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Was this guy responsible for the genius idea of putting a CFE card inside Red mini mag and charge 10x?

Improbable predictions: BMD will announce that they have been acquired by Ricoh/Pentax Resolve will be fully dropping support for BRAW and adopting ProRes RAW New DaVinci Resolve Nano Panel with only a single trackball and no sliders/knobs/buttons New DaVinci Resolve Pico Panel with just a single small button that can only order pizza from Dominos. What flavor of pizza? It'll be a surprise every time. Black Magic Cloud is merging with frame.io so that customers will only have to pay one subscription fee to share with people on either system Based on strong sales of the UM12K, there will now be a UM36K which uses a beam splitter and 3 copies of the UM12K sensor for each of the R, G, and B channels similar to 3-chip camcorders of the past New AI assist camera module that detects if you aren't recording in BM raw - and if not, a small robot version of Grant Petty jumps out and punches the user in the groin until the camera settings are updated

I had a faulty GX80 showing me a message a few seconds after power on: "Please Turn Camera Off and Then On Again". I knew it was the ibis failing because only one part of the sensor was static and the other part was very wobbly. So I dismantled my camera following this tutorial until I reached the 10th step. Once I had the ibis+sensor out of the camera, I only had to remove 3 screws and to separate the 2 flex of the sensor. Then, I realized one of the tree electromagnets had no continuity, and added some drop of tin to join the broken copper wire. And it's fixed and working again. I am so happy! I include an image of the point that was failing

I want one!

If you stare at them for hours and hours then you start to notice differences and they start to look normal. That's how all the YT "cinematic" content now looks nothing like cinema. I just watched Kill Bill 1 again, and yeah, it might as well be a different universe... When the people who can create any image they like with virtually unlimited budget create images like these - contrasty and punchy and not sharp in the slightest, then the people who are pixel peeing the 6K cameras aren't even playing the same game.

In good light the X4 is just on another planet compared to the 1 inch. Is not apple to apple as is the same location, mount but different time of the year but still I could never get such details from the 1 inch or the R. Just look at the mountains in the background and the detail on me.... Unprocessed screen grab from 8k 30, 200 mbits, sharpening low Processed X4 Processed 1 inch from 5.7 30 I will compare also in low light, but for a first quick look I feel they both look similarly bad 😉

My prediction is: 1: Add 8k RED raw to high end MILC's such as the Z9 or its successor. 6k to lower tier stuff such as the Z6 line... 2: Develop a cine line of their own in tandem with a RED line but a few differences, a bit like Lumix SL2 and Leica S1R (see what I did there?) ie, just boxed and badged slightly differently. 3: The next RED camera will have Z Mount as will any/all future RED cameras and RF for one final fling...if at all, before cutting Canon completely out of the loop. Summary: Nikon have come back strong in the last couple of years, especially with the Z9, Z8, Zf and probably Z6iii and I expect that market share and their image to continue to improve. I expect them to push now into the video/cine market much more than they have with just hybrid MILC cameras and develop a dedicated cine line akin to Sony, so FX3, FX6, FX9, Burano... The appeal and their market will be to 'prosumers', hybrid event shooter people like me, indie filmmakers and the commercial market plus maybe some 'Hollywood' budget level productions, but won't oust Arri or Sony from that perch, ie, will be niche in that regard. Nothing else makes any sense to me. But what do I know, I ain't exactly Quasimodo. (Got to be a boxing fan to get that one) 😜

What a bunch of non sense from people like you. Nikon has their own tech, the Z9 is superior to the Sony Burano 30k camera!!! They could build a Burano killer tomorrow with the z9 internals, they don't absolutely need RED tech if they wanted to go into the video camera world. But can you show me any of Canon, Panasonic or Fuji with even a tenth of that resumé https://www.red.com/shot-on-red. Please show us, I am sure Canon has be used on the likes of blockbusters like Dr strange, Spiderman, Aquaman, Guardian of the Galaxy, The Suicide SQUAD, The flash and some of the biggest TV shows like the Witcher etc etc. I will wait, to think their are some people who think a company will throw away such a legacy is just dumb. If you don't even know the basic of branding, why Honda who sells Civics, invested billions on an F1 engine, or Renaud doing the same while they sell Clio's. The people from Nikon have said not to expect anything Tomorrow, not because imbecile are going to say they will kill RED, but because it takes time. RED just released a 8k 120fps global shutter camera, vista vision camera. What do you think, they are selling Canon rebel 50, you think release cameras every six months.

