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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?

Not even in 4K! It's like they've never watched a single YT tutorial on how to make their footage cinematic.

To those like me, this is the most important day of the year, so my best wishes to everyone!

Been using the GH6 with the cheap 7artisans 24mm 1.4. I really like the lens, are there any other 7artisans hidden gems?

Do I need to use a VPN and a private tab to Google ‘Hardcore Henry’?

I'm back from Guangzhou China, and starting to evaluate the footage, especially my modified Takumar 50mm F1.4 with the custom "insert" made from post-it notes and sticky tape. I managed to get out and shoot with it on a couple of nights. One in Beijing Road and the other in Yong Qing Fang. Some images from Beijing Road... these are all wide open, and lightly graded with Resolve and Film Look Creator. Overall, I'm really liking the aesthetic, which reminds me of mid-budget Hong Kong cinema, which I have a soft spot for. I mostly exposed to protect the highlights and then adjusted exposure in post under the FLC, and the GH7 has just enough DR for this, despite the scenes being quite challenging. The lens has a shallow enough DOF to be able to direct the viewers attention by choosing what is in focus, and the FOV (equivalent to a 71mm F2.0 on FF) is great for these type of scenes where the scenes would mostly overwhelm a wide lens with pure chaos. Some images from Yong Qing Fang.. same as above but with a touch of sharpening. This was a lot darker and I needed to push the ISO to get more levels in some scenes. It was also a lot higher DR, so some shots will be limited in post for how I grade them and I'll probably reach for NR in places. The lens is actually quite sharp in the middle, but the sides are more distortion than I'd like with quite a bit of bokeh distortion and coma from bright sources. The experiment with this "insert" was how strong a look it would be and I think it's probably too strong because the bokeh shapes are too distracting due to the sharp corners. It's distracting on frames with a clear subject (where you want the background to get out of the way) and on other shots its pure chaos and completely negates the idea of directing where the viewer will look. Getting DOF this shallow on MFT isn't easy, so I'll have to think about it more for future trips.

My archive on gh2 patches 1 GOP Intra 'moon' T7 - Top Grading - Best Motion - Best Setting Ever 1-SpanMyBitchUp patch is good quality for spanning with long record times 2-AQuamotion v2 is medium-high quality with decent spanning recording times + 80% slowdown / EX TELE 3 GOP 'Spizz' - Hi-Quality - Pro Motion 3-TerrAQuake is seAQuake but less quality frame sizes for poorer type 10 cards 4-SeAQuake is Very High Quality for hi-end SD cards 6 GOP - Middle Earth 'Nebula' 7 GH2 Flow Motion v2 - 100Mbps Fast Action Performance & Reliability 8 T9-gh4 like 9 12/15 GOP 'DREWnet' T9 - Traditional Long GOP 12 https://www.dropbox.com/scl/fo/blop84zqvmgob2qiab07v/ACl0mBKWCsMcidxL5qUcqgA?rlkey=3gb5igu910uyw5sipalzlovp2&st=1vsslgjs&dl=0

