Oliver Daniel

Wow, there are really a lot of negative comments about Kung Fury in this thread. 
Personally, I thought it was absolutely awesome. The style, the one-liners, the creative compositions and the confidence to make something this ridiculous actually good is a winner to me. 
This filmmaker had a lot of fun making this, is clearly very inspired and doesn't care how dumb people think his film is. (Because it's actually very clever).
Maybe I love it because I can relate to it. In uni, I loved watching "so bad they are brilliant" films like Ninja Terminator. So when I see Kung Fury taking that to the level of awesome, I understand it completely. 

Man you guys are a tougher audience than reddit.  
Wow.  
Also I thought Tiny Furniture was whiney, boring, and petty bourgeois issues.  Just like my little film, "The Quiet Escape."
I think Kung Fury is touching, sweet, creative, and memorizing much like the first Matrix and had a sense of humor.  
But hey, I guess we all have opinions.

Movie was great and much better than most will accomplish in their life. Nothing is for everyone, but no one can deny the creative art and hard work put into the digital film, anyone who says otherwise is basically a reflection of themselves "Hater"...........

A massive price drop for a camera that has just started shipping......cool!
I still think the URSA Mini is the better option though. From what it seems... better ergonomics, better sensor (4.6k one), better dynamic range, better usability (from seeing previews), sensor switchable, internal RAW, better frame rate options, 1080p included OLED screen, fantastic affordable add-ons, massive Blackmagic community and support, will work out cheaper overall = much much better value. 
I think filmmakers will only go for the AJA if it comes down to the "mojo"....anything else, the URSA Mini seems to be the much better creative tool. Gotta love Blackmagic. 
p.s the URSA Mini looks more stylish too.  

I loved it too.
It was hilarious, I couldn't stop spitting my sides over the big truck with the drummers on the back and the guitarist on the front. It was like a 2 hour music video really. A very simple plot but absolute carnage all the way through. 

LOVED IT! One of the most intricate, stylish action film I've ever seen. Mel Gibson is still a better Max but he was basically a secondary character in Fury Road.

​Absolutely. But in the conditions this was a student screening, and expectations are not on a professional level at all. It wasn't a sob story - this guy who can barely do or say anything at all made a film. I loved how random it was. Although it was terrible - I enjoyed it. 
Anyway, this topic is going off on a weird tangent... I have no idea how to get it back on topic. I think I'm all motion cadenced out!
 

​Absolutely. But in the conditions this was a student screening, and expectations are not on a professional level at all. It wasn't a sob story - this guy who can barely do or say anything at all made a film. I loved how random it was. Although it was terrible - I enjoyed it. 
Anyway, this topic is going off on a weird tangent... I have no idea how to get it back on topic. I think I'm all motion cadenced out!
 

Funny you metion the F55. I'm a regular user of the FS7, but I was given an F55 for today's music video shoot. It had a shoulder mount and Sony EVF to get closer to the FS7 ergonomics. The F55 didn't improve our creativity and the quality at all. If we shot on the FS7, I'd expect the result to be very similar to the F55 footage. 
Ultimately, I prefer the FS7 because I don't need the benefits of the F55. The shoot could of been better, and this was nothing to do with the camera & gear choice. The pre-production logistics were frail and lost a lot of time. 
The best shots were actually on a BeSteady Plus gimbal and a GH3. The combo really caught the energy of the band. 
My point then - yes cameras are 2nd fiddle to everything else. Totally. But the right choice of gear can clearly influence creativity and set you on a path of consistent results. On a troubled set - a little GH3 and myself experimenting with it on a gimbal brought it all to life. Did I say I had an F55?  
 

