fuzzynormal

Ya new to the internet? 😉

Most of my work is documentaries, and the ability to store hundreds of hours of source/proxy footage on CHEAP slow portable hard drives --and edit with footage off those slow drives is a wonderful reality of proxies editing. The few times I've wished I could jump right into it without any transcoding are few and far between. However, when it happened I was certainly desperate for a fast machine, no question. I'd also have to admit that having powerful PC's are just kind of fun. Still, the fact that I can effectively and productively edit on very modest gear is pretty amazing to me...a guy that used to edit on rigs costing over a half a million dollars.

For someone that says he doesn't want to build, sure seems like you jumped through a lot of hoops to get that PC! Not that I'm not impressed, and you got a HP supported Enterprise System, just seems like a chore. I'm transitioning off of PC editing and will just pay the "Apple Tax" for their computers. Yeah, it's more expensive, but oh well. The biggest concern with a new Apple is getting the thing out of the box. OTOH, I might Hackintosh my old PC just for grins...but I'm not going to rely on that sort of futzing around to be my main editing rig. (which, honestly, my editing is not THAT demanding anyway. I'm a make-everything-proxies-kind-of-guy, so powerful editing rigs aren't a necessity)

I'm not worried. The tools'll always be there. It's simply the beginning of the end of an era. I grew up with camera-bodies-and-lenses...as did those experiencing 150 years of camera technology before me. As that model steps back from the forefront of the market it's just a bit unfortunate as it's something that's not going to be as important as it used to be. I imagine computational photography will exist within 10 years that allow you capture hi-res images from a FF equivalent of 12 to 150 mm FOV, maximum DOF, and then you can literally choose how you want that to look in post. 75mm with a shallow DOF of that emulates f1.2? No problem. Dial it up in your phone, you're good to go. You want anamorphic bokeh? Be sure to tick that box while you're at it. Hell, I wouldn't be surprised if it's a 360 camera and you literally can crop out whatever image you want during the time the camera was capturing. You don't even have to compose framing on location, just have the camera in the space you deem appropriate then make the more nuanced choices later...all on a 1" sensor capturing 384MP per frame, or something crazy like that.

From a POV of admitted ignorance I feel this to be true. I'd be curious what your website visitor analytics say as a sort of weather vane to the industry --and if it confirms such opinion.

This jibes with my uneducated opinion of the psychology of nationalistic folks. I personally believe they actively seek out ideological reassurance more so than others. Derived from insecurity? These are my anecdotal observations, anyway. I think it's why they'll flock to rallies and enjoy them while other citizens are incredulous, if not appalled, by that behavior. Ironic to me that those that claim to be the most stridently individualistic often seem not to be at all.

We're all monkeys, but we used to be monkeys tempered by everyone living lives wherein a majority of time was spent in social interaction. Real, face-to-face social interaction. I'm all for a marketplace of ideas, but when it's anonymous poop flinging, the normal governor of behavior is off. That's bad news. Add to the fact that, as a form of commerce, media companies are very sophisticate delivering curated bags of poop to people....? In very broad strokes, this is what happens when you decide to manipulate biology for profit.

Y'all need to watch some Journey videos if you find this amusing.

I don't understand the sarcasm. This was just about every single music video in the early 1980's and it's glorious. Martha Quinn probably introduced this video after an on-set interview with Sue Ross.

It really hasn't changed since the 80's. And 80's cameras were like 70's cameras. To be fair, the Ikagami tube camera I learned on had less buttons because it was a simpler machine, but the layout and button ergonomics were similar.

I'm an owner of an EM10III and 3 lenses, but typically only use one (manual prime) ...and I make films all the time, so my perspective is that almost all this gear on the market pretty much works great if you know what you want and how to get it.

Probably safe to say that with 3K you'll be fine with whatever kit you end up with. If you can't get impressive images with that level of camera, it's not the camera, y'know? Personally, I'd worry less about the specs in that segment of the market and check out ergonomics and other such "intangibles" as you handle display models.

When you have the luxury of time to set up your shots. Run and gun doc filming needs proper exposures at a moments notice, usually through various light levels WHILE FILMING. I hate the variable ND affects the IQ, but I use them anyway because they're a valuable tool.

Eventually ended up being a dedicated virtual keyboard instrument for our bubble-gum-punk-rock band. --Dial up a keyboard emulator and go to town. Moog, Jupiter, Hammond, Harpsicord, String Ensembles, etc. We used that thing until 2012. Not a bad life cycle for a laptop.

I had that laptop too. Rugged little bugger...well, at least mine held together okay. Went around the world with me a few times. Miss it. Was really a good balance of size/performance.

Not sure if it's possible, but I still prefer the original scheme. Less contrast is more comfortable for me (older guy) to read. Anyway to offer that as a theme preference selection?

I was wondering what that film crew was doing in my hometown last month...He was here doing "Last Days in the Desert" a few years ago so I bet he used that knowledge of location to bang out this PR piece. Man, I really need to befriend someone at park services to find out what the heck is happening. We have crews coming through all the time. These folks literally stay across the street from me when they're in town and I never seem to find out about it 'til they're gone.

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have. Best to question "what exactly do I bring to the table when offering video production services?" If your answer is "the camera" you need to start getting really paranoid. Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am! I'm pretty close to retirement so my day in the sun with all this stuff is coming to an end. Looks like I'll be riding the imaging technical wave as it crashes onto the beach.

Personally, not going to worry. 98% of the other things happening in production to think about before shadow banding becomes a priority. Like, should I go to bed early so I can get up at 4am and capture 2 hours of footage during sunrise? What's for breakfast? How can I frame my composition to take advantage of backlight? Who has the coffee? Where do I need to be to get the best exposure of that subject? Can the actress doing the supporting role actually help carry this scene? How long is it going to take to get to location? Should I use the 50mm so the shots of the dogs look more flattering even though we're in a tight space? etc. If I'm ever on a production wherein the level of pixel scrutiny you're outlining here is part of the process it sure won't be me thinking about it. That rabbit hole doesn't interest me enough to crawl down it. I'll take a peek into it every now and again, but that's for some other bunny to burrow into. After all, without good footage to begin with, the rest isn't exactly worth thinking about.

Not for me, because they look the same, or are so similar to not matter to my eye. Maybe I missed something more obvious?

With a bit more contrast the image would look "thicker," I think. I wouldn't mind losing detail in those shadows. What's it really buying you anyway? You can also mask the sky to hold some detail there if you wanted to. Still, its a shot of partially backlit colorful buildings on an overcast midday...which isn't going to render wonderfully on any camera, digital or film.

Always try and solve problems before you get to post production.

The only time I get interference is if I don't do a channel scan. I'm really corporate'y with what I'm using mine for. Rarely stretch the distance on them. When I do they seems to go for about 100 yards or so?

So...I've had my Sennheiser G3 trans/receiver for...12 years now? I think that was a good ROI. Just used it again today.

What NLE do you use?