Alt Shoo

I prefer going to the theater when it’s empty. A packed house usually means dealing with loud personal conversations, whining kids, and other distractions. It takes away from actually enjoying the movie. That said, the last time I truly enjoyed a packed theater experience was True Lies. But to be fair, I was a little inebriated… and I was probably the one disturbing the movie. lol

Got it, I see what you’re saying about the DP shooting for the edit rather than fixing things in post. That’s a solid approach when you know exactly what you need, and I respect that. As for pros not talking about gear, I’m not saying they never do. Of course, people in the industry test and discuss new tech, but the difference is that those conversations usually focus on how the gear serves the work, not endless debates over minor details that don’t make or break a project. I don’t have an issue with people being passionate about cameras, I just think the discussion gets lost when it’s more about obsessing over specs than actually applying them to real world filmmaking.

I’m going to check this out. Thanks for sharing this.

I get where you’re coming from, and I understand that different workflows exist for different reasons. But at some point, you have to ask, are we pushing our tools to be better storytellers, or just finding ways to avoid tightening up our craft? There’s a difference between efficiency and just being lazy. If someone is taking multiple takes to get it right, that’s not always inexperience. It’s making sure the shot actually works without needing to “fix it in post.” On the other hand, the mindset of shooting carelessly and relying on post production isn’t efficiency, it’s a crutch. Regarding not using older gear, some people don’t use those older cameras simply because they want to make their job easier. Newer cameras offer better usability, faster workflows, etc. but still, as everyone allegedly already knows, you can still achieve a high quality look with older gear. It just comes down to experience and knowing how to work with what you have. At the end of the day, I don’t see top level professionals getting caught up in these debates. They pick their tools, use the features that matter, and get the job done. Ninpo33 mentioned a DP who didn’t realize a camera had a particular function…because that DP focused on what helped him execute, not on obsessing over every technical option. That’s the difference between using your gear and getting lost in it.

I tried numerous times to search for these shared experiences before posting this thread. Maybe a sub forum to find these ideas faster? Can you share a few that’s posted here?

There are moments here I enjoy but this forum feels more like a place to vent about gear than to actually discuss the craft of filmmaking. Where are the conversations on creative problem solving? How are people pulling off run and gun shooting in restricted areas without permits? What are some cost-effective practical effects techniques for horror films? Are certain shot compositions or camera movements more effective at evoking specific emotions in an audience? I know I can find some of this on YouTube, but part of the appeal of a forum like this is the ability to connect directly with professionals, exchange real world experiences, and even spark collaborations. Is anyone still having these kinds of discussions here?

This take is a bit much. Plenty of bad films were shot on film, and plenty of great ones were shot digitally. It’s not the format that makes a movie good or bad it’s how you use it. Preferring film is fine, but saying digital ruined cinema is extreme. That said, I’m interested in Fuji’s upcoming Eterna film camera. If it delivers high quality in camera color, it could push DPs to lock in the final look while shooting, which is an interesting approach.

I get that people love to dissect every little thing, but as someone working with some of the biggest media companies, I can tell you that a lot of these so called issues don’t even come up in real world professional work. The S1R II delivers solid image quality, stabilization, and dynamic range. More than enough to create high level content. I’m not saying don’t analyze your tools, but at some point, you have to ask, is this actually making you a better filmmaker, or just keeping you stuck in analysis paralysis? If your priority is making great content, you’ll be just fine.

Looks interesting. Will check it out. Thanks for sharing.

Hey, genuinely curious since your current system meets your needs, what’s the real motivation behind all the trade talk? Is it the thrill of the chase? The hope that the next camera will finally make your coffee and take the shots for you? Or do you just enjoy keeping your local camera shop in business? No judgment, just trying to understand the mindset!

Why not just buy it without trading or selling anything? You will still have the cameras that met your needs and then another tool you can warm up to.

@IronFilm again, I appreciate you reading the post, but the purpose of this piece was never to be a comprehensive history lesson. It was about exploring developments and ideas, not rehashing what everyone already knows about cameras like the GH4. The Sharp 8K prototype was included as an example of experimentation within the MFT space, even if it wasn’t a commercial success. Honestly, y’all need to stop pixel peeping everything and focus on the bigger picture. Innovation and what’s next for MFT, which is exactly what this post is about.

I appreciate your response. This particular post was intentionally more focused on current events and recent developments within the MFT ecosystem, rather than being a comprehensive historical overview.That said, I’m actually working on something that dives deeper into the history of the MFT standard, covering key milestones and contributions from cameras like the GH series, BMPCC, Kinefinity, and others. It’s designed to appeal to those who appreciate the depth and nuance of the system’s evolution.

The price drop for the BMPCC 4K could definitely hint at Blackmagic clearing out stock, but it might also be part of a strategic push to reignite interest in the MFT ecosystem. If they’re planning a newer version with Pyxis inspired specs while retaining the MFT mount, which I doubt, it would not only keep current users invested but also attract new filmmakers looking for affordability without sacrificing quality. Interestingly, a lower price tag on the BMPCC 4K could spur a resurgence in MFT lens purchases, which would help keep the standard alive and thriving. MFT has been quietly losing ground to larger sensor formats, so moves like this could strengthen the system overall by drawing attention back to its flexibility and affordability. I recently wrote a blog post briefly mentioning this very topic, how price cuts like this can reshape the market and reinvigorate interest in lens standards like MFT.

If I were consolidating cameras, I’d personally lean towards something that bridges the gap between hybrid and cinema functionalities. For me, it’s why I shoot with the Panasonic GH7 and the Ronin 4D. They work seamlessly together and align perfectly with my workflow. I’ve also got my eye on the GFX 100 series of cameras, which i’m so ready to create with. The medium format look is just unbeatable for certain projects, and it feels like the perfect complement to my setup. If I were in your position, I’d consider what role that “consolidation” would play. For hybrid shooters, something like the Z8 or a used Sony a1 is hard to beat for versatility. But if I were going for pure creative potential,(albeit slowly with time to think) the GFX 100, even the fp series would win for me every time. It really depends on whether you’re prioritizing flexibility or a unique look that elevates your work. What’s your gut telling you?