mercer

Obviously when I wrote "you" I meant you in general, not you specifically... I know you're a veteran at all this. I'm a writer/director that spent the last year + trying to be an okay camera operator with the right tool. Now I just want to simplify everything and make movies. Hopefully people will like them and I get one into SXSW, but most likely I may make my money back by creative marketing through Amazon, but the lesson will be invaluable.

I think festivals are worth entering as long as your honest about your film. There's no reason to give Sundance a couple hundred bucks unless you know you have something really special... And even then you probably shouldn't. Short films are probably the smartest approach to jumpstart a career, but even shorts take a shit load of work and when done, for just a little more work and a little more money, you could have made a feature that at least has some monetary value on Amazon or through self distribution.

Place an ad in Craigslist... There are always young actors that will work for free and usually some talented ones. Post some ads at a local college or local theatre. Your local library, or a county library probably have meeting rooms you can reserve for free... Hold auditions there. In your ad make sure you include non union/no pay, offer them a free copy of the movie and clips for their reel. You will get offers from union actors telling you how great they are and you should hire them... Either ignore the offer or politely refuse their services.

Ask yourself some questions and give yourself some honest answers. 1. Do you have access to $10,000 to make a feature? 2. Can the script you wrote be made for $10,000? Because in all honesty there is absolutely no reason why 2 feature films couldn't be made for $10,000 if you accept the limitations of the budget and work within those limitations. Hell, a feature could be made for $500 if you have access to things for free.

Small sensor camcorders can look great. So can point and shoot cameras. The canon s100 is a sweet little camera with a very generic look. With AF and AE Lock, you really can control your footage more so than you would think.

Yeah, ML on the eos-m is kinda cool. I could never find an effective way to remove the pink dots, so raw on it was unbelievably frustrating. The 3x crop mode was cool for my c-mount lenses, but I noticed very little benefit with the 3x bitrate, so I found ML to be too limiting to make a real difference.

The m10 has peaking... Probably the best focus peaking I have ever used and it has a tilt screen. I actually have an m1 too but it's seen better days.

Love the 28mm. Yeah I have made the rounds with cameras. I'm good for a while now though. Between the XC10 and the Nikon, I am really happy. How do you like the GX85?

Haha... Now I'm obsessed with Nikon but I still love the XC10. So you shot that screengrab? IT LOOKS AMAZING!!! Seriously, I hope you are writing a screenplay, because you need to shoot a narrative if you're getting that image from a G6!!!

Another lazy Sunday messing with some footage, so I thought I'd share a couple more screengrabs shot with the 28mm f2...

Yeah I'm sure it's just that the sale was over. Or it was supply and demand. They sold a bunch more at that lower price, so the demand was higher... Raise the price. Econ 101.

From the video, it seemed like it was all done in camera. I think the concept is that the different "film stocks" work like jpegs would for stills. Not a whole lot of latitude for post work, but they look good in camera... Like having film convert minus the grain built into the XT-2... But I am no expert with Fuji cameras.

I didn't even know the D750 had a crop mode, but I will look into it more, thanks!

That's such a cool picture of Gunpowder... Fun fact as well. Honestly, your D750 videos are one of the reasons I am considering upgrading to the 750 and the full frame look. As I said... Really nice work.

Looks pretty good to me. When Reid-Log came out, I was considering investing in a Canon DSLR to go along with my XC10 and I wanted to see how his profile would match with actual C-Log, I came across a dirt cheap eos-m10, so I bought it for the tests and I really like his profile. Since then, I decided to go another route with a Nikon DSLR and use the XC10 as a sole S16 capturing system for run and gun, but even though I've decided to go the Nikon DSLR route, I am going to keep the eos-m10 just to use as a pocket cam with Reid's profile.

I'm not very versed with anamorphic, but I was wondering if a Yashica Scope or VM Anamorphic would be a good lightweight pairing with the XC10?

I'd rather stay within the the S35 realm, but with everything Canikon and their damn product segmentation, you are always sacrificing one thing for another. For instance with the 5500 I don't get any exposure aids but the crop is consistent in 24p and 60p. With the D7200, I'd get the exposure aids, but an inconsistent crop between 24p and 60p. So, if I went with the D7200 I would definitely keep the D5500, but the cost of the two cameras are nearing the cost of a D750... So just considering options. The downside of the D750 is that I am really used to how the 1.5x crop will affect my FOV. And since I like to stay between the 35mm FOV and 75mm FOV, my cherished 28mm f2 may become a little obsolete. Anyway, just trying to learn the benefits of full frame versus aps-c and if they're negligible in the overall scheme of things. Thanks for everyone's input... I've already learned a lot!

Well that settles it then, moderator please delete this post or close it for further comments... ? But seriously, yeah there should be a D760 announced, but I assume it will be $2000 plus for body only... The 750 can be had refurbished for less that $1500.

Idk, to me the full frame example clearly pushes the woman's hair off her right shoulder, whereas the m4/3 leaves it draped over her right shoulder. Damn distortion...

It's not necessarily something I am worried about... More curious than anything. But since I don't have a stills background and my first foray into imagery was aps-c from a t2i, I have no full frame, frame of reference other than knowing about FOV from a cropped sensor. Since so many people love the "full frame look," and I am contemplating either the D7200 or D750, I was curious what would be gained or lost by my respective decision.

With the vista vision comparison... The effects would only be noticeable on a big screen though, right? Or more noticeable, anyway?

Just watched the demo... Really cool plug in. The inverted mask really helped the final look, but I wasn't so sure it would because the flaring creeping into the center of the frame looked pretty realistic as well, but keeping the effect at the edges, it left just an impression which was subtle. Good job. And thanks for making it.

Okay then, that brings up another question I was wondering about... Would it be better to use a DX lens with the D5500 to get the entire characteristics of the entire glass than a cropped portion of the full frame glass... Theoretically? @Nikkor

Okay, thanks guys. I guess my main concern would be... If I had a D750 with a 50mm f2 lens attached and my D5500 with a 35mm f2, I know I will have similar FOV, but if I used them to shoot both actors over the shoulder shots in a dialogue scene, would the lighting be off with one of the cameras if I lit for the scene and not the actor? So, would I need to use a 35mm 1.4 with D5500 to match... obviously I can always adjust my exposure accordingly, in camera, but what if I couldn't, then would I need to use a faster lens with the D5500 to match the 750?

I have never shot in full frame. Are there certain characteristics, other than lens choices, wider angle of view, shallow depth...etc? If you intercut with an aps-c camera, will the two match, or will the aps-c stand out?