I'll have a dig and host them here if I find the mother lode

After digesting my trip to China, I'm now planning the next trip to Japan, where we're mostly in a remote location but we have a few days in Tokyo in the middle so I'll try and spend as much time shooting there as I can (which really means leisurely meandering around shooting and having breaks with delicious food / drinks etc). My equipment lessons from the China trip included: The GH7 is a workhorse and I don't think about using it at all, just on what I'm shooting The 14-140mm is a great all-round day lens for home video stuff The Takumar 50mm F1.4 on speed booster is good, but a little soft on the sides of the frame and the rectangular insert is probably a bit much I also learned a bunch of stuff about how to shoot in crowded situations without drawing too much attention to myself. I suspect that this is an infinitely-deep rabbit-hole that the best shooters probably do unconsciously, but like all things practice makes improvement. One thing I did that I think also worked well was to just shoot as fast and as much as possible. Not only did it lead to more shots and variety for the edit, but I think it also potentially helped me be less in my head and shoot more instinctually, which I suspect will yield more creative and expressive results. I've been thinking a lot (and talking to friends) about what I'm learning and what equipment is appropriate: The 70mm FOV seems potentially universal because in crowded situations you want to focus in on something so the frame isn't just full of chaos (photography is the art of subtraction), but in situations where there are less people you get spotted at a much greater distance and so having the longer lens means you can still get closer shots of people without actually getting close to them If my goal is to make edits that feel more immersive, then it makes sense to shoot with a lens that's roughly "normal" so it has a perspective similar to the human eye, which is about 50mm on FF. Having 70mm is a bit longer and would introduce a slight element of distance between myself and the subject, which is emotionally appropriate as I am an outsider in the places / cultures I visit, so this is coherent and adds to all the other decisions I'll make in what I shoot / how I shoot / how I edit / etc. I mentioned wanting a lens that was a bit sharper on the sides of the frame to someone and they countered by saying that having such a limitation will make my work more consistent (not only from the images themselves but also because it means I tend to compose with the subject nearer the centre of the frame) so this is a reasonable counter-point Despite all this, I suspect that I'll want a wider lens for when I get into the emptier narrow streets where it's more about the location rather than the people in it, and I suspect this is closer to 35mm or so As such, I'm mostly settled on the following lens contingent: 9mm F1.7 - for getting that wide-angle distortion that makes buildings etc really pop 14-140mm F3.5-5.6 - for day-time home video shooting 50mm F1.4 with SB - for that 70mm "night cinema" goodness 12-35mm F2.8 - for the wider "night cinema" duties, and being a zoom it means that I can use whatever focal length works for this task (35mm equivalent is just a guess) but also combined with the AF I can shoot a variety of angles / compositions really quickly I'm also likely taking the following, partly as just-in-case and partly to experiment with: TTartisans 17mm F1.4 - if I find that the 35mm FOV is desirable then this is a fast prime I can swap to TTartisans 50mm F1.2 - obviously I'm a fan of the 70mm FOV and I wonder if this 100mm FOV would be useful / workable, especially as it's super fast with shallow DOF Risespray 35mm F1.6 c-mount - this is about a stop slower than the Takumar+SB combo but seems cleaner wide-open so is a way to challenge my assumption about needing the speed of the Tak I'm also contemplating shooting 24p rather than 23.976p, and also 1080p instead of C4K. Both decisions have pros and cons to them though.

As an American I'd like to quote the immortal words, the best words, the POTUS has shared on this holiest of days, "Praise be to Allah" Seriously though, it would be wonderful if there were more folks truly (not just pretending) trying to live by the actual authentic philosophies of the New Testament. If only we could be so lucky. Happy Easter.

(Cross-posted from reddit) I've been working on and off for a while now on a Leica M mount for the Ursa Cine 12K LF. I was having problems with minor flexing in the plastic - and the random Micro 4/3 to M mount adapter that I used as a donor turned out to be a bad choice for a few reasons. In the meantime, I found some ways to mitigate the plastic flexing and I disassembled a Fotodiox L mount to M mount adapter and found it a lot more suitable, plus with a larger diameter which also seems to help with stability. Because of shape of mount cavity on the camera, the lens also needs to be mounted upside-down with my mount. Unfortunately, there is some play in the adapter so any lens will need support if racking focus. This latest prototype still focuses just a little too much past infinity with the f/1 Noctilux so I have one or two more prototypes to dial it in just a little closer - and then I'll switch from the cheapest PLA in my house to PCCF and print what I hope will be the adapter that I actually use. Limitations? Every modern Leica M lens that I own (21, 24, 35mm) that is 35mm or wider cannot be used. They stick out past the rear of the mount and would impact the glass in front of the ND filters. Similarly, with my Simera-C set, However, my incredibly old 35mm/3.5 Elmar does not protrude and, as can be seen in the couple of snapshots I took from the last round of testing, works great (and is beautiful, as it is on any camera). That's the widest L mount lens that I own that can fit. HOWEVER While using my M mount glass is part of my goal in building this, the bigger bonus is that having a Leica M mount lets me adapt a bunch of other vintage SLR glass that is not otherwise usable (without mount conversion) on the UC12K LF. And since those lenses were designed for SLR's, the wide angles don't protrude. This will address one of the few things that I've found to be a bummer - I really love my FD mount and Minolta SR mount glass! With an FD to M mount adapter, they will all be 100% usable now. In this round of testing, I checked the 50/1 Noctilux and the 35/3.5 screw mount Elmar - both are gorgeous lenses on any camera that I've put them on and this is no exception. Did some 3:2 frame grabs from Resolve with no grading done beyond slapping on a BMD film to rec.709 lut. I also seem to have done the math wrong for a 3:2 ratio in Resolve, but I'm also not going to bother going back to fix the slight letterboxing.

