skiphunt

It's a good camera Matt. It's not as fussy as some of you like to get into. And it's not the best tool for critical work... but knowing that if I wanted to, I could rent a Shogun and get pretty much all I'd want with regard to record length, and range, out of a $900... is cool. I don't expect you to relate to that. I "get" what you and many othera here get off on... really, when it gets down to it... I'm going to just shut myself off right here about that. 
But, for those who're purely interested in the potential of doing great things with very little... even low-end consumer grade... then the information is exciting. Some of us aren't into tinkering with subtleties that other's are so obsessed with. 
So yeah, knowing that if I needed 4:2:2 and didn't have to bother with a bunch of lens changes, and had planned to not need anything beyond ISO800... and all I had to do was rent or borrow a Shogun for the day, etc. then yeah... that's something I might want to do and am thrilled to now know it's an option.
We've chatted a bit privately in the past, but you really don't know me. If you did, you'd know that I'd ultimately be much more proud of myself if I made a cinematic, artistic expression with the lowest end gear, for the lowest cost, inside the reach of anyone for the most part... rather then citing off a bunch of tech gear and grading tricks/expertise, etc. BS about how I bent this sensor and lens combination, effect, with this incredible lighting technique to bid my artistic will, etc. Nothing wrong with that, but If I could find a way to it with the least amount of gear, I'd say that's more impressive that having the state-of-the-art at your fingertips. 
Yeah, you could do it with an iPhone, but in many instances the image quality might be distracting. I'm looking for a way to get the viewer involved, without using tech as a crutch.
Does that answer your question?

Was just messing around with what (if anything) I could do with 4k video (FZ1000) on an iPad2. Surprisingly, I could import the 4k footage via Apple Lightning SD card reader. I figured IOS would downsample it to 1080 but it didn't. It stays 4k and plays back fine. 
The trouble is editing. iMovie doesn't support it, but a couple of other ones will at least let me import in, change frame rate, do a very basic "grade" and resave as 1080. Then it can be imported into iMovie, etc. 
Anyway, almost kinda cool. The iPad2 appears to be robust enough to handle low-end 4k clips, but the apps aren't there to at least do basic cutting and 4k output yet.

​I can tell you that ATT was horrible when I had u-verse. Streaming video was always buffering, even when I paid more. I switched to Cox here in San Diego, and haven't had the problem with AppleTV streaming or Vimeo since.

Personally I think Sony just want the film to die. A massive ball ache for them.

