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fuzzynormal

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Everything posted by fuzzynormal

  1. Not a fan. But I'm in the "not the way it used be!" phase of my career.
  2. Agreed. You running your GH1 in "stock" mode or with a hack? Also, what's your lens on this footage?
  3. 50mm. Cheap. Looks like (interesting) crap at f1.4, but I shoot it mostly at f2.
  4. It's cheaper? BTW, I still shoot on GH1's every once in awhile. I got two. Thumbs up on acknowledging the old Nikkor lenses, still relevant after all these years. I'm using one on a shoot today. It's my current go-to lens for interviews regardless of camera; M43, s35, or FF.
  5. FYI, you can adapter mount Canon FD lenses on Canon EF/EF-S-mount cameras. Aside from that, I spent years shooting M43 with a FD55mm f.12 on a speed booster. That was my default set-up. Very smooth and beautiful; especially because it was slightly flawed. Also incredible in low-light. Could make horrible settings look awesome if you knew what you were doing. Every project on our reel features vintage glass one way or another. My favorite doc we shot was mostly on a GX7 with a Nikkor 50mm. I've delved into Russian lenses for even more image character; the example below encouraged by an eoshd.com challenge: I mean, I also have a set of primes from an old Pentax Auto 110 that I continue to use. It looks ridiculous mounted on the camera but delivers an image that is unique. I plan to use them in August for a short film shoot. We do have modern glass but I often find the modern digital look way too clinical. Clinical and sharp-as-hell can be necessary at times, but I still prefer old glass.
  6. Yeah, the client wrote it, recorded it. I edited to her script. This video work is indicative, I think, of my "90% rule." Meaning, I score shots from 1 (shit) to 100 (perfection), and often try to hit a sweet spot of 90. Yes, you could do a bunch of other crafting to squeak out the final 10% to make the shots technically perfect, but the last 10% requires an ridiculously exponential amount of expense and effort. So, one tries to find a balance. I'd give myself an 80-85 on this stuff. It's all relative to what the client demands, what you demand of yourself, and what the budget allows. That all being said, the era of dudes like me delivering "90" is going away. Clients are okay with 30 these days. On the high end clients will expect 100. Seems like people in my range of stuff are not in demand so much anymore. p.s. I add a lot of grain in post. My ISO never went over 800 on this gig.
  7. I know it's an impossible thing to really quantify to other people, especially pros, but it's been true in my experience as well. I've just ended up preferring using Oly cams for some reason. Ergonomics I think. And it doesn't make sense because Oly's menu system is a bit of a jumble, but I guess once I learned it, it's been productive. I don't do a lot of high end stuff, and what I do (still) do is almost always hand-held run-n-gun. I get by easily with 8-bit. My cheap EM10iii with a variable ND does the job. Here's a recent thing I was hired for; half day shoot and half day editing with a script they recorded. Basic basic basic, but got the product delivered to the client as they requested. I'm not sure if I even used a high end camera for a gig like this it would've turned out much different. So, you know, for me, the rather simple tool is appropriate.
  8. My take is that I'm basically at the onset of forced retirement. The gigs that were my level of production are basically gone, replaced by selfie vids. And why not? They work just as well as something a real estate agent would pay 2K for a decade ago. If it looks "worse" than if I did it, big deal. A former client's self-made vids do the job. That segment of my career is over. Obsolete. Gotta get right with that whether I like it or not. So, move on to something else. It's liberating in a way, but learning a craft to lose the craft kinda stinks. Imagine being a blacksmith 100 years ago. In the meantime, motion picture cameras are going to a niche market, so expect a lot of fewer choices in that market in the years to come.
  9. I didn't go upscale like y'all, but I'll tell anyone that listens how the low-end EM10iii is an exceptionally great bang-for-the-buck camera.
  10. Just watched "No Sudden Moves" on HBO and that's pretty much the same sentiment they went with in that film. Worked for me. The shots were fun and weird.
  11. I've put my dick into too many things, tbh. Also, an Olympus camera has been up my arse searching for polyps. But my nether regions have avoided SD slots thus far. I suppose for some fan boys they could eventually be STD slots if they're not careful?
  12. Yeah, but aside from agreeing with the sentiment, is it effectively amusing? For me this video misses opportunities at solid jokes and just constantly leans on the premise you mentioned. Its like SNL doing political personalities. Just because you do a impression doesn’t make it funny...needs interesting humor beyond the initial novelty.
  13. Aside from the shallow dof issue, how about the humor of this piece? I’m old. I don’t trust that my preferences resonate with other’s. So, funny or not? I found it so annoying I stopped watching after a minute.
  14. Weirdly enough, my mom as a college kid had a Morris 1000. And, like mentioned, I ended up with a 1960 Mini 850. A bit remarkable considering both of us were from the USA Midwest, and these old English cars were very rare...but pretty cool to my eye. As a kid only 15 years old without a job, I committed to working for my mom for 6 months on a house project...and she gave me the extra $200 I needed to buy the mini. I guess somewhat similar to the Strangler’s song?
  15. Im'a gonna make a channel about my current adventure of re-aquiring of the very same Morris Minor Mini I bought as a 15 year old in 1984...and then trying to refurbish it with almost no knowledge and wisdom of mechanics and welding. So, yeah, just started "filming" yesterday. I've decided I'm not going to try and make it professional at all. I just want to raw document my process over the next....5 years or so of rebuilding the thing. So, no designs at being commercial or successful at the channel, just doing it to do it.
  16. Yeah. And since this is a website about film and filmmaking, I’ll point out that this concept of vocabulary and perception is pretty much the entire plot of “Arrival,” fwiw.
  17. Reminds me of anthropologist's wild speculation that humans have only recently learned to acutely experience the color blue. The theory is that the capacity evolved through gradual etymology progress, which is a societal/cultural advancement not a biological one.
  18. Personal anecdote: Lost a LUMIX GX7 a few years back through ebay. Used them to move a ton of gear back in the early 'aughts, but stay well clear of them now.
  19. My work flow is to edit with proxies and let the ultimate transcoding happen upon completion of the project.
  20. Saw lots of Iceland volcano footage online lately, reminded me of this shoot. Straight from the source. No color grade. Play guess the camera with this one:
  21. My wife shoots Fuji. Great cameras. I shoot Oly. You can do 4k with an Oly for half of a used X-T3. I do like Olympus cameras --they never got much luv from video enthusiasts though, not sure why.
  22. If budget is a concern, however, the EM10iii for under $400 ain't a bad alternative Oly option. LUMIX camera have better resolution IQ, no question about that, but the Oly shines in different ways --really gotta know what you want to do with the camera and how much you want to spend when making choices!
  23. I posted footage from my EM10iii last year, you can see the discussion and URL link here: It's not the most tricked out camera, but that's why I like it.
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