Nikon has a new boss An optics engineer... not an accountant. Wishing him well for the future...

I've been told it's a decent camera for indy films.

Let's keep the debate goin' ...Can't wait for the next great prompt artist to really bring their vision to the screen. No one prompts as well as that Vogel dude. That guy prompts. Why try to create a golden hour scene when you can just ask for it? Nothing says artistic cinema like a computer deriving and stealing other's hard work. :-| Should we go to an art museum to look at some lesser talent's paint-by-numbers? The creation matters. Now let's do motion pictures. Cinema has always been craft as well as the art. Minimize the craft, minimize the art.

Here you have straight from Mr. Vogel, Mike Vogel, Milady: Love this one BTW... Addressed to all naysayers : X

Highly unlikely they'll produce two versions. More than likely you purchase the base kit which is basically a GoPro and then for X dollars more you can purchase the cinema kit which will be a new faceplate that has some type of mount. Probably a weird bayonet or c-mount. From there, they'll sell you adapters to PL, EF, etc... The screen will go away on the cine plate but they may leave an hdmi port for a monitor. Once you unsnap the faceplate, you can unplug the screen which you can reconnect to the hdmi port... or whatever. Either way, interesting camera.

I’m probably biased as both a Nikon Df user and someone who thinks these two are pricks but even so I wasn’t sure that my contempt towards these two could get any bigger but here we are. They even went after the Leica CL. Of course if any of the cameras on their list was released today they would be shilling the shit out of it. Because that’s what they are, paid promoters of newness. No new gear, no pay day. Not exactly overflowing with content about great used alternatives that channel is it ? And that tells you all you need to know about them as a serious resource.

Even more amazing they were low budget B-movies with shoot schedules under five weeks !

Part of the reason they could make these film was the introduction of Kodak Eastmann Super XX film after WW2.It was rated at around 160-200 ASA which was over 2 stops faster than film of the 1930s.It also was known for its ability to be pushed (underexposing and overdeveloping)It was regularly pushed one stop to 320AS and sometimes two stops to 640ASA like on Citizen Kane.

100% - I'd assume that this was the best image that an expert with all the other associated equipment was able to get with a decent travel budget and after a decent period of having it. I've always maintained that there are three useful references for a piece of equipment: The best images that anyone is able to create This shows the upper limit of its potential The images that competent reviewers get This shows the type of images that people of moderate skill are able to get in non-ideal conditions The worst images You never get to see these until you get one yourself, but in theory this would show how fragile/flexible the camera is (for example you can expose an Alexa pretty horribly wrong and still get a half-decent image from it, but try that with a camcorder and it's a complete disaster) The promo is only the first category, and the fact there are only a few shots in there is a statement in itself. I think the 15mm is a lot better than people make out, but of course most discourse online is from people who think that a Zeiss Otus is the ideal lens and that Michael Bay doesn't use large enough apertures. To be honest, when reading / listening to most opinions now I am just hearing that the person hasn't been to the cinema for years, hasn't watched any/much classic cinema, and isn't even familiar with the saying "F8 and be there" let alone thinks that it is the cornerstone of almost all the important photography in the history of the field. I was always interested in the 9mm but as I bought the SLR Magic 8mm F4 as one of the first lenses I bought, then upgraded to the Laowa 7.5mm F2 lens later on, the selection of slow wider pancake lenses was never really justified for me. Right, I guess that makes the moon shot even easier then. If you have enough light then almost any camera will look pretty good. Looking at the mount again, there doesn't appear to be any visible mechanism to attach the lens.. I'm wondering if this might be a magnetic mount of some kind, like MagSafe perhaps. If that's true then it might just be a matter of pulling the lens off and snapping another one on. That would certainly fit with the GoPro ethos of it being a fast no-nonsense experience.