The Interview has now got a limited release and is expected to be shown on Sony owned VOD channel Crackle. With the intervention of the US government, Seth Rogen is now the poster-child for freedom of expression.
First of all Crackle's the wrong place for this trash. Comedians in Cars Getting Coffee, Jerry Seinfeld, that's the Crackle target audience, much better. Their regular audience is not dumb, not one whooping at butt jokes, jokes belittling race, jokes belittling gays, jokes encouraging bullying and racism in the guise of humour, which essentially is what I think The Interview boils down to, in a similar vein to The Hangover Part 2.
"I do not agree with what you have to say, but I'll defend to the death your right to say it." - Voltaire
"When the monkey nibbles on the weaner, it's funny in any language" - The Hangover, Part II
What I discover when I talk to the mainstream about these films and Seth Rogan's brand of humour is that so many people just don't spot the jingoistic nastiness in these films nor the blatant racism. This really baffles me, why can't they see it? Perhaps they've never travelled or fallen in love with another culture that isn't their own. Different cultures have different sensibilities. What's not offensive to Americans might be much more offensive to everyone else.
When a country is trying to improve ties with a rogue state in order to diffuse tension and to eventually shut down their nuclear weapons programme, the last thing you want is a film like The Interview and the potentially unpredictable consequences, not least for Sony.
Creative freedom is worth defending, the question is whether the 'creative freedom of Seth Rogen' is worth defending? Look at the early reviews for The Interview & the trailer, it's not hard to work out what it is. There's plenty of nasty passive aggressive stuff in it disguised as humour, pointed out in these reviews from people who HAVE seen the film -
"Kim loves basketball - with the hoops lowered so he can dunk"
"Much is made of Koreans rumoured to be starving to death."
"Franco mugs shamelessly to make sure we understand that he's being funny, which he's not, and the script as a whole turns a satirical - or at least farcical - premise into sour buffoonery."
"It feels as though the filmmakers targeted North Korea, one of the world's least-loved countries, because no one important would object to their mocking, almost sadistic treatment of its leader."
"If the would-be butt jokes and gay jokes were funnier, I'd be willing to let it slide, but they are not."
It's the ultimate sign of our times that this is now a film President Obama has ended up defending, championing it as an example of freedom of expression, but then he's been put in a difficult situation as well.
If he rewards the hackers by backing Sony's original decision not to show it, more hacks and cyberterrorism will be encouraged because they will have the scent of a reward, an incentive to try. If he does fight back and reverse Sony's decision to show the piece of trash, that's hardly a "win" for anyone either.
The political circus around this is more ridiculous than anything because it implies that under freedom of expression, filmmakers have no responsibilities whatsoever. We do. We can't be as offensive as we want with a major release and cause dangerous diplomatic tensions under the banner of 'creative freedom' and butt jokes. With power goes responsibility and Sony Pictures need to take some responsibility for the mess and damage as well rather than blaming it entirely on North Korea.
It's not fair to say "it's only a joke" when there's undertones of Western supremacism all the way through the film. The joke about the basketball hoops needing to be lowered isn't about North Korea, it's about a race of people, that the filmmakers get a kick out of portraying as weird small people who speak funny...guys this isn't humour, it's bullying and something that reinforces plenty of real world bullying in every school in the west.
The Interview was always going to be a blatant publicity stunt designed to stir up a diplomatic rift between the US and North Korea and Sony should never have green-lit it. The irony is The Interview is exactly the kind of trash Sony producers in the leaked emails were so keen to stop doing.
Finally, here's a quote from the review in Time Out New York - "The Interview confirms Rogen as the most ambitious mainstream comedian in Hollywood. In the unlikely event that it proves to be Sony's downfall, at least they'll go out with a bang."
Not so unlikely... and really? Was it all worth it for some crass jokes at the expense of Asians and gays?

post us some footage when you get a chance - thanks

@Cinegain, My FZ1000 arrived this afternoon. There was a little charge in the battery so I messed around with it a bit. Didn't shoot anything, but just pretended and played with the various controls. So, my first initial impression is that... I'm in love.
I may be disappointed a little with it's actual output, or not... but the size, weight, ergonomics, etc. so far has me saying "Hey Gorgeous, where ya been all my life?"
If it meets my expectations during the Yucatan and possibly Cuba trip, I may sell off all my Nikon stuff and get a GH4 AND LX100.

​Ah ok. The LX100 is marvelous too. I do like the high megapixel count on the FZ1000 though, it captures so much detail. I've shot some panoramas and usually (with regular cameras) they are not tall enough and lack detail, well I could capture quite of bit of height imagewise and you could almost count the leaves on trees far away, it's just so crisp and detailed. I've found the video is really enjoyable too. The FZ1000 just has that range to capture interesting stuff, be it wide angle or something very zoomed in (which you usually wouldn't get). I love this flexibility. If you don't mind the limited range, the LX100 is really nice as well though, I took a couple of pictures of my brother's newborn recently and it's just awesomeness. And video quality is very nice too. Yeah, also the LX100 isn't perfect either... but in the end it also comes down to: would've you have something different/better with you if it weren't for the FZ1000/LX100? The LX100 I awesome to have lying around, carry around in a bag or your coat's pocket. I wouldn't just have a GH4 on me all day everyday like I would have a wallet or a smartphone, but the LX100? Sure! The FZ1000 is awesome to put in a backpack and go explore. Hike up a trail, maybe climb a few rocks near the beach. You don't want to do that carrying around a bunch of stuff. For me personally as soon as 'the mission' becomes exclusively taking video though, only then I would start thinking the FZ1000 and LX100 might not be ideal for that particular situation and just as I would pick the OM-D E-M1 for a stills/photography 'mission', I'd probably go with the GH4/BMPCC with a bunch of lenses and accessories when I need to shoot a little more serious stuff videowise. In the end every camera has limits, but despite those, if you know the boundaries, you also know how to stay inside those and do not have to be surprised. And you can capture great things with just about any camera and the FZ1000 sure has a lot of potential. So enjoy shooting! I'm pretty sure after using it for a while, you'll find it really worth while.

