fuzzynormal

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.

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.