mercer

Just because you're paranoid, doesn't mean they're not out to get you.

Nice. At first I thought you should have ended after the reveal, but the ending was worth it. You have a good perspective. Pretty good acting too. The girl is great, the guy... Ehh. Just kidding, good job!

Good read, thanks. For $360, I would have bought that yesterday. After watching some videos on Vimeo, I was half tempted to buy one for 900 the other week.

I hope so.

I spent a little time to catch up with this thread and have been pretty impressed with the results you guys have been getting with the GX85. It's interesting to see the different settings used and the different looks achieved. It seems like different flavors of Standard and Natural are the favorites. Does anyone have any with and without A3/G3 shots?

I just love how both movies have a random dance party scene.

Yeah right. It's almost as though Mr Breen is a little more thoughtful with his badness.

This one slipped past me as I just heard about it today.

Birdemic!!!

eos-m raw?

This looks great. The lighting, IQ, sound design, and acting are top notch. Good on you!!!

Thanks, I do remember hearing that, I just thought it looked really dark... But that's about right.

Quick question about C-Log, just to make sure my camera isn't faulty. At ISO 500, in c-log, the image is darker than ISO 500 in WideDR... Is that a normal byproduct of C-Log?

Let us know how you get along with it. After getting the camera, all I wanna do is talk about it... And obviously shoot with it.

The Exorcist really is the scariest movie I have ever seen. That movie in 1972 went places that would never even get an R rating today and that was nearly 50 years ago.

If you like your t2i and the canon colors, then I would stick with canon. Get a C100. If you like S-Log, you'll probably love C-Log.

I think the G7 had a filter that did it. And I'm pretty sure it worked in video. But don't quote me, I never tried it.

Yeah it is a great interview. I really enjoyed learning how he handled the tech and how he and his wife handled the transition to Hollywood and the Los Angeles lifestyle. Yeah, I love the simplicity of the short... it is merely circumstantial, but still tells a small story... I compare it to the the joke structure for short films... which I think Sandberg discusses in that interview... it's basically... Setup and Punchline. That short and this interview was one of the final nails in the coffin that got me to buy the BMMCC. For small, contained short films like Lights Out... they're great cameras. I wish I liked them better for larger scale projects.

Yeah, just to be clear about the XC10... the exposure stops aren't stepless, but there aren't jarring exposure steps in the video... it looks like a smooth exposure change.

Sandberg recently gave a 2 hour interview on Indie Film Academy's Podcast. A great interview where he goes in depth of his beginnings in filmmaking and how he rose to direct the feature film version of his award winning short that went viral overnight. He also gives a crap ton of BTS info... Including how he snuck off during break and shot some flashbacks with the BMPCC. http://www.indiefilmacademy.com/ifa-49-lights-out-director-david-f-sandberg/

The XC10 really makes shooting fun again. Between C-Log, the IS and the 4K image, there's nothing not to like about the camera. If you feel like shooting auto, have at it, it's a pleasure. The face tracking works great in AF. If you feel like shooting in manual. The step less exposure wheel let's you ride the exposure as you follow your talent in and out of different lighting scenarios. It's just very intuitive. Every button is where you need it to be, but the most important thing is the image and you can shoot in high bitrate 4K or even the MXF 1080p in C-Log or WideDR is just gorgeous and still very flexible in post. The best purchase ai have ever made for video... So much so I have C100 saved in my eBay watch list... If the prices get in the right ballpark, for me, I can easily see myself picking one up and maybe a 20-35mm L lens.

Is it called "ghosting?" Lol. Probably not because I just made that up. I have never heard of this technique, but it sounds like a really good idea!

It's a great idea to cast yourself in your movie... You work cheap and you know you will always make the call. I am a slow burn, horror/thriller writer/director so there isn't a ton of dialogue in my scripts to begin with, so I am not too worried about it. In the short I am working on now, it is a mix of traditional narrative and POV camcorder footage... So most of the dialogue is in the camcorder footage, which is supposed to sound like audio being recorded through... You guessed it... A camcorder... So I will be recording all of that dialogue in camera with the Rode VideoMic Pro. I am looking at it how I approach lighting... Where is the light coming from... Is it a lamp? Why is there a bright light in the actor's face in the middle of the night in the dark woods? I hate that! So, I want to look at sound in a similar way, I believe the camera is a character in a movie. It doesn't have a name or a backstory, but it has a POV... Usually mine. So, if I am shooting a wide establishing shot, why would I hear the actor's conversation as if I was doing a close up? I read an article awhile back that discussed how online journalists record audio. And they do all of the interviews (dialogue) with a mono microphone and then all of background sound (foley) with a stereo microphone. With a small, pocket recorder + lavalier microphone you can capture your dialogue with a mono lavalier microphone and then plug a stereo microphone into your camera to get your foley. Again it's not the perfect solution, but for run & gun projects it really makes sense to me. As for movies that are ADRd, yeah I do not get when they just ADR one line in a scene, it is so obvious, especially in no to low budget indie films, but awesome in no to low budget Kung Fu Theatre. I wish I could "like" this twice.

You will always have to synch some lines, or parts of lines.... Meaning you will be using lines, or parts of lines from different takes in different shots. Audio editing is a laborious task As you said, if you have a wide, establishing shot with dialogue, unless you go wireless... Which would probably be a good option for you BTW, you will have to edit lines from other takes to match sound fidelity. That's unavoidable. If you want to make life easy on yourself, don't mix mics in a scene. Don't take one line of dialogue from the lav and then the next line of dialogue from a shotgun... It will be a pain to match their sound qualities in post. Since you are personifying an inanimate object, or animal, you should definitely record that dialogue with the same mic the other actor's were recorded with. With all of that being said, if I were you, I would get a Rode and a deadcat, or get a couple small recorders... Even some higher end dictation recorders can be used because they are small, or the Little Darling recorders from JuicedLink, or the Tascam that IronFilm linked to, and get some lav mics... You can get a decent one for less than a hundred. I've used Azden lavs and the sound is good enough... They cost 25 dollars. I am a fan of in camera audio. Mount a shotgun like the Rode Pro and boost the signal +20db, or if you have a preamp like a JuicedLink or use your zoom as a line in recorder and then get an extreme close up takes of every angle. Audio sucks and is a craft of its own, so unless you hire a professional audio guy, you will be bastardizing it. If you have to bastardize it, make it as simple as possible.

And also from learning and watching based on the work I performed as crew/producer on two of my good friends' half a dozen, or so, no budget indie films... After the ES scandal I don't want to sell myself as anything more than I am... An aspiring, amateur writer/director with more opinions than credits.