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A time-lapse of the fuel price sign at your local filling station over the next month would be one for the ages.

35,50 and 75mm

This has been widely discussed before. It's not clear why the h.265 results are so different. Perhaps Nikon has some difficulty keeping the temperature down during long recordings with higher-quality noise-reduction algorithms in the thin body of the ZR? The large screen could also produce more heat. It's obviously something they need to address. Nikon's blotchy high ISO NR algorithms have been a problem since around the D5 generation (in stills) where it is clear that in-camera high ISO NR needs to be turned off (if shooting JPG, and if you use Nikon raw converter, also in that software) to avoid this blotchiness. The files themselves (without high ISO NR) look much better. To my eye the kind of noise reduction the ZR shows in N-Log h.265 look a bit similar to that Nikon used for very high ISO NR in stills. N-Log just brings it out likely mainly due to the user giving less exposure to those videos by following the nominal ISO (800 base ISO in N-Log), so the shadow NR becomes more apparent. Anyway, it's a bit strange Nikon has been silent about this so far.

Stanley is watching your activities

Has anyone come across this one? https://borisfx.com it looks modular… but not cheap. The editor is essentially Sony Vegas apparently.

30 or more takes is probably not a good idea either !

I guess I just need to figure out a worthwhile story to tell with 1.5 minutes of film.

You only live once Fuzzy - not much use sitting in your rocking chair thinking "I wish i'd done that when I was a young".Some people pay 3,000 English pounds for a 30 minute flight in a two seat Spitfire ,I bet they don't forget the experience !

Tilta are also considering doing this in RF,Z and L mount.

Recently came into possession of this nice and functional 35mm 2C-BV ARRIFLEX. Before I eventually sell it I'm considering shooting a 200' roll to notch that experience; just to say "I done done that" 2 whole minutes of footage! What the hell. Ain't cheap, kind of financially stupid to do this sort of undertaking, but maybe ultimately worth the effort, I think? Anyone out there willing and able to offer advice regarding the lens situation with these old things?

Philip Bloom ended up purchasing the Nikon ZR mainly because the large screen makes shooting easier.Here are his tests comparing the ZR and Z6III & what are you up to Nikon they aren't the same !

Did PTools ever get a ROM address probe feature like Magic Lantern? This could be very useful in this day and age for a new adventure...

"How Another Man REALLY Shaped Wong Kar-Wai's Aesthetic // Christopher Doyle" is a far better title... ; ) (>_<) WTF Lies?? Well, I (try to) follow the point but perhaps when the verb is irregular instead? : X oh gosh Wong Kar-Wai’s directing is just something from another world (FULL stop!) ...for those who truly understand its meaning. Cinematography is part of the filmmaking process, no doubt about that, but I tend to see the other, more distorted side of the debate: those who overlook who truly shapes the work, when the whole is much greater than the sum of its parts. - EAG :- )

Love your posts as contribution here BTW ; ) keep going :- )

does it work with zoom lenses.

Christopher Doyle what a legend and his movie making skills were virtually self learned/experience.He is able to film with fluid and movement with such heavy lumps of cameras ,goodness knows what this one weighs on his shoulders ! Our modern camera rigs are a dream -I try and keep mine under 2 kgs total.

https://av.jpn.support.panasonic.com/support/global/cs/dsc/download/fts/dl/gh1.html

Wow - that looks very interesting! Thank you. I am looking specifically for GH1. As I understand it, the USB functions are crippled in firmware but can be unlocked with a firmware hack (for versions less than 1.34 IIRC) via Ptool. I downloaded Ptool a couple of days ago, but now I need the firmware? I'll have to refresh my memory - I might be overthinking things. :)

I watched a great video talking about Christopher Doyles contributions in working with Wong Kar-Wai (I'll post below) and there's a great line in there where Doyle basically says (when comparing his films to Hollywood blockbusters) "I think we have absolutely opposite attitudes to what's film-making. We make the film we can, they buy the film they think they want" (around 5:00 mark) When talking about small budgets and tight timeframes these films are often a lot more like my own travel videos than a Hollywood blockbuster. In my videos I shoot on-location with available lighting and no control over the scene whatsoever. In some ways I am capturing something that is more authentic, because I'm not constructing sets or rigging lighting that might deviate from the actual location, but this also means I have less flexibility to work around the camera etc (where sometimes cheating things makes them look more normal rather than less), and it requires me to capture things in a way that more authentically depicts the location rather than including/excluding things in a way that's not balanced or authentic. Obviously these lower budget films are still working with lighting, (probably) closed sets and production design, but they're not constructing everything from scratch on a soundstage in a warehouse in Burbank. In the video he talks about how because they filmed in real locations the actors were responding to their surroundings in an authentic way, rather than having to pretend they're somewhere that they're actually not: "The environments that the two worked in dictated the movement, emotion, rhythm, and transformation of those locations into an active force within each film. The physical surroundings were always used to shape psychological states. Hong Kong becomes the central site of this transformation." This idea of filming on location and letting the day-to-day (and perhaps moment-to-moment) shooting experience influence the acting and filming reminds me of what Noam Kroll preaches, which (to me) is really the fundamental advantage of the low-budget film. Wong Kar-Wai sometimes wrote the next days scripts the night before, which means they could adapt to how shooting was going and the weather etc. With the technological advances (film getting faster and not needing lighting / 16mm cameras that were light enough to use without a tripod / on-location sound then sync sound / digital) that enabled Italian Neorealism / French New Wave / British New Wave / Dogme 95 it's all about it getting smaller/lighter/cheaper, so taking these advantages and then still doing a full pre-production cycle then rigidly shooting to that in prod is really just throwing away much of the new potential that technological advancement has delivered.

There it is. Great point. One of the best features of modern NLE's

Hi, I have a few archive for gh1, but for ptool and setting controlled by a computer