For sure, and I'd be excited to give it a try! I was a Kickstarter backer of the Z Cam E1 and I've bought a few Ribcage kits/cameras over the years. I was disappointed by all of them, but I'm still hoping for that magical/usable tiny sensor camera! I have a little bag full of D-mount and C-mount lenses just waiting to go on something! (I still wish there were a way to get a decent/non-laggy video feed from the Insta360 One R/RS series - I have a Ribcage-modded 1" module and the quality is really decent - but focus is hard, given the only options for monitoring are the camera's tiny screen or laggy wifi)

I found an interview with the person who shot the under-water sections of a GoPro promo video (IIRC it was for the Hero 3 or 3+), and the level of effort they put into it was simply incredible. He had a team of about 5, three crew and two cast, and they had a week for production. He was an independent DOP and had done some pre-production as part of his 'pitch' to GoPro to get the gig, but I think they did detailed pre during the week as well as camera tests and lots and lots of shooting. This was only for the underwater shots (the bikini girl diving beneath the waves). If we assume that each of the (maybe half a dozen?) locations each got 5 people for a week, then that's ~7500 hours just to film the 1-2 minute promo video. The level of cherry-picking is extreme - professional DOPs pitching projects, travel to the most exotic locations, testing of all modes with all manner of equipment, everyone in cast and crew are professionals, long shooting days at the best times (golden hour, etc), dozens of hours of footage just to make a short promo. Then people set it to auto, hold the tiny camera in their hand and film their family at the beach with whatever lighting and weather happens to be there at the time and then we wonder why it doesn't look like the promo videos... Having said all that, if GoPro make an interchangeable lens camera with a half-decent bitrate and a colour-managed LOG profile then it might be the tiny camera we've been wanting!

Any takers here?

