fuzzynormal

"Double Punch" is what we called it in the olden days. But, yes, LUMIX cameras are troublesome for accurately triggering recording. The only solution I've found is to make myself put forth a concious effort to literally read the record clock for a second, make sure it's rolling, and get on with my work.

Well, FWIW, I don't like to drop 60p into a 24fps timeline because, like the OP said, if you switch on "interpret footage" to make a clip slow-mo, Premiere mucks up the proxy in/out point, and proxies are my workflow. So, not everybody.

No, I'm asking about mixing the footage/timeline fps. I do slo mo too, but don't use 60p in a 24fps timeline. But I know what you're talking about, perhaps. When you try and use "interpret footage" Premiere proxies do fail to hold their in/out points. FWIW, I'll use 50fps in a 25fps timeline and just slow my clips by 50% using the "speed" function rather than "interpret footage," and this avoids the problem. Or, 60p in a 30fps timeline. As long as the timeline is half of the source footage, works great. As long as your footage rate is divisible by the timeline rate. Another alternative is to shoot slow-mo in camera at whatever frame rate you plan to edit in. Of course, you need a camera that does that, however. Since learning non-linear editing so long ago I was pretty much locked into having footage match timeline; there wasn't a choice in the early versions -- as to muck with frame rates made NTSC footage look ridiculous. I guess it's just a"rule" I stuck to. At any rate, how I capture footage is something that doesn't cost me anything, whereas building a beast-mode PC to handle 4K editing natively is not something I'm keen on spending my money on. However you go, good luck.

Why would you do that though?

Confirmed. You do not want to be directly accessing media on a big project using a slow hard drive with Premiere. You can, but it's annoying. Everything bogs down. Just reading the media a large project holds can take a half hour with a slow drive. However, here's the workaround my documentarian wife and I use: Keep our source 4K footage on a cheap/slow external hard drive, make proxies of our footage, save said proxies to a SSD, and then edit from there. You can use a 10 year old computer pretty effectively with this method. My wife typically does rough cuts sitting in her lounge chair with her old laptop. Edits fast and easy. I'll do the final drafts, coloring, and rendering on the modestly beefed up PC. None of our computer equipment is state of the art and we do just fine. Using proxies is something all editing systems do, but (believe it or not) Premier handles the process more robustly than others. Resolve, looking at you. Proxy editing just allows so much more speed during the cutting process. Just scanning the thumbnails alone makes this workflow worth it for us. Every once in awhile we do a small project with maybe a few dozen shots and I won't bother with the proxy creation. It works and is okay, but the speed of editing is diminished and a bit frustrating.

Any "self-help" media/program that's ever existed. If you're lucky, they'll make a religion out of it. Then you're not just talking about making "bank," you start owning the actual banks.

My wife and I are actually documenting our small town as a side pet project. PM me if you want details.

Well, I guess I should qualify that to say if you had an improper shooting set up and your footage is bad, then it might not be a post problem.

Well, it's definitely ballsy to do that in Japan. What he's doing, as an artist, makes sense to me. Still, I lived there for a year and just watching him film stuff makes me slightly uncomfortable. As Gaijin I would always ask permission to film someone.

It sounds like something you're doing wrong in your post work flow.

FWIW, I don't use AF, nor would I be comfortable using it on a paid job anyway, so that part of the camera function is a mystery to me. We edit everything with proxies and then export in whatever resolution desired. For instance, we did a 6 part PBS show with 2 GX80's shooting 4K, pulled everything into Premiere, made proxies, edited, and then exported at 1080. Not really sure what advantage your suggestion of doing scale-down-transcoding would actually offer, but I'm sure there's some situations where it might be useful; just not part of my workflow.

My wife and I shot a doc with the G85 as the b-cam, was not disappointed at all. If I was told to go out in the field and use this as my only camera, I'd be okay with that.