Funny you metion the F55. I'm a regular user of the FS7, but I was given an F55 for today's music video shoot. It had a shoulder mount and Sony EVF to get closer to the FS7 ergonomics. The F55 didn't improve our creativity and the quality at all. If we shot on the FS7, I'd expect the result to be very similar to the F55 footage. 
Ultimately, I prefer the FS7 because I don't need the benefits of the F55. The shoot could of been better, and this was nothing to do with the camera & gear choice. The pre-production logistics were frail and lost a lot of time. 
The best shots were actually on a BeSteady Plus gimbal and a GH3. The combo really caught the energy of the band. 
My point then - yes cameras are 2nd fiddle to everything else. Totally. But the right choice of gear can clearly influence creativity and set you on a path of consistent results. On a troubled set - a little GH3 and myself experimenting with it on a gimbal brought it all to life. Did I say I had an F55?  
 

Cheers for making some suggestions Zach. I'm always one of the first to say that creativity/story/pre-production/lighting is far more important than the gear, but the gear is part of these creative choices and also part of a business model which wants success. 
A bit of history about myself - I've made over 250 music videos and 20+ corporates through my own production company. We are small, but doing it every day. We focus mainly on creative development and ideas. Gear comes 2nd - but we wouldn't of got anywhere if we didn't buy anything and invest.
We don't have the capital to invest in more staff, so we invest in the content we produce, the right tools and hire someone if we need them. 
The guy I'm helping out wants to basically do what I am doing, sort of. Different boats. Same principle. He needs the gear to start-up and storytelling will quickly become centre stage. The reason why we are not joining forces is because we are too different with what we want to achieve. 

​If he's starting building a company this is a bad idea for a 2 reasons.
1. No disrespect to him, but the chances of a first time film being a hit is slim to none.
2. His bread and butter is corporate, music videos, and events. With good equipment he'd be able to book jobs and make bank on simple projects. Work some events and make back that $18,000 in no time. After some capital is built, then maybe shoot a short/feature.
 

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

1. Because it looks better.
2. Because it suspends your disbelief. 
3. Dreamy is a form of imagination.
4. Imagination can create great art. 
5. Tell A DJ that vinyls are history. Now tell a filmmaker the same thing about 24p. 
6. Just my opinion. 

i have stopped watching television almost 15 years now, i do not own one anymore.
i went to my friends house and they where watching tv in a huge samsung, i noticed what you said! the movement was spastic and felt out of place it was jumpy.
i questioned them if they saw it and they said no, for me it was unwatchable, garbage so i guess this is what you are describing. 
shooting at 24fps also helps i think to what you are describing

When buying/renting a camera - most of us look for features such as resolution, dynamic range, bit rate, colour etc....
The first thing I actually look for is motion cadence. The way the image flows and feels in motion. It's such an important characteristic, I wish more attention was given to it. 
Modern TVs kill nice motion cadence. They run at 120hz or have this feature switched on called TrueMotion or SmoothMotion. The amount of TVs I've fixed (by turning the feature off) because friends are watching The Walking Dead like a cheap soap opera. 
It helps the motion when it's 1/50 shutter, progressive blah blah. But there is magic in there too. (Digital Bolex).
My opinion is (for film like motion): 
- Panasonic GH4 (poor) 
- Sony FS7 (average)
- Digital Bolex (the king!) 
Lovely cadence is a massive feature as it adds character, emotion and beauty compared to "poor" cadence where the image feels erratic and ugly. 
I also think lenses add to it. Cheap electronic lenses ruin the look of nice motion cadence as the image is vastly over sharpened, brittle and loses ounces of soul within the motion. 
I don't intend this to be a technical thread with boring mathematical numbers and nerdy bar charts/graphs and other snores. More what the "motion" of an image means to a camera and your own work. 
How do you see motion cadence as a feature? Is it important to you? 