I believe it only offers a S35 crop. Due to the compression methods from the 6K sensor, some say that the S35 crop is superior... but I didn't buy a FF camera to shoot in S35. And the difference is probably minimal and I don't care about minimal. But as usual, I'm probably the weirdo here, because I still prefer good 1080p over run of the mill 4K. For instance, I mentioned earlier that I think some lenses shine with certain cameras. After thorough testing, most lenses look pretty good in 4K. By that I mean, most vintage lenses have a certain level of sharpness that is good enough due to the 4K. In fact, I think vintage lenses help to tame the sharpness... resolution of 4K. Now with my 5D3/ML Raw, some of those same lenses just don't work. But with a more modern lens, the image looks really good, in my opinion better than the FP. Here's a shot from the 5D3 with the older non-Art Sigma 50mm 1.4... And here are a couple shots of the Takumar on the 5D3... Obviously, they're different shots so in some ways they're incomparable... And here's a B&W shot with the Tak on the 5D3 that's a lot more interesting... So what's my point... I have way more options than I need and B&W makes everything look cooler. That is all.

Here's my recommendation for SOOC shooting - Sony AX100. As Dave says "Sony AX100 looks better than your camera". Just look at the nice contrast, saturation, and above all... skintones! and in mixed lighting no less! Good luck getting that with a "better" camera - they all have far too much DR to give you a punchy image from their 709 LUTs or profiles.

They are not even dreaming of the same game, nor the craft, the passion or the work connected to a 3min narrative or a short experimental visual etude.

But how much of that is due to relatively small differences in brightness, contrast and saturation (all of which can be adjusted in post and usually in-camera by tweaking the picture profiles)? We are all used to colours changing due to natural lighting variation, and most people are drawn to bright, colourful, vibrant scenes - which is why the 'standard' profile on cameras is often relatively high in contrast and saturation to produce 'punchy' looking stills and video. When comparing cameras (if I'm thinking about buying one), I'm much more concerned about unnatural image distortions, like aliasing, moire (especially the false-colour variety), compression artefacts (e.g. banding and blockiness) and noise - because those can be distracting and not as easily dealt with later.

DR of course is not world leading.... In less-than-ideal light is not great, but I would say better than the 1 inch that is surprising. You can see from the motion blur that probably it was 1/60 or less (no ND of course), but still some details in me and the bike.. Compared to 1 inch: In quality is definitely a big step forward, I honestly did not expect this much. I think a combination of more pixel, double bitrate and improvement in processing made it possible. Here an iPhone 15 Pro Max 4k screen grab....

The first thing I checked? ....and the last thing I checked. I've posted practically the same thing on every one of these releases, but the principle remains. If you crop in to the image, like 99.99% of shots will be, then the resolution doesn't matter, the bitrate does. 8K at 200Mbps cropped to a 90 degree FOV (about a 24mm lens) is 2K at around 12Mbps.

I just sold my trusted 2 years old 1 inch 360 (I still have 2 normal 1 inch + dual lens) and ordered the X4 for the same price. From the paid "reviews" it seems that the X4 has more details and less artifacts, the biggest issue I have with the 1 inch but without trying myself I don't trust to much these reviews. Lowlight I think they are all quite bad and not really usable, already skiing on north faces in shade in Alaska the 1 inch breaks apart compared to south faces in sunshine. 1 inch sun vs shade: The X4 is 20% lighter, smaller and better weatherproof so if it turns out to really deliver a bit better detail and less artifacts, I'm happy. I will let you know if it is really an improvement or not over the 1 inch. Ideally, they should do a X4 Pro with 8k and 2x 1 inch.... let's hope it comes in the future.

