Dan Wake

I have found him: https://www.flickr.com/photos/jamesyeung/page3
 
 

Pro recorder doesn't  -10db safety tracks (only copy backup). It's really not necessary with good preamps.
You can check the quality of mixpre series preamps and limiter here :
https://www.youtube.com/watch?v=y34zANsXV5U
https://www.youtube.com/watch?v=s-7gUUaXuY0

- feature 4 ("All the tracks must have a safety backup track recorded to tot. -db to prevent clipping") is absolutely useless with good preamps and an analog limiter like on MixPre series. 
- All features with MixPre 10T
- Only 4 preamps with MixPre 6 and limited timecode support.
- For feature 3 : A ambisonic plugin for MixPre 6 and 10T https://www.sounddevices.com/product/ambisonics-plugin/
- For feature 7,  you need some wireless audio monitoring system like comtek.
 

I think they're just regional differentiators. For example, my S1, purchased in the USA, is a DC-S1-MP-K. In some cases, Panasonic even likes to change the actual model name region-to-region, like the G80/G85 etc. But yeah. All S1's still. 

What you want done is called "conforming". Tonnes of info out there about that. (hopefully they're using TC during production? And request an AAF/OMF from the editor)
 
https://blog.frame.io/2017/04/10/how-to-keep-your-sound-editor-happy/

https://www.mattlyon.info/articles/premiere-aaf
http://www.thecargocult.nz/manuals/conformalizer4/cleanup.html
https://ambient.de/tutorial/auto-conform-clips-in-adobe-premiere-pro/
https://www.pro-tools-expert.com/home-page/2016/7/1/pro-tools-conforming-and-re-conforming-in-audio-post-production-part-3

etc etc etc

Assuming the video has similar audio in the file, you can sync directly in the timeline.
Go through one clip at a time, put the audio file and video into the timeline, select them both>right click>synchronise and then select one of the audio tracks.

If that doesn't work, you could get the Pluraleyes plug in/standalone app.
https://www.redgiant.com/products/shooter-pluraleyes/?gclid=CjwKCAjw0tHoBRBhEiwAvP1GFeU42qxLPNL-AoZGJFWQ-nX0IJIMNObILay69jctQtQ6Q8057H2L0BoCyeAQAvD_BwE
For this you basically open all your video and audio files in and click synchronise. It does it all and is very accurate, you can then create an XML, which can create a pre-synced timeline in Premiere. 
Good luck!

tbh, thats ~vintage~ michael bay
tons of shots, tons of angles, etc. it does show a lot of style
you have to find things that you admire in order to emulate them. find something that you like, and post it, maybe that would help

yes
 
 

I don't shoot these so I can't provide examples, but the suggestion of watching the news seems like a sound one.
I think it's really a question about how to learn a particular genre or style, which I have some random thoughts on:
Find good examples (which you're looking for) Pull them apart in every way to understand them: What angles do they use? How long are the shots? What are the shots?  Talking-head, B-roll, etc What is the sound doing? How much time are people talking and how much is SFX (kind of the B-roll of audio) What is the story like?  Does it represent a three-act structure?  Some other structure?  What similarities are there? How would you shoot such a thing? What does the set look like? What equipment is required? Camera?  Audio?  Rigging?  Lighting? Watch BTS videos to see what people are doing.  Find wide shots in the BTS, pause the video, study the frame and see what you can see. By analysing deeply you will uncover the details, by analysing many examples you will notice patterns and themes.
Think of it as studying.  Learning doesn't stop when you leave school, so studying and the techniques we used in school also shouldn't stop  

Samsung, Twentieth Century Fox and Panasonic created the HDR10+ format and unlike Dolby's (which seems more promising), it seems to be created for greater adoption (starting with the pricing). Last year Samsung got many other partners ro adopt the standard INCLUDING Qualcomm. Which would mean broader integration with other smartphones using Snapdragon's SoCs. 
https://www.whathifi.com/amp/advice/hdr10-everything-you-need-to-know
 
 
In one of the data sheets of the Samsung S10 Series to be introduced (obtained by XDADeveloper.com), it appears that a mention of HDR10+ (for recording as well as playback) seems to be mentioned. Which means that Samsung seems to be the first Smartphone manufacturer who is bringing 10-bit video recording capability to a smartphone. The LG V30 stated it too, very ambiguously, but that was rubbish. This is genuinely huge. It was going to happen since some smartphones image sensors can do 12-bit at upto 60fps, but there must be issues with the processor (specifically to do with Combining HDR AND 10-bit, since it would be a waste to have it without enough dynamic range). Strangely Apple didn't implement it first, especially considering how much they have about their processing power. Hopefully Samsung iron out the compatibility issues with playback (on devices that do not have HDR10+). 
 
https://www.xda-developers.com/samsung-galaxy-s10-may-have-hdr10-video-recording-1080p-super-slow-motion-best-shot-and-more/amp/
 

Was the rendering/saturation of red color addressed?