Hello, I hope everyone is well! Even though I’m not really active on camera forums anymore, I frequently read the EOSHD blog and every now and then the forum, so I saw the thread and thought I would respond. Because it wasn’t ”poof gone”, it was announced on the channel over a year ago and mentioned in the last three videos. Before going into why, super flattered that this thread exist. I mean that. So here are some thoughts on the matter and why I took it down. Hobby vs Work YouTube was never my job, just a hobby. So was video making and photography, in the beginning. When starting the channel I was working as a producer after a couple of years as a radio/TV reporter. So I started the channel to keep my practical skills fresh. And to keep up with the development, which was huge at the time. The DSLR revolution, Blackmagic, cheaper editors etc. Fast forward a couple of years and I started making more videos at work again. At the same time I pretty much lost all interest in doing it as a hobby. And actually canceled the channel. Winston Churchill was definitely right in saying that work and hobbies should not be too similar. But what I had discovered was a passion for still photography, which I had pretty much no experience with. So I started making videos again. That’s why my videos became very repetitive and short. I didn’t care about that part, I just wanted to display my stills work and get feedback, talk to the community, experiment with cameras and develop. After a few years I became a good enough photographer that my new employer noticed and just like that I was shooting stills professionally all the time. And I still do (I work in marketing and PR). It’s a huge bonus in my field and if you are good at it you will never be out of work. So photography also became less and less of a hobby. Instead I found other hobbies. They where things that for example got me out into nature, so photography tagged a long a while, as a secondary activity. But eventually it faded. It was also nice to do things and not share it with people. I know I probably could have a very successful channel by making videos about my current hobbies, and even make some money. But I never really wanted a channel for the sake of a channel. And always had a full time job. The fact is that at no point would I had been able to live of my channel, not even at the peak. Even with sponsors it was never more that a regular salary (in my field and country). But as long as it was a hobby and I was glad to do it, it was a welcome addition to finance camera gear. Time At the same time as my channel started to feel less fun and other hobbies started taking my time, I started a family. So.. you get the idea: full time job + family + 2-3 hobbies = no YouTube. Upkeep So why take it down, why not leave it for the community? I did.. at first. Like some of you pointed out, the YouTube crowd in the photography/video space is generally nice and positive. That is my experience as well. Early on I learned that a good way of keeping the trolls away was to be present. Respond and engage. Trolls are usually idiots or cowards, so they don’t like getting push back. But once I stopped making videos, views and comments obviously went down. But the trolls started coming back. Not so much after me, and I don’t care about that. But agains the community. The people commenting started being nasty towards each other. I felt a responsibility to moderate, which was annoying. That’s when the thought about simply removing it started to grow. It wasn’t an impuls. It was an internal debate that went on for months. And the issue grew much much larger than a couple of trolls. I started thinking about five years ahead, 10 years, 30 years.. This post is already way too long so I won’t go into all of it. But I think you get the idea when I say: Privacy or when the content no longer reflects the creator. Digital minimalism, control over one’s narrative, inactive or outdated content. Risk of misuse of content due to me not checking the terms updates. Closure. So there is a looong ramble :) To keep in spirit of the forum I can charge my current gear for pro work :) For the longest time I used the EOS-R for 75% of all my work and the R5 (rental) for the rest. It wasn’t mine but my employer told me to buy whatever I wanted. Paired it with a 28, 35 and 70-200. 70/30 stills/video. The R5 is peak camera imo. Today is a little different. I started working for a new company about a year ago and again was told to buy what I needed. I would have bought the R5 without hesitation if it wasn’t for the Sigma 35-150/2-2.8.. I just had to have it. So I ordered the Nikon Z6iii. It’s not as good overall as the R5 for me and what I like in a tool camera. But it’s 90% there. And coupled with that lens it’s becomes on par. //MB

Not a very good interview but the short and curly of it is The URSA Cine 17K 65 retails for approximately US$29,995. In contrast, the Arri Alexa 65 is unavailable for purchase and must be rented, with high-end productions often spending hundreds of thousands on camera packages.

Oh yeah, they absolutely do. And as the article you linked said, they look like optical shallow DOF instead of simulated! Another possibility is that they release two versions, one with a small sensor for the traditional action sports use case - and one with a bigger sensor for the vlogger crowd. If they DID release something like the Z Cam E1, but with a modern SOC supporting 10-bit, a flat profile, and a decent H.265 implementation, I'd be excited for a GoPro for the first time in years.

All true, but the sample images from the promo video all have shallow DOF, so that means another kettle of fish entirely with AF and/or focus guides (peaking etc). I'd question if it might have lidar rather than PDAF etc, but it's a GoPro, so let's just assume it's 95% marketing and only 5% actual specs, like almost everything else about their cameras (no proper log profile, barely-passable bitrates, etc).

It reminds me of how the people that do rug cleaning videos name their cleaning equipment. My favourite is this:

Wides are a completely different thing depending on the circumstances. If you're hand-holding and moving around for video it's a completely different beast than doing stills or doing video but on a tripod with very careful camera placement and subject movement etc. I also think it's pretty difficult to make wide angle lenses look professional - that demo from ARRI showcasing their ultra-wide zoom had more "amateur with an action camera" vibes than a shallow-DOF 85mm portrait shot from the standard video mode on a 5DII. This is the elephant in the room for amateurs - the pros choose equipment in support of the vision of the project whereas amateurs choose an aesthetic and then use it for completely inappropriate projects.