What the... HECK???? That makes no sense at all, unless they're planning to just let RED slowly die?? But when I read the article myself, I see it in a completely different manner: 1) will take time to integrate Nikon and RED together, might be years. There is a lot to do! So with all the other stuff on their plate, perhaps a Z Mount Cinema Camera won't be the first thing out the gate, maybe it will be one more cycle down the road. (maybe they want to make a BIG impact with it when they release it? Have awesome AF with RED) 2) they want to keep their loyal RED customers happy during these turbulent times, so "for now" they'll reassure them by keeping RF mount There is a very cool mod for a Fujifilm camera however: https://www.newsshooter.com/2024/04/16/old-fast-glass-ofg-custom-65-rehoused-fujifilm-gfx-100-ii-cinema-camera/

Doubtful. Antiquated cultural practices aside, Nikon didn't need Red to create a lower tiered cinema camera. They bought a patent and a brand. A brand with a VERY loyal following in the lower tier and a loyal user base in the higher tier, Hollywood, cinematography world. If they aren't, at all, interested in the brand, then they spent hundred of millions of dollars for a patent. Red doesn't make lower tiered cameras, but they can help each other. If Nikon eventually dismantles the Red brand, it won't be in 2 years. Maybe in a decade after they gain the trust and reputation with the Red loyal user base and the Hollywood cinematography community. I do think the Komodo could bridge the gap between Red and Nikon, though... with the OG Komodo being more Nikon with a new composite, user friendly design and the Komodo X staying truer to the Red brand. But I think Nikon will use a "powered by Red" moniker, or something like that, in their higher tiered MILCs.

Panasonic is the easiest of those. The Varicam has been used on a bunch of stuff. https://pro-av.panasonic.net/en/cinema_camera_varicam_eva/shot_on/ As far as Canon... https://shotonwhat.com/cameras/canon-eos-c500-camera https://shotonwhat.com/cameras/canon-eos-c300-camera Keep in mind that the C500 series and C300 series weren't the A camera on most/all of the things listed, but neither was the RED on several of the films that you called out. I doubt that Fuji cameras have been used on a lot of major Hollywood productions. To the best of my knowledge, Fuji don't make ANY cinema cameras. I'd be shocked, though, if Fuji's excellent cinema lenses hadn't made their way into at least a handful. Anyway. Take a deep breath. In the end, it doesn't matter even a little bit to any of us if NIkon retire the RED brand - not unless you own stock in Nikon and are worried about it would do to your investment. 😉 FWIW, the most typical/obvious thing here is that Nikon will continue to operate RED as a separate business unit for a time, likely attaching Nikon to the RED name somehow - "RED by Nikon" or "Nikon RED" or something like that. Eventually, the integration will get tighter and current RED engineers will be replaced by Nikon engineers and the naming will change - "The Nikon RED Z1" or something like that. Eventually, RED will look just like any other business unit of Nikon, but continue to make cinema-focused cameras and nobody will care much about whether they keep or lose the name.

I agree on the focus on the influencer kids. In terms of if Nikon should let RED die, that's a tough call. They could retain the R&D benefits of the RED team (which is likely to have a very very different internal culture to the rest of Nikon and would be best kept separated) but without the RED guys talking directly to folks in Hollywood their ability to do R&D would be drastically reduced. RED definitely are a minor player, but they're not without any contacts.

I've never used AF. Most shoots there are 2 people on camera, so someone pulls focus with a wireless unit. And I can pull focus for myself if not. Any log format that is supported by Resolve's color is ideal. I haven't used everything out there so I'm not going to try to give brand generalizations. Honestly the NX1 was the camera that gave me the best results SOOC, but I can't recommend a discontinued series from 10 years ago. The S5 works really well for me now. The XT3 was great, but if I recall correctly there were issues with FLog in Resolve for a while, so I almost always used HLG and was happy with it. I haven't shot with any modern blackmagic cameras, but I from what I see in other people's footage, they have the best color with their end-to-end color management. Again, that's not personal experience. If you need to get good Rec709 color SOOC I'm not the best reference, as everything I've ever shot has had time for coloring. Another factor that maybe I should state explicitly is that Resolve is the only color software that I like. Assuming you're using a decently nice camera with color management, good software will speed up the color process more than the difference between Sony FX6 and Canon C70.

