyone else notice this? Do try. See if you like it. I think it's an undervalued film emulation technique.

Nah, I actually don't like the 180 shutter rule. A tiny bit more motion blur in the image and it looks more like film to me. I shot a doc once with 25ss and 24fps. Liked that too even though the motion blur is more pronounced. To each his own, but it's a style/look that I think really takes the edge off the "video" quality of a video camera.

Seconded. It's all about the lighting. Took me a long time to realize this in my own career coming from the run 'n gun world of broadcasting. If you're willing to listen to advice from an older dumbass like me that has made all the mistakes, right now at the outset, then you're going to leapfrog over all other newbies that put their efforts into acquiring gear. Acquiring gear isn't always a waste of time, but it's a wildly low priority. Learn to light. Learn to know when to not light. Learn to "see" what light is doing and offering; exploit it. Learn to recognize what sort of lighting works for motion pictures. Pay attention to your frame like you're making an oil painting and, my god, you'll be so much better at this stuff than most of us. Nothing drives me more crazy than when I see cheap indy shoots that have NO notion of lighting AND can't even bother to dress up/clean up the location they're shooting in. Everything on frame is visual information. It's your job to control it and make people see the important stuff, not random visual vomit. That said, slap a 50mm lens on your T3i, put it on f2.8, set your frame rate at 24fps, set your shutter speed at 40, use the neutral color profile, get some ND filters to control your exposure, and you'll have a good technical baseline to make things happen with your camera.

For what I do, I'm thinking the em10iii from Olympus might be the best bet. Recording outboard audio makes things a little more difficult, but all the other good stuff kind of outweighs that. Small, affordable, IBIS, good color, 4K...not bad at all for micro budget documentary production. Can get two used bodies for under $600? Hard to resist. I really like shooting "light" when in the field, so I'm tempted. figute I can sell the gh5 and it'll pay for the switcheroo Would have considered the Em5iii, but without headphone jack might as well go with the cheaper camera. Sorry Olympus. You had a chance to take my money with the em5iii.

We've all been able to shoot "cinema" on video for decades now. It's not about resolution or DR, even though that helps.

I like the the centuries old legacy of the phrase "fast" in photography, though. It's neat-o.

Yeah, but what if I like that softness? (And I do) Sometimes, flaws are not something to avoid, but to be embraced. At least for me. Anyway, the Voights are fun because you can squeak out extra exposure for dim lighting, and it's nice to have that option. FYI, just my ideas and style. Others really want that tack sharp stuff. I'm not that particular. I go for character rather than precision.

I'm not a fan of the YouTube consumerism era, but I'm so old I actually resent my iPhone and what it's doing to me, so there you go. Same shit applies with the glorification of stuff. We've all done it as young people. Now it's just a different generation. As with most new people, they do everything a lot more and they do it with their own style. The fact that they have this modern and new infrastructure that's never existed in the course of human history is rather fascinating and really is kind of nuts...but that's for the 20 and under set to cope with. Screw all you young kids. You can pound sand.

What do you know about the western three act story structure? What's you opinion on traditional story telling archetypes like protagonists and antagonist? Do you appreciate character development, the heroes journey, conflict, resolution, redemption? You don't need to follow these elements of standard narrative models, but I've found, for me, that it doesn't make sense to break or bend the rules until you understand them. Put it this way, do you think it would be likely to make an impressive painting if all you access to a tube of titanium white?

I think I'm an okay editor and make half way considered opinions when editing. Thing is, I don't really like doing it. I don't really get excited to sit in front of the computer pushing buttons. Hence, even though I've been paid decently over the years to edit things, I've never considered myself an editor. My cousin, however, is in the industry. He cranks 10 hours a day on real productions. That dude is an editor. I'm a dilettante. Honestly, the most entertaining edit from my biz last year was a Adobe Rush thing my wife put together on her iPhone. That being said, if you want to make a serious career in the work, my impression is that you really need to do a deep dive into it; that means learning the same tools the upper echelon creatives use. But editing decks are just tools, just like cameras. There's really not a big difference between functionality. At the end of the day it comes down to your decision making abilities that hopefully help improve whatever footage is that you're working with.

In the industry, I'd agree that legacy attitudes and craft work will remain. People that are considerate of what they're doing tend to make more artistic decisions. However, The YouTubers and social media influencers will be leading a certain aesthetic moving forward, I think. Hard to run from that avalanche. We'll get used to (have gotten used to?) 60p and vertical video, for example.

That's the basics. Dial it in however you want, you're essentially pulling colors around in the mids. Making warmer in the upper mids, cooler in the low mids. The dark and bright stay clean, even desaturated to taste. I've never done a deep dive into being a colorist, just looked at stuff and pulled things around to my liking. Very dillitante'ish, as usual. Still have the first video I really gave it a go at the technique, shot over 10 years ago on an actual video camcorder using dem dere videos tape thingies we used to have.

I've been using it for years because I do like the complimentary colors and I was in the habit of trying to make video look more like film. The world of media is forgetting film now, and the kids doing stuff aren't aware of that legacy, so the color tricks to mimic it are less popular. But I'll stick with it a little bit as I'm not into accurate color. I like my footage a bit outside of "reality."

Anyone know approx. how many stops of exposure there is between 200 and 25 ISO? I long for the day I can dial in proper exposure for motion picture shooting using only ISO.