It sounds like an off-Road vacuum cleaner.

It’s only a matter of time before some big movie is shot exclusively on a Go Pro or DJI…

Like with anything, it's best not to get too revved up over the hype and wait until there are actual cameras around to check out. GoPro are, of course, hiring professionals and cherry picking the very best footage/images that any of them captured. Otherwise, the concept of using an action camera ASIC in a cinema camera isn't new - it was exactly the strategy with the Z Cam E1. Since then, action cameras have advanced a lot, thankfully. Similarly, the Z Cam E2 series used/uses an off the shelf Hisense board, though that one was intended for higher-end security cams/consumer cameras and not action cameras.

I just commented on the Lumix Live weekly upload asking for a modern, small MFT camera- most liked comment. IMO, there are so many people, for whatever reason, want this. It could be practical or nostalgic for the Lumix fans. Just do it Lumix.

That’s about the sum of it John. Except I’d swap out the word ‘reassure’ for ‘excite’. To quote a famous movie line, “build it and they will come”. In the case of Panasonic Lumix, build it and they will come, but of as much importance, build it and they will stay. But if they already buggered off elsewhere because instead of telling them something they wanted to hear, you said nothing and 🤷‍♂️

«As a Fuji user, that smooth autofocus on the BM6k makes me cry.» «I sold my X-H2s and all the lenses a few months ago to get BMD Cinema 6K, and I never looked back since.» source «The most significant thing about all this, as you pointed out in the video, is that Blackmagic is essentially giving autofocus to all of us who already bought their camera, instead of releasing a Blackmagic 6K Full Frame Pro with autofocus just to make us open our wallets again. They may be losing money in the short term, but in my view they are gaining in the long term, because the trust the brand inspires is truly remarkable.» source Disclaimer: Happy camper as Blackmagic shooter over here! Looks like I am not alone... - EAG :- )

I've been hearing a lot of positive things about the AF on the BMCC with the latest betas. Given that BMD have said before that they plan to roll it out to all of their newer cameras, my assumption is that Petty will be announcing it for some more cameras at NAB in a month or so. My selfish hope is that the UC 12K LF is included. It'd also fix one of the major considerations if people are considering C80 or Pyxis 12K if they roll it out there too. My other big. hope/assumption is that they'll also finally announce a USB reader for a single UC media module priced under $400. The MM is fantastic, but it's a pain in the ass to connect the camera to a 10gE network to download it at any reasonable speed (USB and wifi transfers are both slow as hell, not sure why but the virtual network they create on the USB interface is only 100Mb/s) - and the only reader they sell now takes 3 modules which is 2 more than I have and it costs something like $1,000 - and from what I recall, it also needs to be connected to 10gE. And getting into wild speculation, it would be interesting to see them release a smaller camera using a lower-resolution RGBW sensor. A $3k or so 6K (or 8K) camera with similar dynamic range to the 12K sensor in the bigger cameras and Canon/Sony-level AF would be really tempting/compelling.

I have the Sanity hacks (not 100% sure), Apocalypse Now (Drewnet), Cluster X (Drewnet), and Cluster X (Moon). I wish I took better notes. Why are personal view forums down? That's a good site.

I'll genuinely appreciate that a lot. Please preserve the gh2 history, don't let it vanish

I don't think this makes it a cinema camera...