I hope they enable using the 6K Pocket EVF with the USB-C EVF port. From what I've seen it connects to the Pockets with USB anyways. Would be a nice affordable alternative to the new EVF. A side screen for menus/settings is fine, but having it be 4" seems unnecessary, at least if the body is bigger than it has to be to accommodate it. Hopefully there is a way to easily switch it on/off so it's not sucking battery all the time. I'd much prefer the camera be cheaper and smaller, with maybe a 2" screen for menus, and then they sell a separate 4" monitor with some buttons on it (like a C200 or FS/FX screen), with some 1/4-20's for mounting hardware, that connects to that USB-C EVF port. Or maybe leave the buttons off so it can be cheaper, then refresh the Video Assists and let them have the controls. The new Micro Panel looks nice.

In my experience, the internet has a very skewed view of which brands offer the best colour science. Millions of folks on the internet will tell you that Canon has the best colour, and recently Fuji is in the game with their film emulation presets, but I think this is just confirmation bias in action. All manufacturers have very high quality colour. Even Sony, who used to have the most "accurate" colour and looked very unappealing, have turned it around and now have pretty nice colour. The other great myth is that great colour comes from the camera, it doesn't. Great colour comes from production design, lighting, and colour grading. Here is a thread where I show that it's the work in post that makes the images pop. After reading your recent posts and threads about one aspect of cameras or other, I have some bad news for you... you can't buy good images. Good images come from skill, not equipment. Great images come from skill and large amounts of hard work.

Maybe. It would be a bit silly though - the brand recognition was part of the value of the company. BM is having a difficult time breaking into the cinema ecosystem despite having brand recognition for Resolve, so Nikon buying one of the "big three" brands that was being actively used by Hollywood, and then putting it in a drawer seems a bit counter productive.

That’s what I suspect also. Not that I was ever invested or even interested in RED. But I do hope we see the tech become part of Nikon hybrid ASAP and they bring out their own cinema line a la FX3 and FX30 mold. I could go any way right now (as in next year) and that is currently Nikon for stills and Lumix for video, but really want it all with one brand for a variety of reasons. Fortunately, because E Mount adapts almost natively to Z Mount, Nikon and Sony have the highest level of cross compatibility in the hybrid game right now. I’m interested in raw but would rather dip my toe than go all in so if the RED raw became available to certain existing bodies by firmware such as the Z9… Well I am already strongly considering trading 2 ‘lesser’ Nikon Z bodies for a single Z9 and if…if….RED raw came to Z6iii, it would probably be a done deal for me and I’d be all in on Nikon bodies and E Mount glass.

There's some statistics up to 2019 here - https://stephenfollows.com/digital-vs-film-on-hollywood-movies/

As we always say, the camera, especially these days, is the least important part of the equation. Big camera has always equalled big production, but that is more about perceived industry ‘standards’. It all gets rigged out anyway so the size of these tiny cameras gets hidden.

So an update, if anyone's interested. I shot the first scene, which was made up of 5 distinct shots. They came out OK. They were... competent, but only that. The lighting was good - nice contrast, nice colours, well-motivated, but that's all. Can you tell I'm dissatisfied? I was so focussed on getting everything 'right' that I didn't pay enough attention to getting it good or interesting. So I'm going to reshoot and one of the things I'm going to do is lean in to the limitations I have - first among which is that I'm doing this almost completely alone. I am both crew and talent! The biggest limitation caused by that is that camera movement while I'm on screen is not going to happen, which means that to create interest I need to make my angles and composition more interesting. Also, the lighting as I did it the other night looked, basically, like a commercial, not a movie, so now I'm happy with my ability to get decent levels etc, I'm going to really try to push the envelope with ratios and temperatures and try to have some fun with it. Once I've reshot I may post both versions for comment before I continue with the remaining scenes (it's going to take a while to complete the whole project given that I work full-time and my main set is our kitchen, which is in near-constant use as my 3 children attempt to bankrupt me purely through food costs!).

