fuzzynormal

Hey, if we're going to hijack a disposable discussion thread with doggos, I've got something for y'all: https://www.path88productions.com/latest-news/2019/2/6/flying-fur-trailer

We go to the Tatras and like to hike at those modest altitudes. Warm, hot, cool. All of the above. But yeah, hanging around Krakow for a few weeks got to be pretty steamy. My wife's side of the family is all rural Polish...so...

Yeah, not sure why this misconception still floats (pardon the pun) around the internets. That's not what IBIS does.

As a previous owner of the EM5II, all I know is that their IBIS has some serious voodoo that I find useful. Their IBIS just works better than others. The things I would do handheld with Oly I wouldn't necessarily attempt with the GH5 for example. As a doc shooter, I'm anxiously watching what Olympus does as I'd like to be shooting an Oly cam with their paired stabilized lenses on a project later in the year. Might rent this camera, don't know yet. For me, other features are way more important than the "best" IQ. And, honestly, I think the Oly color is pleasing, the IQ is fine, and the operating ergos agree with me, so that's a plus. Really, just wondering when the EM5III will be released and will it have 60p4K? In the meantime, my other cameras are more than fine.

I'd be happy if a well attended platform was willing and able to give indy filmmakers the fair % of any sales, but I don't see a channel out there on the market anywhere, really. I've used, and plan on using Vimeo, for my VOD, but it's ultimately just too niche. It's an option, but not a great one. You're not going to get any "window-shopping" sales on that platform.

I like to do lock off shots mostly. Pans and tilts maybe 10% of the time. What do pans and tilts really show you that you can't say with a well composed shot and/or edited montage, honestly? When shooting with a tripod I enjoy framing, hitting the red button, and taking my hands away from the camera. If anyone else uses this style too, consider Manf. sticks with a "leveling center" included. From there, you can get whatever head you prefer. I got cheap 701 HDV's, which are very gnarly for moves, but they're small and work well enough for me. This sort of set up gives you the option of quick bowl-type-leveling and compact breakdown. It's a "video" tripod that'll rise to 6' that disassembles and breaks down into enough compactness that I've been able to do carry-on with ALL my gear. It's not the most smooth video shooting system --which you COULD easily purchase elsewhere, but the functionality and break-down for excursions are more important to me. I've traveled to over 50 countries with equipment and this is what I ultimately settled on, and was, more or less, content with. (It doesn't have enough mass for stable long lens shots during windy days) If you want to avoid sending gear through checked baggage, it's a solution. https://www.bhphotovideo.com/c/product/272854-REG/Manfrotto_555B_555B_Leveling_Center_Column.html/?ap=y&gclid=EAIaIQobChMI7OaQ2qKg4AIViMVkCh026QRzEAQYAyABEgIQmfD_BwE&lsft=BI%3A514&smp=Y

"What tech advancements do you think will eventually come to prosumer video?" All of them. In 15 years the IQ tech will be so good, mundane, and readily available that the camera will just be a minor thought when it comes to production.

That's one reason we go. Eastern Europe is still cheap and not as crowded as other places during the summer. Not a huge fan of popular Poland politics, but neither am I in the USA, so no big deal.

The goal my wife and I are striving for is winter in SoCal, spring anywhere shooting a film, summer in Poland, and Japan during autumn.

I'm still using their generic "De-noise" from RX5. That's a must-have plugin as far as I'm concerned.

I have the Voits. They're nice, but wide open expect spherochromatism a bit. A FF with a sharp lens @f1.8 still can't be beat. That's physics. Still, I shoot interviews all the time with M43 'cause that's what I got. When I feel I really need FF on a shoot, I just go and get FF. DSLR rental is cheap.

Yeah. For me, it really is the ideal format. Small, nimble, and perfect for doc work. Aside from having a FF cam to allow extreme shallow DOF in tricky interview/talking-head settings, I really don't want for much else.

Well, it's not a camera for me as it's too expensive, too big, and all I really do with these things is video. Some hobby photos, but nothing serious. The idea of electronic ND was intriguing --but not to be for video. Yeah, kind of with Andrew on this. Although it would really have to be a special camera for me to ever really consider it, it certainly would have been nice to have a real reason to consider it, ya know? Wonder why they're lagging with the 60p 4k? Weird. Loved the EM5II. Best camera I ever owned. But we're almost 4 years on from that. Getting a little worried here Oly. Without a homerun product across multiple markets can you stay in the game? As for M43 I still love it. I like the smaller gear and lenses. Always have, always will. A small kit is a productive kit in my world.

Hope not. Mostly, it does look like a good camera for MY needs so I'll consider it. Pretty good spec list. However, one of my top priority needs is 60fps 4K. It's just something I use when shooting. EDIT: Just checked the rumor site. 60p in 4K, so no worries there. But... there's this: "Live ND functionality...in five levels: ND2 (equivalent to one shutter speed step), ND4 (2 steps), ND8 (3 steps), ND16 (4 steps), and ND32 (5 steps)." Kind of a bummer. ND64 is required for daylight shooting and a wide open lens such as f1.4. ND32 and 5 steps just isn't enough.

"Mean IQ Of dpreview Members?" 100. Give or take 5 points.

