fuzzynormal

"Adobe will also unveil updates at NAB but I am uninterested, as I really do think their reliability isn’t fit for pro work any more, or any kind of work for that matter." Yup. The most true words ever written on EOSHD that I've ever read. Like a lot about Premiere in theory. Can't abide by it in practice!

...for God's sake already...

Thanks! Some of the generic stock footage is actually quite useful for me.

If anyone in the U.K. is so inclined to actually go out and see this film: https://www.path88productions.com/flying-fur-screenings-calendar/2019/6/13/ramsgate-international-film-festival-uk

For the type of shooting I do, that would be the reason I'd use the Sony over the BM. Simple choice. All the other specs would be secondary considerations.

How does it handle the skin tones?

Ha! This sock-puppet sketch reminds me of some of the skits my friends and I used to make...wow, started almost 30 years ago now. We actually had a weekly recurring sock-puppet character that was part of the "sitcom" segments of our sketch show. He was our apartment complex neighbor that kept complaining about the noise next door. We were doing stuff mostly for public access TV or local PBS on and off from 91-96. It was pretty fun because it allowed me to hone the craft. We started doing things on a Video Toaster w/low-end-sloppy-editing tape decks, and at the conclusion we were using Premiere 1.0, hand coding HTML for a website, and uploading RealMedia 320x240 videos to the "world-wide-super-information-highway." (and, honestly, that first versions of Premiere was a more stable version of the current one - plus we were in the 1st U.S. market with consumer high speed internet; faster than what I have now!) My brother uploaded all that video nonsense on Facebook a few years ago. It's all embarrassing as hell, but that's to be expected unless you're lucky enough to be a bit of an talented artistic savant. Which, I can assure you, we were not. I should share that so you can see that silliness. 30 years hasn't been kind to my young sense of humor, I'll tell you that much! Point is, even though I cringe when I watch the stupidity we thought was "so cool," I'm still proud that we actually went out and managed to somehow do that stuff DIY, especially back in the day when video gear and editing systems were incredibly expensive. Like, real gear was mid six-figure expensive. Somehow us broke-ass-blue-collar-kids cobbled things together with anything we could get our hands on. Anyway, keep making things. Ideas that are realized make a difference somehow and someway; even if it's just fond memories of youth from an old guy. Ideas that never get made don't.

The Panasonic GF2 doesn't have IBIS.

I have a film I'm going to self-distribute this year so we'll see what options Apple offers... options are good to have.

FWIW, I like time lapse that has long shutter exposures. The motion blur is nice.

I'm from Michigan, rust belt central. Lots of folks just okay with being and not really eager to do much outside of their normal. I suffered the same dilemma back during my 20's. You basically have to lead the way and pull other people along. When you find the colleagues that are eager to help, you embrace them and make them integral to the process. The people that are lazy or just not engaged, just flat out ignore them. Be harsh about it. Don't indulge folks that don't deserve it. You may find that the most creative charismatic people are lazy as shit. That happens. Hard workers are more important. Get people willing and able to make things a reality, anyone else is not going to be ultimately helpful. The best thing that could happen for you is to search out or hook up with someone more talented and ambitious than you. If that happens, try your best to keep up.

I made my first films built around short 1 to 5 minute comedy sketch ideas. My friends and I would air that junk on the local public access station. It was stupid and ultimately embarrassing stuff, but it got the ball rolling. Most of us have to do it wrong to learn how to do it right. Point is, you can't do anything if you're not doing something.

Sure, you can have a environment where the players are all human and just let things happen. That's fine and fun, but it's not really storytelling. It's like playing with virtual action figures. Whatever narrative that arises could be exhilarating, but it's organic not artistically authored. Controlled fiction is an incredible art form.

I'm enamored with the idea of story telling in a virtual world. Eventually, somehow, story designers will need to find a way to incorporate effective AI that steers the narrative in the direction they want while maintaining the illusion of free will in whatever sandbox environment they've created. It's a difficult problem of math, as any random decision needs to motivate a seemingly random reaction and those threads of possibility reach levels near infinite pretty quickly. Manufacturing chance to lead into a predetermined outcome is some existential stuff.

Passive narrative will always have a place. Reading hasn't gone away yet --nor should traditional cinema be doomed, regardless of what future entertainment technology offers.

The culmination of good craft. The variables to get there are infinite.

The detail of "rRoma" is almost too dense for me as a home viewed film. I feel I really should have watched it in a theatre. The small living room screen couldn't hold the info. One of the better, IMHO, B&W films from the past few years is "Ida." That was a masterclass in composition and static beauty.... done by a young dude too.

I wish they'd just embrace their cinema snobbishness and be wonky about the craft/industry, but whatever. It's a friggin' awards show. Even when I go to "Oscar Parties" I tune it out and just chat with friends. It's total shit show from top to bottom regardless. As Andrew says, it's there to drive revenue. Anyone that hasn't caught on to that reality yet and thinks it's some sort of artistic endeavor, god bless your sweet soul you beautiful butterfly. Yes, it's virtue signaling. And, yes, it's been that way forever. Anyone even remotely know about most of the "best" Academy films from the 40's or 50's? Nah, 'kuz they're mostly preachy Hollywood treatments of social themes. Decent movies, some, but mostly just industry fodder. So, same complaint, new generation. In the meantime, people like my colleagues out here in the SoCal desert are doing our part by trying to make our film festival a destination for cinematographers. Point is, there's always legitimate platforms for the nerdier side of filmmaking. If you're really into it, just go look for it. Expecting a Hollywood glamour show to be something it's not is odd. It's like complaining about watching a baseball game...or, I guess, cricket. You should really know what you're getting into and accept it or reject it for what it is.

FWIW, one of the favorite docs I shot was with a GM1 handheld. There's a lot of things to worry about with making movies. Sure, camera mass is one of them, but, to me, pretty inconsequential on the priority list.

Oh, and get as good as possible with audio. If you want to separate yourself professionally from what other people are doing, work hard to get the most pristine audio you can.

1) Shoot static shots exclusively for a few years with two prime lenses. It's a hard discipline to adopt, but if you can do it, you'll quickly develop into a better shooter than your peers. 2) Edit your own footage often and learn what "coverage" really means. 3) Take twice as many batteries as what you think you need.

My, that's quite a professional way of doing a shoot.

Standard response: proxy editing.