No manufacturer is going to reveal a future product before it is ready to be sold unless they are in dire straits and their current products have zero chance of selling. To me it seems that manufacturers consider small cameras more entry-level and make a progression so that in each level up, most aspects of the next higher-level camera is better than the level below, except for size and weight, and the cost increases along with weight, features, performance, and quality. Since Panasonic have (more expensive) 35mm full-frame cameras, they have incentive to make the micro four thirds products less in most ways, to motivate people who can afford the FF to go with it instead of the MFT. Sony does emphasize small size and low weight throughout their stills/hybrid camera lineup. A small camera is more difficult to make more powerful (in terms of performance, image quality, high end video codecs etc.) and people will invariably complain about whatever its flaws may be, be it lack of efficient codecs, overheating, operation etc. IBIS makes the camera significantly more expensive. In the small sensor class, IBIS would be useful (just as it is with larger cameras) but it would increase the camera size, weight, and cost, all three factors noticeably, hence reducing the advantages of small size, light weight, and moderate to low cost. And this class of cameras is competing with smartphones as well, due to their pocketability and communications abilities. It's just a tight place to be in. Probably this is why Nikon discontinued the 1 series and Canon their M system. Full-frame telephoto lenses have also gotten much smaller and lighter in recent years.

Why would anyone use MFT today? They want a small, capable camera setup (under 500g with lens); They want high-end telephoto quality without the extreme weight. Almost everything else can be done with a larger sensor without too much weight penalty, which is the point. You'd think in this interview he'd at the very least mention that there's a small MFT camera in the pipeline. Instead, they say they're committed to MFT (and simultaneously discontinuing lenses like the 20mm f/1.7). They've had that G100/D since 2021, using the same tech as from 2015, only worse (no real IBIS). Meanwhile, the now old and abuse GM5 is poised to pass up cameras like the GH6 on MPB. Does anyone need more proof than that to know there's a serious want for consumers today? Come on Panasonic! Get your $hit together!

That tracks.

I really appreciate you taking the time to come post about this on here - I was wondering what happened and I'm glad I found this thread when I checked again recently. I found some of your old videos + reviews really entertaining and useful when I was considering trying blackmagic cameras, so thanks very much for that. I have a lot of fondness for some of those videos, and if I'd realised the channel would completely disappear I probably would've saved them. 10 years from now it would be nice to be able to look back on them.

Well, there's one hell of a metaphor in the "context" of this.

Great to hear from you! It makes much more sense now we know why you brought the channel to a close and also chose to delete it eventually. All I can say is that I'll miss it. And I hope you find the passion to return one day to the tube. Having read that I understand completely and found the same challenges myself too, everyone can see that I struggle to get excited about the gear sometimes, whereas in the earlier "DSLR revolution" era, I'd be updating EOSHD 5 times a day sometimes more. It is difficult when a passion becomes work, when enthusiasm becomes repetition, when an audience goes toxic or when a big US tech companies enshitifies the platform you're posting such valuable creativity on. I mean, look what they did to Vimeo, it's a difficult pill to swallow and I've always struggled with my enthusiasm for YouTube as a platform as well and there's very little in way of alternatives. I'm just glad you're well and enjoying your R5... You're right in that it still holds up as near the peak even 5 years later, and the overheating drama is far behind it after Canon decided to undo the damage caused by their fake timers and cripple hammer decisions.

Train Dreams on Netflix I don't know how many of you have already seen it, but I still wanted to recommend a film that I watched a few nights ago on Netflix that hit me right in the heart. It was presented at the last Sundance Film Festival but then went directly to Netflix without going through movie theaters. And it's a real shame because the cinematography is stunning. Shot in 3:2 in the Idaho forests with an almost documentarian feel. The story is infinitely sad and very slow. The reviews are almost all enthusiastic, and it has become one of the most viewed films on the platform in recent weeks. The negative reviews accuse it of being truly slow, but in my opinion and that of others, the beauty lies precisely in the film's slowness. If you manage to get into the mood, it hits you right in the heart. I don't want to spoil too much about the story, but the ending truly moved me. The DoP says that the film was shot almost entirely using natural light (à la Lubezky), and many scenes are set at dawn, sunset, and nighttime using real candlelight. The chiaroscuro is a delight for the eyes. https://filmmakermagazine.com/129137-interview-cinematographer-adolpho-veloso-train-dreams-sundance-2025/

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?