Yeah, no doubt. But there's a lot of audio recording options these days for outboard recording w/monitoring. A good audio solution is very important. Been looking at the Rode GO system recently. FWIW, I shot a series of 6 documentaries with two GX85's, wireless mics, separate audio recording, and it worked well. Sync'ing in post is a step, but nothing I found too daunting.

I've been considering the EM10III for awhile now. Might be worth looking into it for you as well. It's around 300€ used too. Personally, Olympus impressed me when I owned the EM5 and EM5II. Liked the way the colors looked, the IBIS, and the ergonomics.

But why exactly does he have to mention a certain specific in order to make his case? Should not mentioning other injustices, even if it's only the ones he's aware of, be enough?

As much as I'm not a fan of (imo misguided) Phoenix' acceptance speech, this sort of argument is ridiculous. Ignoratio elenchi. Because he failed to mention specific injustices his entire point is diminished? C'mon. If you don't like what he's doing, just say so.

In this era of information, his courting of notoriety like this is probably by design. It wouldn't be the first time he did this. Hope you're right about the self-defeating part.

Maybe you'll find this interesting: My wife volunteered to make a modest video roll-in for a local festival thing in our hometown. Just for kicks I used the organization's old 5dII to shoot it for them. I have a 50mm nikkor prime with an EOS adapter, so I used that. It's a modest clip, but here you go: 12 year old IQ tech: https://www.dropbox.com/home/BSL?preview=PERFECT_PICTURE.mp4

All I need to make it into Sundance is a ALEXA Mini? Alright! Rental time.

When the shutter is slower than the multiple of the frequency, I've not witnessed it showing up much in the footage. So, under 60hz you can shoot 24fps, 25fps or 30fps with a 40ss and not see any of those sync issues, for instance. At least I don't. Anyone else notice this? Do try. See if you like it. I think it's an undervalued film emulation technique.

Nah, I actually don't like the 180 shutter rule. A tiny bit more motion blur in the image and it looks more like film to me. I shot a doc once with 25ss and 24fps. Liked that too even though the motion blur is more pronounced. To each his own, but it's a style/look that I think really takes the edge off the "video" quality of a video camera.

Seconded. It's all about the lighting. Took me a long time to realize this in my own career coming from the run 'n gun world of broadcasting. If you're willing to listen to advice from an older dumbass like me that has made all the mistakes, right now at the outset, then you're going to leapfrog over all other newbies that put their efforts into acquiring gear. Acquiring gear isn't always a waste of time, but it's a wildly low priority. Learn to light. Learn to know when to not light. Learn to "see" what light is doing and offering; exploit it. Learn to recognize what sort of lighting works for motion pictures. Pay attention to your frame like you're making an oil painting and, my god, you'll be so much better at this stuff than most of us. Nothing drives me more crazy than when I see cheap indy shoots that have NO notion of lighting AND can't even bother to dress up/clean up the location they're shooting in. Everything on frame is visual information. It's your job to control it and make people see the important stuff, not random visual vomit. That said, slap a 50mm lens on your T3i, put it on f2.8, set your frame rate at 24fps, set your shutter speed at 40, use the neutral color profile, get some ND filters to control your exposure, and you'll have a good technical baseline to make things happen with your camera.

For what I do, I'm thinking the em10iii from Olympus might be the best bet. Recording outboard audio makes things a little more difficult, but all the other good stuff kind of outweighs that. Small, affordable, IBIS, good color, 4K...not bad at all for micro budget documentary production. Can get two used bodies for under $600? Hard to resist. I really like shooting "light" when in the field, so I'm tempted. figute I can sell the gh5 and it'll pay for the switcheroo Would have considered the Em5iii, but without headphone jack might as well go with the cheaper camera. Sorry Olympus. You had a chance to take my money with the em5iii.

We've all been able to shoot "cinema" on video for decades now. It's not about resolution or DR, even though that helps.

I like the the centuries old legacy of the phrase "fast" in photography, though. It's neat-o.