fuzzynormal

You're assuming all this guy's attitude and motivation was genuine. By all accounts he was a quirky dude that wanted to screw around with building crap. The flat-earth thing gave him an excuse and notoriety to do so. If he could have grabbed more attention by exploiting 70 year old grandmas that made quilts, he would probably have done that.

Supply and demand. Also, the devaluation of the service/product. Which direction you looking?

In 2019: -$23,456.12 Hooray! Self funding your own movies is fun.

Oly has an electronic ND function/mode. Which is pretty cool, but my understanding is that it's only for stills and doesn't work with video...which is what I was thinking about. Having physical ND glass inside the body is great, but putting it in a small EM5 body would be a real challenge; would be really wonderful if they could though. Then again, these are photo cameras first and foremost. No real desire to make the camera bigger to accommodate somehhhing like that.

I don't think internal ND is do-able with these sensors for video. Correct me if I'm wrong.

Indy filmmakers can use the technique as well with more modest ambition. Projection backgrounds for instance. I've also always wanted to do front plate special effects just because I love the simplicity of the process...and that it's a centuries old concept has a certain cool factor too. Made a werewolf movie once too where we tried to do stop motion animation mixed with live action. Harryhausen kind of stuff. Didn't really work, but we gave it a try. Simple concepts with sophisticated equipment are always kind of fun.

"Double Punch" is what we called it in the olden days. But, yes, LUMIX cameras are troublesome for accurately triggering recording. The only solution I've found is to make myself put forth a concious effort to literally read the record clock for a second, make sure it's rolling, and get on with my work.

Well, FWIW, I don't like to drop 60p into a 24fps timeline because, like the OP said, if you switch on "interpret footage" to make a clip slow-mo, Premiere mucks up the proxy in/out point, and proxies are my workflow. So, not everybody.

No, I'm asking about mixing the footage/timeline fps. I do slo mo too, but don't use 60p in a 24fps timeline. But I know what you're talking about, perhaps. When you try and use "interpret footage" Premiere proxies do fail to hold their in/out points. FWIW, I'll use 50fps in a 25fps timeline and just slow my clips by 50% using the "speed" function rather than "interpret footage," and this avoids the problem. Or, 60p in a 30fps timeline. As long as the timeline is half of the source footage, works great. As long as your footage rate is divisible by the timeline rate. Another alternative is to shoot slow-mo in camera at whatever frame rate you plan to edit in. Of course, you need a camera that does that, however. Since learning non-linear editing so long ago I was pretty much locked into having footage match timeline; there wasn't a choice in the early versions -- as to muck with frame rates made NTSC footage look ridiculous. I guess it's just a"rule" I stuck to. At any rate, how I capture footage is something that doesn't cost me anything, whereas building a beast-mode PC to handle 4K editing natively is not something I'm keen on spending my money on. However you go, good luck.

Why would you do that though?

Confirmed. You do not want to be directly accessing media on a big project using a slow hard drive with Premiere. You can, but it's annoying. Everything bogs down. Just reading the media a large project holds can take a half hour with a slow drive. However, here's the workaround my documentarian wife and I use: Keep our source 4K footage on a cheap/slow external hard drive, make proxies of our footage, save said proxies to a SSD, and then edit from there. You can use a 10 year old computer pretty effectively with this method. My wife typically does rough cuts sitting in her lounge chair with her old laptop. Edits fast and easy. I'll do the final drafts, coloring, and rendering on the modestly beefed up PC. None of our computer equipment is state of the art and we do just fine. Using proxies is something all editing systems do, but (believe it or not) Premier handles the process more robustly than others. Resolve, looking at you. Proxy editing just allows so much more speed during the cutting process. Just scanning the thumbnails alone makes this workflow worth it for us. Every once in awhile we do a small project with maybe a few dozen shots and I won't bother with the proxy creation. It works and is okay, but the speed of editing is diminished and a bit frustrating.

Any "self-help" media/program that's ever existed. If you're lucky, they'll make a religion out of it. Then you're not just talking about making "bank," you start owning the actual banks.

My wife and I are actually documenting our small town as a side pet project. PM me if you want details.

Well, I guess I should qualify that to say if you had an improper shooting set up and your footage is bad, then it might not be a post problem.

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.