I've read what you wrote down earlier, but it was during my break and had to get back to work. But let me toss my 2 cents in here for a sec.
The FZ1000 is perfect for what you're talking about. Listen, the reason there's not so much 'chit-chat' about this camera is the fact that people here are mostly dealing with certain projects. Lets be honest here for a second, you know you're not going to use this to shoot tv broadcast commercials and feature films. If you're doing some kind of paid job, you probably have a location, talent (actors), make-up & wardrobe, a light setup, an audio kit and you probably had a certain look in mind for your shoot, so you pick out a lens that will give you that look, range and light sensitivity and get a camera with tons of control and features for video to record the image the lens projects. The GH4, G6, GX7, BMPCC, A7S, NX1, 5DmkIII... all cameras that can have the lenses exchanged; cameras that can be rigged and equipped with a follow focus. Cameras that allow for high quality output and have tons of features. Also cameras that feature a rather sizeable sensor which allows to quite easily get some creamy bokeh going on.
It's a little less easier to get that shallow depth of field people like so much with the FZ1000. It has a 1" sensor, which is very respectable, certainly in its segment, but if you compare it to most stuff that comes across on EOSHD, yeah, not quite the same level of easy to get shallow depth of field. In low light it's even harder, you can of course zoom in on your subject, which will allow you to throw the background out of focus a little easier, but it drops from f/2.8 to f/4 pretty quickly. Get a Sigma ART 18-35mm f/1.8 with a speedbooster/lens turbo for your GH4 and it's bright, it's bokehlicious... but it's also apples VS oranges. The FZ1000 covers a sick range of lenses... if you want production quality stuff, get ready to take a A and B cam with you... a wide selection of lenses, a tripod is a must, you don't want to run out of batteries, so take some of those... don't forget filters, lights, audio stuff, I mean... does it start to dawn on you already? You'd take all of that with you to Yucatan? Either you'd almost need a roadie to help you out with your gear, or you're very uncomfortable carrying around lots of stuff (especially in hot and moist climates) and have your feet and back killing you, draining you from any energy to go party at night getting back to your hotel.
I mean, I understand you desire to have the best of all worlds, who wouldn't like a pocketsized 6K RAW recording 18-600mm T0.95 IBIS camera with high quality audio capture and what not, but you're going to have to make some compromises. And again, for your purpose, this seems to be an ideal match. It's a nice allround camera that covers wide angle to tele, it shoots 4K video, has built-in stabilization, does have that EVF and tiltable screen, is excellent for pictures and is super convenient to take with you. I mean... what's not to like here? If you're complaining this is not really the best choice for more production/studio work... well yeah, that's maybe not really where it truelly excells, but it does so in other areas. Although still, if you're shooting an interview and have a nice setup with some lights and audio with lets say the main camera being a GH4, the FZ1000 will be very nice to get an alternative angle (same goes for the LX100). But I can also see you shooting a little documentary on this or it being used at companies to shoot videos for internal use. I mean, it's a flippin' good camera. But for ultimate creative control and high quality productions, people are going to want to use bigger sensors, interchange lenses and use more expensive cameras/more extensive gear along with it; myself included. If I've got something to shoot and the bulk of a tripod, the GH4, maybe the BMPCC, some zooms and primes, filters, batteries, lights, audio equipment, etc, isn't a burden... then why not? But as a hybrid camera for stills and video, throwing it in a backpack and not having to worry about gear and being a breeze to carry around when you're on-the-go/travelling. No question, the FZ1000 it is. But I'm using it 'as is'. I'm not gonna throw it on a rig, I'm not gonna use it with a Atomos anything, to me it just doesn't make that much sense. This is an all-in-one camera, not an add-everything-camera. Get a GH4 if you want to add stuff.
One more thing... Andrew gives you solid information and his opinion. What you do with those is up to you, he's not forcing you to do anything. Also, I do hope you explore and research the w3bz a little bit beyond EOSHD before you make any decisions... make your decisions well informed and list the pros and cons that are applicable to your personal situation. What works for person A, might not be right for person B... although for the third time I believe I'll be saying this: it actually sounds like this camera will suit your needs just fine.
So yeah, consider my 2 cents tossed.