Firstly, I have no idea why j named the thread "Motion Cadencemo"... those last two letters just appeared! 
Next.... this is already a very interesting thread. By all means we can discuss why cameras differ and how we can get pleasing motion cadence from our tools - it is just more interesting when this is an emotional reaction rather than looking into algorithms and stuff. Do what you want really! 
Progressing the topic, I find it weird that so many people settle for this horrible fast motion on modern TV's. I see a friends TV set and I'm like "what on earth is wrong with your TV, this expensive film looks so cheap!". I correct it and it's like a revelation - they claim I'm really smart as though I've uncovered the meaning of life by realising the motion is wrong. 
I've held off the FS7 as a buy because of the URSA Mini, mainly just based on motion cadence. If I had the cash to spare, I'd buy a Digital Bolex on motion cadence alone. 
Just imagine it became a big selling point - "Blackmagic Cinema Camera 2 - 15 stops DR! Film emulated motion cadence!" 
Don't you think motion cadence should be a major attribute explored in cameras? The difference it makes on an image is far more staggering to me than DR and resolution. 

Hey Jimmy. If you feel this camera is right for you, then I'd ignore anything anyone says on this forum. Prove everybody wrong that it might be in fact a great drone cam. 
I personally wouldn't buy it due to the cost, but that's me. I have no purpose for it where others will. Like everything really. I dislike stating the obvious, but obvious in filmmaking is quite a complicated thing. 

​iMac will retain value over ANY Pc  you can build for years to come.....
iMac Retina is no slouch at 4.0GHZ i7 (4.4GHZ Turbo Boost) , Fusion or Flash Storage and basically one of the fastest 4Gb Mobile graphic cards to push the AMAZING 5120 x 2880 res screen. I mean even any monitor remotely close to the iMac quality will easily cost you close to $2000 alone.......
 
The ONLY reason I would not buy the iMac Retina is because we should be seeing a revision update later this summer, but even still it's a near perfection of a computer that will last many years to come..... 

I couldn't give a rat's bum about this camera. There are a plenty of other options on the market. It's much more interesting talking about those. 

$50k! Now you're asking.... 
I would do this: 
Get the C300 Mk II as A cam. The 1DC used as a B cam.  The A7S as a creative all-round tool.  Zeiss Prime Set from Duclos lenses or similar - EF or Nikon Mount.  2 decent zoom lenses to cover the full range.  2 Kino Flo 4-Banks. (get some chroma tubes too) 3-head Arri Lighting Kit. Scorpion Light Complete Set. Gels/Diffuser/Polyboard/Reflector. Ronin Gimbal & EasyRig.  Oddyssey 7Q+ + sony + canon license.  Sound - not sure on models but (wireless transmitter, lavalier, boom, shotgun, external recorder).  Studio - get a DIY space, grab some friends and build your own green screen etc. 

​That's not bad at all! I'll put it forward. 
Lots of opinions and suggestions - very interesting how there are many differences but i've noticed a big push for a major camera body in the league of an FS7 from most. 
My own business doesn't own a "Big A Cam", we normally rent when it's needed and we do just fine. An FS7 for example is £130+VAT per day, good value for a days shoot. (although plans are in place to get a Big A Cam soon).
My own opinion is simply not to cannibalise his budget for investing in a huge item, and use the money more sensibly. Get some lenses for corporate work (as suggested by some) and boost the vintage set for more creative purposes. Make more money and THEN invest in the Big A Cam, especially with cams like the URSA Mini on the horizon. 
What I've learnt from running my own business is that efficiency is key to being successful. If your Mac starts playing cheeky buggers, things get bad quickly and deadlines are missed. If you don't have bare essentials on hand for quick bread and butter jobs, you lose money. If you don't have decent storage cases, gear gets wrecked and repairs are costly. 
Another way of looking at it is if he buys something like the FS7+Mac+lenses, then hires more lights if needed and uses some profits to purchase the lights he needs. He can make money off the rental fee for the FS7 when not in use, undercuts rental houses. Sells his other camera bodies and unused equipment to get the A7S as B-cam for current gimbal, slider etc. That's another nice solution.
Now my head hurts......I should really get him to sign up to the forum and do this for himself! I like helping out though!