As far as I know there's no RAW capable camera that can record a proxy in cam.
I think your best bet would be to use a Blackmagic Pocket 4K for RAW, and then use a Ninja Star to record to ProRes LT/Proxy in 1080p from the HDMI.
Since the P4K can only output 1080p, there's no point getting anything that can record 4K. The Ninja Star is super cheap now, and will be perfect unless you also needed a monitor. I can run on C.Fast 1.0 cards and the battery lasts for ever. Depending on how you're using the camera, you could easily forget the Star is even part of your shooting experience.
I've tested it, and to my surprise the record button on the camera triggers the Star to capture. That doesn't happen with many other cameras that have been released in the last few years. I think Atomos changed their protocol after releasing the Star. 
Of course, once Braw hits this camera, a proxy workflow could well be obsolete.

C200 can do RAW to Cfast & 2K proxy to SD.

audience: "OMG THE TRAIN IS RAIDING IN THE THEATER!"

Shooting ratios are highly personal and I think related to the personality of the director as well as the other factors.  
When my sister was in film school I helped on a number of sets and some directors loved horror and paid more attention to the fake blood than they did to the actors delivering dialog - I even saw a set where the actors messed up a take by saying their lines kind of wrong and wanted to go again but the director over-ruled them!  When my sister directed we often went to take 20, and there was one scene where a guy was delivering a 20s monologue and although we got a usable take around take 4, it was something like take 17 when he delivered the performance that ended up taking pride of place on his showreel.
My sister was interested in authentic and powerful drama through the quality of acting, and IIRC she'd rehearsed the script with the actors beforehand and changed awkward lines and optimised it before production, so although I think she was physically capable of making a film with 3:1 ratio, there was no way it was ever going to happen.
@Dan Wake if you're set on making a feature and don't want to make short films beforehand, then consider making a single scene from the film as a trial run.  That way you can trial the cast, crew, all the tech, and the entire workflow before you're betting the whole budget on it.  If all goes well then you can take the opportunity to optimise your setup and processes etc and can use the footage in the final film.  If it doesn't go well then you can make the required changes before going into production again.  It does mean that you have to plan two productions instead of one, but in all likelihood the lessons from the first shoot will help you so much when you're doing the second that they will more than pay for themselves.  
Also, if by making the short you discover that your budget for the feature was inadequate then you can use the short to raise funding for the feature as you'll have shown you are capable of completing something and the investors will be able to have a taste of what they'll get at the end, which is more than most films are able to show potential investors.

Pretty damn interesting comparison with the Osmo Pocket. I must admit the Osmo is a winner in my mind for stabilization. Hmm.
 

bro, this is the best advice ever, people told this to me, and i resisted, but im so glad i listened:
dont start with a feature doc, or a feature feature, or anything like that. start with a SHORT film no longer than 15 min. 
the amount of storage space you have doesnt matter if your footage is useless garbage.
additionally, you may find that an elaborate video timeline taxes your system more than youre used to – be aware of that as well

please make a short before anything else lol

Excellent point!
@Dan Wake is this your first feature?  or are you gearing for a career in post-production?  The stats on people who try to make a feature film without first having made several short films are pretty dire - most don't know what they're getting themselves into and the project is never finished.

It will retain the setting.

16:9 is available with no device connected, from the touch screen. Manual options... not yet.

You don't want any kind of HDD for editing, you want a SSD. A high end Samsung one.

Internal HDD are kind of slow, especially for 4k raw footage. They are ok for archive but in this case you would need at least a Raid 1 (mirror) solution. For editing, they will be too slow. There is no ideal size and model brand. It all comes down to your need in terms of speed/capacity and budget. As for the brand, the two main players are WD and Seagate.
Check this link for more information, I explain the current offering and HDD options
https://fstoppers.com/originals/price-performance-and-reliability-which-hard-drive-should-you-buy-and-why-298942
 

found this