This is a short fashion film that a few friends and I made recently for a graduate of the National College of Art & Design in Dublin, Ireland.
It was a non-commercial gig that we did with no money by calling in some favors. We filmed in two different locations, one in Dublin and another in Tullamore over the course of one day. A lot of the shots are available light with diff or bounce. The opening sequence in the science lab was lit with a couple of redheads and daylight. Small LED lights were used in places. It was mainly shot on Samyang Cine lenses 35mm & 85mm and a Canon 50mm f1.4.

Everything was shot raw either in 1080p 25fps or 50fps at a lower res. ProRes files were made in Resolve using the cinelog lut. The edit and grade was handled by the director. The original plan was to relink and for me to grade in Resolve but I moved to NYC recently so the director working from the ProRes files was the easiest solution.
 

 
Thanks for watching, some other stuff shot on everything from 16mm film to Red can be seen on my site: www.richardtwomey.com

Haha not really sure what's the best term for something like this. 'Lookbook' seems to get used a lot in the world of fashion. My friend (the director) and I met up one day to discuss shooting something together. He knew a graduate designer who wanted some good shots of her stuff and the rest fell into place from there. 
 
Glad you enjoyed it, thanks for the kind words. 

I've never even heard of a "Fashion Film" Very cool concept and exceptionally beautiful work. 

+1 Nightcrawler +1 Grand Budapest

Yeah, my use of the word "overview" wasn't the best. However, it was great to read the honest opinion of a user who obviously isn't a Panasonic shill or sycophant. His seemingly honest impressions made me more interested in the camera actually. 

There's another good commentary on the cost of 4k here: http://www.dslrbodies.com/newsviews/the-cost-of-4k.html

Hey, I would love it if you would get the chance to check out a new video that I made. It compiles footage taken of journeys through 8 different countries. It's called "Anywhere, but here" and was shot mostly with a D5200 and GH1 and includes some RX100.
 

Never said you get paid to promote, or that you get free gear to test and keep, or any kickbacks or favors or any kind, did I? I said none of us actually know what the real motivation of any person running any site that tests and promotes gear. So, unless it's a user telling us about gear they bought for themselves and want to report how the gear is performing for them in real life situations, then we really don't know much about the gear until it is out in the wild. 
 
Andrew, you have a way of turning a perfectly reasonable response into something offensive. Are you aware of that? If so, is it intentional? If so, what is it exactly that you gain from it?
 
Anyhow, if I didn't value your reports and tests, I wouldn't bother with frequenting your site. I appreciate the time you take, but I take all "review/promo" site opinions with a healthy grain of salt until I've read data from users who've spent their own cash and are using the gear in their livelihood. Until then, it's very nice to have previews from folks like yourself who're blessed to have early access to all the gear and evidently don't have to keep forking over their own hard earned moo-lah.
 
Cheers, and thanks for the advance on the GH4. It is looking like what I'll eventually end up with after all the actual user data is in and the other competitors have played their hands.

Philip Bloom on Twitter :

This is a bit of a misnomer. The fast CF and SD cards required for raw video didn't exist 'years ago', which is likely why the DSLRs of yesteryear didn't have it as an option. Even now with the tech we have in 2014, raw recording is still very hit-or-miss and unstable. These cameras were released in '08. Developed with tech at latest from '07. It's not so much that camera companies were 'hiding' raw video... it's just that there was no way they could make it consumer-friendly. The tech did not exist then, in a stable and economical form.
 
But yea, the rest of your stuff is on point. 

Never said you get paid to promote, or that you get free gear to test and keep, or any kickbacks or favors or any kind, did I? I said none of us actually know what the real motivation of any person running any site that tests and promotes gear. So, unless it's a user telling us about gear they bought for themselves and want to report how the gear is performing for them in real life situations, then we really don't know much about the gear until it is out in the wild. 
 