Heck, I once shot a feature on the HDV codec. Camera and codec are considerations, but, damn, they are so far down the priority list when doing a low budget film and you're just trying to make it happen. We've all seen great looking films shot on thin codecs and cheap cameras. How one shoots is so much more important than the tech. Be that as it may, I'm currently working on a feature doc with 100+ hours source and proxies. It all fits comfortably on a 4TB drive.

Knock yourself out. Caveat: I was hired as a director and then ultimately didn't have that responsibility. Production drama silliness. So, not thrilled about the situation there or the final product, but you can see the footage. https://video.kpbs.org/show/reflect/extras/

I shot plenty of docs on the gx85 for TV broadcast on PBS. Would recommend. BTW, shot 4K and mastered in 1080. It's perfectly effortless to do. Whats your editing platform?

The "pro" that typically goes unmentioned, but I rather like, is the fact I can put all my source files, and all my proxies, on a single cheap ($99) external 4tb drive --and work easily with the proxies until the whole thing is about 90% complete. (I triplicate copy the drive for backup purposes) This is really great for budget editing. And, honestly, so much of editing work is perfectly viable with proxies. A good editor is concentrating on storytelling, not pixel peeping technical stuff, so watching the most pristine video during an edit is pretty irrelevant in my mind. Heck, I'll even do the majority of the color grade with proxies. Only when I'm doing the final tweaks do I turn off proxies and really analyze what the colors look like with the camera source files. Even then, it's just minor tweaks. Did they ever fix this? I was all set to go full-Resolve two years ago, but my test project crashed and burned during the "optimized media" stage and I just couldn't commit to the product.

I shot 6 documentaries on the DMC-GX85 (silver body looks cool). It's a really cheap camera these days --and I really had no complaints about it. The IQ with fast lenses was more than adequate for me. And, since it's so darn cheap, it's a great value. BTW, if you want to go for a really cheap "c-camera" and 1080 is good 'nuff for you, then grab a GX7 for a few hundred bucks. I always thought the IQ out of that camera had some serious mojo. I'd buy and use that camera again for doc work if I was heading into demanding environments. It's so inexpensive it's practically a disposable camera.

I always encourage proxy editing simply because there's less processing stress on the computer. The less the computer has to work the less likely it is to crash or lag. At least that's my reasoning. Doing native format editing is okay for really short form projects, but even then I tend to go the proxy route simply because it allows the editing GUI to function more cleanly. FCP was always breezy with ProRes, but I'm not on FCP at the moment, so...

Rumor sez it may have a built in electronic variable ND filter. Okay then. I'm listening Olympus. That's useful real world stuff right there. I'm beyond pixel peeping at my age. All these modern sensors do enough for me. Now, show me pragmatic features and you got my attention. Built in variable ND is exactly that. Allow me to lock in my SS, ISO, Iris, and Frame Rate... then control exposure with built in ND? Man 'o Man. That's a video shooter's dream. (at least this particular shooter)

Stuttering (maybe 5fps) playback of PROXY media to the point audio dropping out during said playback. These are 1024x540 res PROXY files that were created by the default PROXY settings in PP and created in Adobe Media Encoder. Bottom line, the new software couldn't playback those clips. My issues were happening on an older machine, but the older machine could handle the exact same project just fine in 2017. Once that project was loaded into 2019, nada. All settings were identical from the project in 2017 to the project in 2019, including all preferences. My conclusion after internet sleuthing was that 2019 just demands more processing overhead for some reason. Don't really care why this is, it just does. That's my experience and it caused workflow issues. So....that and some random unrecoverable crashes that I hadn't seen before made me nope right on outta 2019. I got better things to do than trouble shoot beta-level software. Couple of nice features that come with 2019, but without a certain level of workflow stability, just no no no. Yes and no. When I'm pulling and pushing the grade it's usually during the coloring stage --and proxies are turned off at that point anyway so you're seeing a pretty accurate rendition of what you're gonna get from your source footage+grade. Sometimes I'll quick color grade a proxy too as I'm editing; it holds together enough to do the basics. And, as mentioned, all fine tuning I do with the source footage anyway. Basically I'm saying that, for me, working with proxies doesn't really affect the coloring workflow. It does, however, make the basic editing so much more pleasant. Just scrolling footage in the thumbnails with no lag is such a blessing.

I am editing my current doc with PP and I'm getting it done. My anecdotal experience says it can handle large projects (100hr+ of footage) such as a feature length documentary, but with caveats. 1) You should use proxies 2) don't do any complicated compositing 3) use an old version (I went backwards and am using CC 2017.1.2) 2019 just about killed me for a week before I did a XML export and took my project to an earlier version of Premiere. Premiere Pro crashes, but I can't say more or less than my FCP used to. Still, PP just never feels "solid." There's no objective way to qualify that assertion, you just need to use it to get a gut-level feeling about it. That feeling has never been reassuring for me. Also, the way PP demands media to be loaded into a project in order to migrate sequences is, augh, such a pita! That mundane detail might seem trivial to the uninitiated, but to those of us trying to move edits across different editing seats it's absolutely horrendous.

Yeah, if you're transcoding the source video to a different format you can expect it to slog along a bit. Regardless of what the ultimate issue is, you really need to know if your editing sequence and export settings are appropriate for whatever work you're doing. If you have any doubt about what's "appropriate", the safest assumption to make is that you're doing it wrong and it needs to be changed...to...something else...