Tim Sewell

Always was a very sharp and realistic film. I've stayed clear of transparencies in my 'reborn' film usage as I'm not that great of a technical photographer, but back in the day I used to love making large Cibachromes from them - no other photographic print medium like it, ever! And thank you for being so complimentary!

Ektar is, to my eye, the most 'digital' of all colour neg. Lovely stuff which as above, I habitually overexpose (https://www.vrimage.co.uk/IShootFilm/Ektar-100-June-2018/) - but I prefer Portra.

Yeah I overexpose colour neg as a matter of habit anyway - including fresh rolls. With a combined chemical/digital workflow it seems to give a better base to work from. I used to think it was 'impure' to add digital adjustments to the scanned image (I was developing everything myself as well), in the end I decided that the goal of the exercise was to produce pleasing images rather than to acquire any bragging rights! Stopped developing now - time poor - but I prefer to scan at home , which helps defray processing costs.

I have a big bag of Ektar, Portra, Fujicolor Industrial and Acros that I'm slowly working my way through. It's actually amazing how well film holds up after long storage in less than ideal conditions.

General use. I have a S1, that I love, but it's so big and heavy it hasn't been out of its bag for the last few months, so I wanted something that I can just pick up and go with. The particular motivation for doing it now is that I'm going on holiday (first time in three years) in a few weeks and the thought of lugging the S1 around was causing me considerable trepidation. With this I can put the camera and my three native lenses (25 1.7, 17 1.8 and 14 2.5), plus my Mavic Mini 2 in my messenger bag and still have room for sun cream (and my Crane 2S maybe)! In fact, after initial testing, I think I'm probably going to sell the S1. I was thinking I would need to hold on to it as I've been asked to do a music video in a couple of months, but I think the GX80 will handle it nicely - in that scenario I'll be speedboosting my set of Super Takumars. A few weeks ago i tried out a FZ2000 for a couple of weeks, but it failed to impress. What's the point of a super zoom when the long end is unusably soft? Also the colours didn't do it for me, but this little chap's rendition is not a million miles away from the S1's. Last night I was using Standard and Natural, both dialled back. Over the weekend I'll be giving @BTM_Pix's bit of wizardry a try to see how Cinelike D fares.

I've arrived late to this party, having taken delivery today of a pristine used GX80. After reading this whole thread I'm raring to go with some testing down at the beach this evening!

Absolutely. 100 years of cinema mainly filmed at 24fps means that people in general consider the result to be the most realistic depiction of motion. I would expect, if the entire industry switched to 60fps tomorrow then in another 100 years that would be considered the most realistic. Given the prevalence of video games that might well happen.

He has a long-standing relationship with Arri in LA.

I mean, it's not nothing - clearly they get used, but this doesn't really represent the top flight of Hollywood releases...

Wait, what? The world _isn't_ falling apart?

That's fabulous and so is your lead actor.

I'm very happy with my Mavic Mini 2. The only thing that would tempt me to upgrade would be a 10 bit log option, or an adjustable aperture, or both (!) in a <250g drone.

Probably won't find a more in-depth review than this one - I think I might have to book a day off to read it! https://www.newsshooter.com/2022/02/22/panasonic-gh6-review/

Really the title of the thread says all that needs to be said. The aesthetic. You shoot on whatever you need to shoot on to achieve the aesthetic you want. If the aesthetic is the measure, then, qualitatively, the perfect camera can be an iPhone, an EOS-M or a Panavision DXL package. Fincher likes the resolution as high as possible, other directors/DPs want something more lo-fi (for *this* project - might want something else entirely for *that* project). If we're talking art then the best cameras and lenses are the cameras and lenses that best realise the artist's vision. No need for any argument, really.

Not just those considerations - also actors who can stay on their mark, who can repeat the scene multiple times without screwing up. I forget the film and the director, but I heard a tale about Bette Davis where the director told her 'we're going to track up the stairs and along the corridor in a continuous shot, then enter the room and dolly to a close up on your face, where a tear is just starting to form.' 'Which eye do you want the tear in?' asked Davis.

Now I actually think that Phil has a great eye, but I fully support the rest of your comment. I went out yesterday, inspired by MK, trying to find shots like hers - beautifully composed, inviting, rewarding of prolonged viewing - and it's really, really fucking hard. My admiration for her goes way beyond the technical - she strikes me as a true artist. And I'll take a moment to say that if I was shooting a scene in a city nightscape I would for sure let some of those LEDs flicker, because it immediately provokes an emotional reaction that says 'city'. Here's her latest and I'd be interested to see any work shot with the A7IV that comes anywhere close:

That's fantastic and, may I say, somewhat Tarantinoesque (in a good way, a very good way)!

The videos uploaded by L.A. cinematographer M. K. Rhodes are, in my opinion, utterly mesmerising. Shooting mainly on the Komodo, she captures the city at night in a truly beautiful way. This is my favourite, so far.

Rental only for now, apparently. Read the article!

The Ninja V+ is going to support raw via SDI from the FS5 (with the raw licence) or the FS5ii and the FS700 out of the box with its latest firmware updates. It will also support it from the raw back on the FS7.

Gotta say I reaaaalllly don't like that Pana 20-60. I used it on this shoot for the short bits when I was on the gimbal and next to the images from my copy of the aforementioned Tokina 28-70 ATX Pro 2.6-2.8 (which I love) it was so videoish as to render some of the clips unusable due to my inability to get them even close to matching. I also used my 35mm, 85mm and 135mm Super Taks, so covered all the bases WRT this thread!

Thank God! An essential part of my work dodging bookmark list is back!

https://www.redsharknews.com/sonys-new-base-level-full-frame-a7iv-announced

PJ is clearly impressed - has even used it on a paying job.

User Attila Svideo (who seems well-established) has an Alexa Classic at £4K GBP in the Film gear For Sale facebook group: https://www.facebook.com/groups/filmgearforsale/permalink/4368035193312329/?sale_post_id=4368035193312329