Thank you so much for this hard work. I'm going to look further into this during my holiday. Yes, some of the images with wrong WB and underexposed would be expected to be trash, but it's nice to know there are some editing techniques that save it a little. In all honesty, I'd probably just go for monochrome or tint if this were to happen to me.

There definitely a newcomers who'd be weighing up their options of what to get, and will now choose this new BMD camera. Less buyers for other systems = lower prices on the secondhand market. Simple Econ101 Also there are lots of people who went with ZCam or old REDs or such, specifically because BMD didn't offer what they wanted. But now BMD does! It's very disappointing it is only one SDI output. Should've been two independent SDI outputs! (or at lead have a second output that is HDMI) As the lack of this will make using this game on set rather restrictive. Am curious what a bag/field mixer/recorder from BMD would be like! Something even better than the Zoom F8n??

There's almost no way that they're pushing enough data to actually require 16 lanes of NVMe, even if it's only at gen 3 speeds. Each lane of gen3 is able to carry about 1 gigabyte/8 gigabits per second. From what I read elsewhere, 12K at Q0 on the existing UMP is just over 1.1 gigabytes/second. Even the upcoming 17K should, then, be kicking out under 2 gigabytes/second (or 2 out of 16 lanes). That's also assuming gen3 speeds. If it's gen4 or gen5, it's even more overkill. A single modern high-performance NVMe drive can write at around 3,000MB/s. Anyway, to get to 8GB with off-the-shelf modules, it would either need to be 4 4GB drives in a raid 1 or 4 2GB drives in raid 0. At $1600, they could afford the former, but I'd bet money that they're doing the latter and pocketing the money. I'll hope it does drive them down, then - every so often, I get a fever and once again start leering at a used Monstro 8K VV and thinking which of my current cameras to sell/trade toward it - given that they're only about $6k used (in good condition) these days (well, probably about $7.5k after getting all the accessories that are needed for it to even function). Then I go read stories from small shops who needed to send in their RED for service (warranty or pay for repair out of warranty) and it's like a cold splash of water on the face (if you're not a major studio, expect long waits and bad communication). But slowly, the GAS starts creeping in again... "But it'll match the FOV of your GFX 100 II better... How often can a camera fail anyway? Well, it's a RED, but... how often? Really?" Well, that and the fact that I get really confused when I start trying to figure out which accessories are compatible with which cameras. Since I don't have much in the way of PL glass, I'd want an EF mount. Can a DSMC mount work with DSMC 2? Does it need to be a special mount for the bigger sensor? Does a freakin' lens mount cost that much? USED? Anyway, if those were to drop to $4k, I'd probably be unable to stop myself from trading some other stuff in toward it. I'm less optimistic about this. My guess is that most of the people buying it will be people already firmly embedded in the BMD ecosystem and thus other brands' cameras won't drop too much in price. Other than "has BRAW," nearly all of the other features of Pyxis have been present on the E2-F6 since 2019. Even after the price dulled any initial excitement, it got even duller when I remembered that I'd be trading the external monitor to record raw for an external transmitter for the image when on set. I always forget that BMD app control is just a control surface with no image preview.

Agreed. It's probably feasible to swap mounts between Pyxis models, but voids the warranty. BM probably manufactures the models exactly the same, with just that part different. Conceivably, they have some annoying firmware difference to prevent electronics from working, but that would be so difficult for them to manage for FW updates.