Andrew, you have a way of turning a perfectly reasonable response into something offensive. Are you aware of that? If so, is it intentional? If so, what is it exactly that you gain from it?
 
Anyhow, if I didn't value your reports and tests, I wouldn't bother with frequenting your site. I appreciate the time you take, but I take all "review/promo" site opinions with a healthy grain of salt until I've read data from users who've spent their own cash and are using the gear in their livelihood. Until then, it's very nice to have previews from folks like yourself who're blessed to have early access to all the gear and evidently don't have to keep forking over their own hard earned moo-lah.
 
Cheers, and thanks for the advance on the GH4. It is looking like what I'll eventually end up with after all the actual user data is in and the other competitors have played their hands.

Ya see... that's why I don't jump on the bandwagon, pre-order, and fall for all the pre-release HYPE. Wait until this stuff gets actually released, find out what the hidden bugs are, and see what game the competition brings first. 

Yes it does.  Also, the Hero 3 Black Edition does 640 x 480 at 240fps, but I think the 240fps has a very interlaced looked to it.

Talk ideas? Hmm. Wish I'd thought of that ...
 
Anyway, enough of that stuff - for good.
 
As I've said, you're very welcome over at CreativCrit whenever you feel like it. 

I'm lost.

I think cache size is what ultimately helps with individual large files. I would keep the one that tests better across the board :)

Drop a tennis ball into a football sock and then spin it as fast as you can in a circle above your head. Make sure nobody you like is standing nearby. That circle is your film. The ball is Content, the sock is Form. They need each other. One is not any more necessary than the other. They are the two essential ingredients of any artistic endeavour. The ‘art’ is in the spinning. If you can get the tension between the sock and ball right, you’ll knock ‘em out.
 
I really like EOSHD. Andrew knows his stuff and his reviews, if sometimes a little opinionated for my taste, are rarely boring. The thing I like most though is that his blog and forum cater to quite an exiting group of people. Low/no-budget filmmakers and videographers are living in exciting times - we all know this. I assume (perhaps wrongly?) that in one way or another the majority of you see yourself as artists who either don’t have access to enough money to make the films you'd like to, or who simply want to make films entirely on your own terms. I’m not just talking about wannabe Hollywood auteurs. I’m talking about anyone who is excited by the fact that good filmmaking equipment, allowing real cinematic creativity, is available to almost anyone now (even the new dad who thinks his kids are so great they deserve Dante Spinotti on them 24/7).
 
Of course EOSHD is a gear-orientated site, and gear is only one side of the filmmaking coin. On the other side the gear is in your hands and you have to actually create something good with it. That’s what this post is about. It isn’t about form vs content - that’s what’s called a false dichotomy (my title was a lie). This post is about our need to put the amazingly powerful tools we have in our hands to good use.
 
I’ve seen it on this forum many times now - posts asking if there’s a site like EOSHD for the creative side of filmmaking. I’ve wished for the same myself. If you know of one, please point me toward it. In the meantime I decided to set up a forum. It’s not my forum - I don’t know anywhere near enough about filmmaking for it to be that. It’s just a forum. If you guys have a use for it, it may start small and then grow.
If not, I’ve lost twenty dollars on a domain name and an evening in front of my Mac. I can live with that.  :)
 
Please have a look: www.creativcrit.com
 
GET STUCK IN, have some fun, maybe start a topic or two ... Everyone is welcome. On the homepage there are two boxes - ‘Group Crit’ and ‘Study Group’. The Group Crit is the place to discuss anything related to your own filmmaking. The Study Group is the place to discuss the work of established artists and experts (not just in film!).
 
By the way, in case anyone is troubled by visions of mutiny etc., this thread has the blessing of EOSHD. Creativcrit is intended as a complimentary site, not a competitor.
 
Thanks very much, Matt.
 
 
P.S. I’m very keen that the forum works democratically, so please leave ANY thoughts, ideas, criticisms, misgivings, suggestions, etc. below.