Stanley

Wow, wish I had the Ohrwurm microphone Just listened to a recording of the train on the link @cantsin provided. at that price I'm getting it for sure. Can also see the value of the Rode mic that Andrew used, I kinda liked that as well. Horses for courses.

John Seale did a good job of doing that with Mad Max Fury Road. Think he was about 70 when George Miller enticed him out of retirement. Pretty sure it was the first time John ever shot digital. EDIT: How lucky is that kid bottom of frame.

My thoughts as well. It’s a parody for the sake of a camera test, and an excellent one at that. The final look was the director’s choice and it showed how well the camera holds up. French and Saunders (show of the same name) and Gina Riley (Fast Forward) produce the best parodies I’ve ever seen, and I’m sure if you compared any of their work to the originals you would discover huge differences in lighting, sets, etc. The fact they didn’t apply any prosthetics to the characters shows how well it was done. So my minds eye was in total agreeance with it, and I like that look the director produced.

Thanks for dropping by in this community Jacob, Because PP is so expensive I shoot for 3 months, and rent it for a month, if that makes sense ? So I'll try your GH2 settings and give it a whirl. It's amazing that gurus like you , Lee Powell, and Paul Leeming are still giving consideration to the GH2. In May / June I'll hoperfully be at Pipeline with the 100-400 Leica and using cake, so i'll adopt your settings and show you what I got. Cheers.

Yeah why not a little bit here and there, and a ramp in between. Yep, I think if you nail white balance, a lot of other things fall into place.

Nice lens, very intimate feel / look I thought. Colours looked great. What stop were you at ? (Olympus are apparently good at not supplying lens hoods with some lenses btw) Have you tried any slowmo with the new lens ? Edit. Also noticed that crew commited a cardinal sin regarding the mic!

Horses for courses I suppose, but I don’t see much interest concerning the 100-300mm ver 2 lenses for video, or the 100-400mm firmware update, and how they will behave with 5 axis dual IS on sticks. I must say the expected pricing on the 100-300mm ver 2, isn’t all that different to the current version’s price, and although looking much the same, it’s supposedly weather sealed as well. The current 100-300mm is a real vacuum cleaner when it comes to dust and particles, but is a gem of a lens with its image quality, and shows very little banding in the skies, or noise even on the very noisy GH2, but I put that down to being made in Japan, so I hope the ver 2 is also made in Japan. I don’t know where the current 100-400mm is made, there’s good feedback out there amongst Olympus and Pana stills photographers, but I don’t see much feedback for it with video. I’ve been tempted to buy the current 100- 400mm, as size really counts as far as I’m concerned, but I don’t know if it plays funny buggers with IS on sticks, and whether I’d be looking at getting an even beefier head to handle 400mm if it does play up. Anyway there will be some cheap 100-300 version 1 lenses on the market in a few months’ time, just make sure they’re not dusty ones if you’re tempted.

I think this is a good review for shutter bugs. Doesn't cover video that much at all, or the artsy side of the Mark11 for still photographers.

Wow great vid, point taken Jon thank you, People that talented send me to sleep wondering.

Great tips in the link, but that demo reel, is a reel killer for sure, Loved the glitter, rain, snow, smoke, lens flare, camera movement, cg, and 20 people in post who gave it that look. Mate, I think that for your generation and possibly @enny you hit the nail on the head.

From my own experience with regards to the television industry, nepotism and cronyism have always been high on the agenda unfortunately. Getting a casual start in staging on the graveyard shift, or pulling cables on outside broadcasts like the golf is great way to get a foot in the door on a casual basis, and you then get to meet people in different departments, and they get to know you. I got my start by constantly walking into the carpenter’s workshop at one of the stations and never taking no for an answer, but always being polite, until one day they told me to turn up at 3.00am to unload some trucks full of sets. A lifelong mate of mine started in staging, and is now one of the leading drama directors in Australia. The best director I’ve ever worked with, Ted Emery, started in staging, and the cleverest producer /writer I know of, Andrew Knight started as a goffer/ runner for a production company, so staging and cable pulling can lead you in any direction if you want it to. It can be financially tough though when the work dries up, as it always will from time to time, so don’t give up your day job, or always have something to fall back on. Networks and Cable stations outsource their production a lot these days so turn up to an event of some sort and take note of the company name on the OB vans and go from there. But persistence will win in the end. Good luck.

Pretty sure Abraham Zapruder would have agreed with that !

One for, one against... Edit. Sorry noone, thought you meant the link I posted.

There's some interesting people talking about DIT's in this link. http://nofilmschool.com/2013/10/defining-dit-biggest-misconception-dits

Hey Ronnie, what couldn't the 5 or 7" BM video assist, or an Atomos monitor offer you that won't be still relevant, and probably still working in 2 years time. By then your Feelworld will possibly be cactus, and you'll most likely be looking at a BMD or similar camera anyway. Ya get what you pay for I reckon.

I did't realise they would allow auto iso in aperture priority with a lens like that, so allowing it in manual mode is a bonus (i think) I've never had an a6500 in my hands so I shouldn't sound surprised really.

I'm surprised you could get auto iso at all with a lens like an MD, etc. Was there a menu setting allowing for shooting with such lenses? Good looking footage btw, any exposure changes looked seamless.

@Liam something similar was pointed out to me one day whilst watching an old movie that was shot in wide screen, and had been re-shot or re-scanned by a television network for 4:3 transmission. If the scene was originally a static shot, but had cropped out an important element in the re- scanning for 4:3 transmission, they would do a gentle pan or tilt to incorporate it. @webrunner5 Too true, you also probably used a coat hanger as an indoor antenna to watch them sometimes back then.

Hey Jon, I'm not a big fan of monopods (in certain situations) but I have a Slik mini 11 tripod that I quite often use as a chest brace, and becuase I have to shoot using the viewfinder it gives me even more stability. The only problem I ever had was you could notice your breathing on longish takes, but I'm wondering if IBIS might iron out any chest movement from breathing. It is also a great little tripod for low shots, table tops etc https://www.amazon.com/Slik-II-Table-Top-Tripod-2-75lbs/dp/B003J8RHKG

Ok I'll start the ball rolling and probably give away my age, but in 1964 as a 9 year old, my Mum took me to Festival Hall in Melborne and I saw Satchmo. Seen a lot of good acts and musicians, and orchestra since, but still to this day nothing stops me in my tracks more than hearing Louis armstrong.

@mattpitts74....This is the mic we use for interviews in all sorts of noisy inviroments, ranging from changing rooms to vox pops on the street, and in-crowd pieces with the public in their seats in large stadiums. The horse may have bolted concerning your purchase, but I can gurantee you that this mic is an exceptional performer, near bullet proof, and if you shop around it can be had for about $100 AUD. The one caveat though is you need to develope a good technique with regards to throwing the mic, a lot of reporters and good eng camera operators use this mic in my part of the world. Cheers. https://www.bhphotovideo.com/c/product/904403-REG/Rode_Reporter_Omnidirectional_Interview_Mic.html

And haven't we come along way with stage lighting, this is what one of the (arguably) best bands in the world could expect in the 70's when they toured in Melbourne or Sydney. Little Feat, Festival Hall, 1976.

Nice work Freeman, ballsy decision to have the window in the background (start & 53 sec), but you got away with it and it established the tone/look for the rest of it. Any light or bounce used ? Nice grade.

Thanks mate, thought you meant 180fps. apologies, look forward to it.