I wonder the reasons.... 1) the crash of the media industry lately? Thus less money to spend 2) the economic recession in general? Thus less money to spend 3) the continuing rise of social media? And thus the fall of web forums as the place to be 4) just like with photography, the average affordable video camera out today is already "good enough" for filmmaking? (perhaps the decline we've seen in nerdy discussions about photography, will happen now with filmmaking too) Thus a ground breaking new camera no longer feels the same way as a ground breaking leap forward as before. As honestly, look at what we had before the P4K, it did make the P4K seem like a big deal! For its low price and great features. While today the PYXIS 6K is definitely awesome and at a great low price, but we already have so many similar-ish cameras at similar-ish (or cheaper) prices with similar-ish prices. And a lot of the great things in the PYXIS 6K are not things we necessarily need. It just feels like the leap forward from where the competition was beforehand was bigger with the P4K than it is today with the PYXIS 6K

Wow, what a set of releases! The Resolve 19 presentation was pretty amazing. The audio panning tool in particular looked pretty sweet. Overall, I find the Fairlight tab to be rather unusable. Compared to Reaper, it's much harder to see large projects particularly compared to Reaper's amazing keyframe visualization and track parenting. So I'm probably going to stick with Reaper for large audio projects. And then on the visual side, a whole slew of AI based tools that look like a lot of fun. Some of the tracking tools looked pretty great, as do the new color plugins. Ursa Cine looks like a pretty sweet camera. I like the USB EVF solving both power and data at once, without proprietary connectors. I wish/hope that there can be an open standard for it, so other manufacturers can make interchangeable EVFs in that system. I can't say I'm that enthusiastic about the data rates required for 12k, but I guess it's the future. The footage looks good in any case. I'm glad they switched back to a larger, 5" 1080p screen, up from the rather smaller and lower res one on the UMP models. The screen on the old Ursa Mini 4K was nice to use. I'm a little confused on the media drives. I can't tell if they are off the shelf, user-replaceable M.2 cards (that's how it looks) or something more proprietary (which is what Grant Petty implied verbally). I'm intrigued by the USB ports along the right side, for "3rd party accessories". The Pyxis looks alright. I'm a little disappointed that they kept the 6k sensor from the previous camera, but it's what I expected. Keeping the accessory ecosystem from the Ursa Cine is great. I love the interchangeable side panel. For $3k, I don't think I would buy it over the Z Cam F6, with the main points being higher frame rate, H.265 options, interchangeable lens mount with eND option, and builtin wireless monitoring. I think the points in BM's favor are the screen, physical buttons, XLR connector, color, SDI, and timecode. Of those, color is the only one that I really care about and I don't know if it's that much better to justify the other cons.

Never thought I would buy a X100VI (and a limited edition too!), But after my name got drawn out of the lottery I say why not! The thickness of the X100 is similar to my Sony body without any lens on it, and even with that OVF it is only slightly taller but shorter than most other mirrrorless with dslr design. The ND and IBIS does it make a more compelling video camera, I really hate to screw on and off the lens filter on trip. Btw it can be powered by USB powerbank

The Pyxis looks good. No mention of global shutter so probably has rolling shutter of some amount. The thing I'm intrigued by is the USB-C EVF. I find out now this has already been out but I wasn't aware of it. Can it be hacked so it can accept HDMI and used on other cameras?

Oh, hey! They finally released a box camera. Pyxis 6K which uses the same sensor, apparently, as their full frame BMPCC. Pyxis is compatible with the Ursa accessories including the USB EVF. Does this mean I'm actually going to want a Black Magic camera for the first time since the original BMCC? It might. Let's see the price...

Anddddd there's the box camera!

Oh, posted too soon. They're also going to release an Ursa cine with a new 17K VV sensor around the end of the year. That's even more resolution than the GFX 100 has in photo mode. Same pixel size as the 12K version - just stretched out to 65mm wide.

Ursa Cine looks like a huge upgrade over UM12K - and priced to match. $15k for the base package. They kept 12K, but went full frame. It has much better DR and even though they didn't mention it (or if they did, I missed it), RS looked pretty good in their example footage. Media is up to 16 lanes of NVMe. I think Grant mentioned that the camera will come with an 8TB module which is made up of 4 separate drives (each with 4 lanes of NVMe). The camera also has 10gE for output. As far as why there's a USB-C on the front, it's actually for the EVF which connects by a single cable.

This might be the single largest release lineup Blackmagic has ever done. There's like a dozen new pieces of hardware plus DR and firmware updates. Craziness.

