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I can understand that it would have been great to have shot the main character in the ceremony. But for me, I actually think the story is stronger that it didn't happen and that the filmmakers handled the situation in the way they did. Why? So often we get these happy Hollywood endings where everything works out, and with this ending, we come to know that the village and their old world system of governance is more important than a film project. I mean this in the best way. It's way stronger.

Nice review Dave. In the sound department, you mention that the audio pre amps are great. But have you actually compared with another system? Also, with the xlr input module, can you comment on how robust the mount is? Metal? If you could only choose one dynamite lens, which one?

I couldn't help but smile as the bull slaughter was run parallel with the dance jumping. Reminded me a little Coppola and the gang up at the end of the Mekong. Nice work One question though? In our busy over worked underpaid lives, did you for a moment, imagine of what it might be like to stay out there yourself? I ask this in spite of, and further towards the fact that one of the film's narratives threads revolved around 'home' and 'belonging.' My friends did this about Louis:

The only Sony native lenses that I liked were the Loxia. Almost enough to win me over to one of their bodies. Almost.

If I just walked into this discussion, I'd think you are talking to the evangelicals. And not just debt, bankruptcy.

There are so many things to take aim at here that I better just politely excuse myself.

@Kisaha I wonder if you are familiar with Amartya Sen fascinating read, The Argumentative Indian?

Well, one can always wish. Anyway, we all know the camera manufactures could build a 'do all' model, but the shareholders would revolt.

A little off track here but here goes, Like a lot of people, it's hard not to love the idea of one camera that has it all. For me, on the run and gun doc film side of things, it's not an easy choice. Looking back, most probably like a lot of us, I loved those first months when the 5DM2 arrived, despite the audio, it had what I needed - a big part of me still loves having an optical viewfinder for stills. These days, when I look towards video, I really want good sound options, otherwise you are dealing with cumbersome dual system, marrying a/v in post methods. Having good audio allows you to rise towards telling stories that stand apart from the music video, sexy travel image based content. To be honest, I'm a little out of the loop and I haven't seen anyone running a new fangled little GH5, A7s etc with dual wireless feeds. And actually, it seems to me, that once one of these smaller cameras is tricked out with the upgrades it actually needs to compete with say, a C100, then it become practically the same size and weight but now more finicky to operate which actually blows the deal for me. But of course I dream of a C100 type model that does killer stills. I'd be good with the weight also.

Same here. I was on the fence about the 1DC but as someone who shoots run and gun documentaries, I need a camera that helps me. Soft, but beautiful, 4k is still soft I went with a C100Mk2, a solid camera that let's me focus on story. Pretty pictures can only get me so far. Maybe get two C100s, of course it all depends what kind of work you actually do. It sounds like you are in a controlled studio so you might be fine with the 'fiddly' cameras.

Nice find. This is where I was headed in my post: On the boat thing, my method is to always keep things as simple as possible, which might mean I never get a boat

Thanks amigo. And towards your comment on the sailboat, I hear you. Fortunately older but decent boats are reasonably priced (and cheap in some cases) and I've recently learned about that nut Bernard Moitessier... what a life! It sure beats holding my tongue in the face of uncomfortable doc commissioning editors as their ships sinks even further.

Yep webrunner, none of this shit is ever easy. In my game, doc film, there was a short period where all these smaller cheaper cameras and laptop editing arrived and documentary broadcasters were still paying decent amounts to commission a film, but that didn't last long. Of course there are the big fish who play on a big level, but the traditional photography/ filmmaking model has been upended, and the successful new players are extremely nimble and niche oriented. The strong survive but are in a constant state anxiety, while everybody else digs through the leftovers. Kind of like drug dealers. A big bag of rice, a fishing rod and a coral atoll in south the south pacific... thanks Reagan.

I'm not suggesting that stock houses are the embodiment of all that is well and good in this world. More photos will be taken this year than in the entire history of photography combined, and that seems to make photos practically worthless now. Unless you are a known artist and can command a certain value that goes with your name. It certainly explains why my friend moved over into video after doing photos for 20 years. Plus he is running that 8k Red which should leave him the option to hand off stills from it as well. Exactly. When I was 20, I thought of becoming a high paying respiratory therapist and then working towards storytelling with a camera. And I guess that would have been possible, however off-beat. But somehow I knew that one really has to have their hand in something full time to actually do well in it. To each their own and all that jazz.

Good insights all around. Thanks. @Matthew Hartman Your reflections on the kind of material that is used fits with everything I've recently seen in my friend's stock footage collection. Everything from beautiful women on the beach, to corporate boardrooms to modern Asian shipping yards. Generic, made to order, sellable to the kinds of ad firms who peddle it and a comment on the times we are living in. He started as a young photographer chasing global his dreams, then in the last few years transitioned to video, where as @Robert Collins has duly noted the cash now is. No house but boat, and a boarding pass to everywhere. We compared notes and he said he wants to work more on story telling projects that have meaning and message. Fortunately he's recently worked on a spot for Nat Geo and a few others which should offer a bit of this while pulling in royalties from those stock houses. Not bad, and as @fuzzynormal has suggested, nice work if you can get it. Though it's also worth noting that these don't just fall in our lap, if one has the courage and insight early enough, it can happen. But let's not talk about his trouble with women

I can imagine, both.

Absolutely. Thanks. For sure. My friend moved over from stills to video - now with a RED 8k - most probably for the reasons you mentioned and to keep his head above the water. He paid the camera off very quickly during the olympics if that gives you an indication of what kind of cash is on the table.

@fuzzynormal It's not like trying to get a commission deal for a feature film. It's something you can walk out your door, jump on a plane and go and do. I'm lensing tons of material but have not approached stock houses yet. You shoot, if the stock house think they can sell it, then they licence it. Very little risk for them.

Curious to know if anyone here is selling material to any of the stock houses? If so, can you comment on your success? I have a friend who recently picked up a Red 8k, and if I'm not mistaken, that is a $30k body. He must be doing well in this area. Any thoughts?

Thank you Kai. I'm just happy to contribute what little I can, and that you picked up the 'mojo' discussion again. And that I have all you wonderful film nuts to learn from!

Can you image the types of people/ clients you'd have to deal with if one of those was you handle?

Yes exactly. And you can actually 'feel' the images working on you - though it helps that nature working her magic as well. And for sure the images have been massaged with post effects, but they were captured with a decent combination of technical and heart, and that's enough for me. I'd rather lose myself in the story anyway. I'm running this sucker on a C100Mk2 and it kicks loads of glory all over the place. Especially towards the long end with your subject riding out a couple of meters. Cinematic heaven.

I can appreciate it that you want to get to the very bottom if this, and I wouldn’t want to dissuade you in your search. But one part of me wonders if you are forgoing the obvious? To me, the term 'mojo', describes a kind of sexiness when it comes to images achieved via various equipment, techniques and heart described in this thread - and attached clip. And it's the kind of thing you know when you see it.

I don't know if it helps but, as I understand it based on test from at least 2014, that there is almost no perceived difference if using an external recorder. It's infinitesimal. The right 8 bits.