fuzzynormal

My workflow relies heavily on proxy editing. When I gave Resolve a spin a few years back it performed horribly by failing to consistently create and use their version of proxies. What did they call it "Optimized media" or something like that? Any advice if that aspect of their software has evolved? Like many I'd like to just get off the Adobe subscription plan. I'm tempted by Resolve, but am skeptical. I'm also drawn to FCP, but would need to modify my PC into a hackintosh to get it rolling. Not a big deal, just a hoop to contend with. All these alternatives can take up my attention now that all my gigs have been canceled, but it's always good to get feedback from people actually using the software.

Well, I just unloaded my GH5 and G85. The 'way-too-many-lenses' on on the auction block next. No seller's remorse so far. I still have an old 5DII and Nikkor 50mm, which I'll continue to use for talking head stuff, occasional b-roll too; why not? My wife still has her X-Pro2 kit. The Oly EM10III is only $300 used on eBay, and I'm leaning that way... Round and round we go. It does feel good to unburden stuff that wasn't getting used a lot though.

I cut together GH5 and G85 footage all the time. No worries from me. It works fine.

I wish. Sold it when I did the GH5 purchase. That body with my 25mm Auto110 lens on it was such a perfect pocket cam. Used it for guerrilla video shooting more than a few times. My wife would also shoot video with it using a loupe and pistol grip, like a little super8 film camera. So much fun. It aged well too. The scuffs gave it more character than it already had. There's a reason it's still my avatar icon all these years later.

I like the Gh5, but his attitude when I look at him on the shelf is like, "Hey, how's it going?" The EM5II was more like, "C'mon man, what are we doing next!?"

They're always a generation or two behind regarding the spec sheet. The thing that I liked is that the IQ is decent enough (even if it's not as good as others), the color out of the camera is really nice, exceptional IBIS, and then -for me- the intangible factor of the ergonomics. You can't quantify that as it's a matter of taste. I just really really liked using the camera. It made me want to do more. Not many cameras inspired me to be more creative by simply encouraging me to go use it in new and exciting ways. Bottom line: Other cameras will squeak out a percentage of performance here, an extra percentage of performance there. 8-bit vs. 10bit, for example. But if I'm getting more shots (and more fun shots) with the EM5II than I would with a, say, an Ursa Mini Pro in RAW, then what camera is ultimately a better solution for me? It all depends on what you're trying to accomplish. I keep arguing with my wife that we should sell our more up market gear and just get two EM10III's! A majority of the things we do production wise has us running around and shooting things as fast as possible. The Oly's are good at that. Now, to be fair, the GH5's 240fps slow-mo is a god-send in that regard too. I'm partial to being small and fast on site, so that's my bias. Others like cameras that are rigged out to the maximum and are content to get one exceptional shot per hour. Whatever works. BTW, I switched to GH5 in 2017 'cuz we're making a series of docs that required 4K delivery.

I used to shoot the EM5II with the FD55mm lens and a speed booster. Always found it a lot of fun to use. I'd do entire corporate run and gun shoots, no lights, with that. Wonderful flexibility as I could get decent exposure anywhere I went. I'm not into wedding videography, but I always imagined that set-up would be ideal for such. A longer lens with a ton of character combined with an underrated but superb hand held camera? What's to to like? I'm with the GH5 and a collection of Voightlander lenses now, but still miss those EM5II days.

My wife is Polish and I feel the same about Poland. Mostly because I'm ignorant about what really goes on in Poland and I just think it looks pretty.

Do it for the gram?

I'm part of a film festival that takes place in January. We're already considering having to adapt to a "planB" and go to a streaming fest in 2021. Who knows? Vaccine probably ain't gonna be around by then, so...?

I was a somewhat new user on EOSHD running with a 5DII back then and the chatter here by Andrew led me to buy it. Solid recommendation then, still good today depending on your wants/needs. Another anecdote. Gave the Gx7 to my 14 year old nephew at my wedding and told him to get stills of my family's smiling faces at the reception. We put the Oly 45mm at f1.8 on there and set it to point and shoot. The kid got better shots than the Pro photog we had running around. Proof to me that it's often the skill of interacting with people that's sometimes most important.

I had this camera. Shot a few docs on it. GREAT camera. Man, the image was just so pretty. I'd say better than the GH5 in some regards. Never messed around with the IBIS though. No need. Still, if anyone wants to buy a cheap and awesome 1080 mirrorless cam, I'd recommend giving the GX7 some consideration.