The new automatic parameters for denoising and the film look panel in Resolve are both a bit exciting. BMD might have just tanked sales for Dehancer and/or FilmConvert, especially if the new film look panel allows export/sharing of settings.

At least not new features for the stuff that's baked into the ASIC. At least in the case of Z Cam, the E2 got so many features through firmware updates that it's basically a different camera now than when it was released. 🙂

YouTube link is now up

Good catch! New EVF too. The body design is looking very similar to the existing Ursa Mini?

Looks like a user changeable lens mount as well

Well, they've definetely got a new camera coming. The 'Ursa Cine'. I'd imagine they will also announce other new hardware, the next Resolve, and software for the pocket cameras. Ursa Cine seems to have PL mount and some kind of wireless features judging from the antenna. I wouldn't be surprised if it was built with camera to cloud and all that stuff in mind. Also USB-C on the front? I doubt that's for an SSD, so maybe powered focus motor or something? .

I've never acted myself, but I used to be heavily involved doing backstage work for amateur drama groups (lighting, sound, scenery building etc.) so I've seen a lot of amateur acting go both well and badly. I think acting to an inanimate camera is probably quite difficult - the interaction and extra adrenalin provided by an audience often really helps. I've been at dress rehearsals where at the end you think 'Oh dear...it's miles off being ready', but the first night performance with an audience is 200% better. People seeing the performance/movie for the first time don't know the script or the movements, so as long as you stay 'in character' when things go wrong you can often ad-lib your way out of mistakes. But dropping out of character immediately says 'I've messed up'. I've worked on shows where sizeable chunks of the script have been skipped by an actor but the cast have held it together and got away with it. Remind yourself you're doing it for fun (I assume), so relax - it'll come out better if you're not worrying about every detail while you're performing.

Firstly, it's awesome that you're actually shooting something! and the fact that you're on-screen is next level above that even, so in my books you're already successful 🙂 I'm not sure what you're shooting, and therefore what making it good / interesting really means in your context, but here's a few random thoughts.. I normally screw things up the first (few/many) times I do something, so just chalk it up to a practice shoot and keep going If you're able to get a technically competent capture then you can really change the look in post, so I'd suggest just covering the fundamentals The success or failure of a film depends 97% on what is in the frame (with the remaining 2% being sound, and 1% image) so that's where your attention should be going Is there a way you can separate the various tasks in your mind while you're shooting? For example, maybe you put in a full battery, an empty memory card, and then completely forget the camera exists and just roll as you do 20 takes of the scene from that angle, focusing on your performance and emotional aspects while you're doing this? If there are small errors in continuity or performance there is always the option to just include them and make it a more stylised final film. For example, if things cut funny or jump around a bit etc, and you lean into it in the edit, then the impression might be that the character might not quite be in control of all their faculties, or might be drunk or on drugs, etc. Obviously I have no idea what the context is, so this might not fit your vision, but it might give you options where previously you didn't see a way forward or just couldn't get excited about the material If you haven't storyboarded or done detailed planning, one thing you could do is to pre-shoot the whole thing without lighting or performances etc, and then just edit it together in the NLE, and treat that as a moving storyboard. This would have the advantage of being able to anticipate any issues with any camera angles, and also to get a feel for the pacing and even things like if you decide to cut an angle or part of the film then you can skip filming it altogether. Best of luck and keep us updated - we are definitely interested in hearing how you get on!

I suggest you start with the finished edit and work backwards. Your end goal is to create a certain type of content with a certain type of look. This will best be achieved using a certain type of shooting and a certain type of equipment that makes this easier and faster. Then look at options for lenses across the crop-factors, then choose your format/sensor-size, then the camera body.

There are *some* advantages to being both crew and talent myself! Obviously this is a passion/learning project, though, so reshoots aren't a problem, except for getting the time to do them. In terms of movement - I'm not missing it too much. There is one point in one shot where a subtle push-in would really help to sell the moment. I can do it in post, but that it won't have the (very mild) parallax that a 'real' push-in would give me.