Good info. Yes, as mentioned, it's potentially for a state park so the location will always be a bit remote and there's only 1 tower to serve most of the area. Consolidating a dozen SIMs and dedicating that bandwidth would go a long way to protecting the stream. And, yeah, costs passed on with the invoice, so no worries there.

Thanks for that suggestion. A few months ago I had a request for live streaming in a remote part of a state park. Knowing that this technology could be used sounds promising.

Try being an older video pro that's had a long career and now has to deal with the devaluation and ad-hoc nature of this new video production reality. It's hard not to keep one's head from exploding.

Hours and hours of diffraction.

I have a 10 year old werewolf horror film that's absolutely horrible. Always wanted to re-edit it. I've also always wanted to create some stop-motion for it, or something similar to make the film more campy and silly than it already is. I wonder if I could make 3D CGI to look like Harryhausen character animation? Any advice from anyone that dabbles in that realm? Seems like with all the apps out there right now it might not be too difficult. BTW, I actually tried to do old-school stop motion, went as far as creating a foam werewolf with bendable armature and shot scenes with it, but it looked too trashy and lousy to be campy, if that makes sense.

I do think it's naive to assume people are not being manipulated for ulterior motives across the board. Somehow Americans think they're immune to this while, ironically, being the most vulnerable to it.

It's kind of crazy that I could easily pull quotes from Ronald Reagan and it would sound as if Bernie Sanders delivered the lines yesterday on some podcast. I could probably paraphrase the Declaration of Independence, post it on Facebook, and start a flame war among half of my friends that would disagree with what I typed.

The last time I was in Cambodia was on a tourism shoot and I was driving through small rural villages. The communities seemed to have more fat white western males in it than actual villagers. It really made my skin crawl. There's one guy I really can't get out of my head. His pudgy visage hit me the same time as the epiphany of what was going on. Not great.

Ha! Fair enough for pointing out the redundancies in that sentence. Like I said, my English teacher was a jerk. 😉

If the EOSHD site was solely about cameras, and that was it, full stop, then I say a ban on politics is fine. However, Andrew's site has always been a place that is non-corporate and "unsterile," if you will. He's not afraid to drop his opinion and that's why I stick around. If I want bland regurgitated information, there's plenty of on-line options for that. Crossing the line is something all of us but the most rhetorically disciplined have been close to doing, but erring on the side of staying respectable isn't too hard to do. And, ultimately, EOSHD is a site that prioritizes gear, but also exists as a refuge for aspiring filmmakers. Filmmakers should have passion. Otherwise, what are we? Just content creators? That's okay for some I guess, but standing for one's ideals with integrity and rationality should be a filmmaker's or artist's ethos. One of the most influential people in my life was a high school teacher that was willing to engage us students. He would talk about the world and encourage us to participate in it as productive citizens. His lectures were fascinating revelations about his value system and why it worked. Often times we would stray from that semester's syllabus and spend the whole hour just chatting about ideas. We were a room of equals simply by the way he behaved and respected us, a bunch of dumb high-schoolers that really didn't deserve such treatment... but there he was giving us agency when every one else in the system, it seemed, wanted to make sure we stayed in our place. Funny thing was, he was an auto-shop teacher. The other funny thing was that he was a staunch conservative. An 'all-in' Reaganite; can't even count how many times he went on about Thatcher either, to give you an idea. I thought his ideas about society we're complete and utter rubbish. Still do. But the fact that he didn't beat me down with ad-hominem attacks because I disagreed with him, and encouraged me to debate made him the best teacher I ever had. I still can't do a valve job properly and fix a timing chain, but he let me realize how important it was to have integrity, a slightly more important lesson. Meanwhile I had a liberal English teacher so far up her own ass you couldn't say one thing to her sideways without her feeling insulted. And she was teaching writing for god's sakes! So there you go. My anecdotal response. Whoopie-de-doo. Bottom line, conservatives ain't all bad, but some are. Liberals ain't all bad, but some are. Be kind and try to ignore the true jerks that just don't want to respect you.

Fine options if you just want your work to be seen. Making money doing it? You need to put a lot of work into marketing. In order to make modest money with sales on Amazon or Vimeo, you'd need to make a product that 10's of thousands of people would be willing to pay a few bucks for. Easier said than done.

Taking your film into a movie house. You pay to have it screened in their auditorium with 4 walls. You take the film to the next town and do it again. And so on. The old fashioned way of doing indy film distribution.

There are ways to get into the black doing a "4-wall", but the numbers are modest, so the realistic idea is to just use theatrical release as promotion.