fuzzynormal

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.

Yeah, but what if I like that softness? (And I do) Sometimes, flaws are not something to avoid, but to be embraced. At least for me. Anyway, the Voights are fun because you can squeak out extra exposure for dim lighting, and it's nice to have that option. FYI, just my ideas and style. Others really want that tack sharp stuff. I'm not that particular. I go for character rather than precision.

I'm not a fan of the YouTube consumerism era, but I'm so old I actually resent my iPhone and what it's doing to me, so there you go. Same shit applies with the glorification of stuff. We've all done it as young people. Now it's just a different generation. As with most new people, they do everything a lot more and they do it with their own style. The fact that they have this modern and new infrastructure that's never existed in the course of human history is rather fascinating and really is kind of nuts...but that's for the 20 and under set to cope with. Screw all you young kids. You can pound sand.

What do you know about the western three act story structure? What's you opinion on traditional story telling archetypes like protagonists and antagonist? Do you appreciate character development, the heroes journey, conflict, resolution, redemption? You don't need to follow these elements of standard narrative models, but I've found, for me, that it doesn't make sense to break or bend the rules until you understand them. Put it this way, do you think it would be likely to make an impressive painting if all you access to a tube of titanium white?

I think I'm an okay editor and make half way considered opinions when editing. Thing is, I don't really like doing it. I don't really get excited to sit in front of the computer pushing buttons. Hence, even though I've been paid decently over the years to edit things, I've never considered myself an editor. My cousin, however, is in the industry. He cranks 10 hours a day on real productions. That dude is an editor. I'm a dilettante. Honestly, the most entertaining edit from my biz last year was a Adobe Rush thing my wife put together on her iPhone. That being said, if you want to make a serious career in the work, my impression is that you really need to do a deep dive into it; that means learning the same tools the upper echelon creatives use. But editing decks are just tools, just like cameras. There's really not a big difference between functionality. At the end of the day it comes down to your decision making abilities that hopefully help improve whatever footage is that you're working with.

In the industry, I'd agree that legacy attitudes and craft work will remain. People that are considerate of what they're doing tend to make more artistic decisions. However, The YouTubers and social media influencers will be leading a certain aesthetic moving forward, I think. Hard to run from that avalanche. We'll get used to (have gotten used to?) 60p and vertical video, for example.

That's the basics. Dial it in however you want, you're essentially pulling colors around in the mids. Making warmer in the upper mids, cooler in the low mids. The dark and bright stay clean, even desaturated to taste. I've never done a deep dive into being a colorist, just looked at stuff and pulled things around to my liking. Very dillitante'ish, as usual. Still have the first video I really gave it a go at the technique, shot over 10 years ago on an actual video camcorder using dem dere videos tape thingies we used to have.

I've been using it for years because I do like the complimentary colors and I was in the habit of trying to make video look more like film. The world of media is forgetting film now, and the kids doing stuff aren't aware of that legacy, so the color tricks to mimic it are less popular. But I'll stick with it a little bit as I'm not into accurate color. I like my footage a bit outside of "reality."

Anyone know approx. how many stops of exposure there is between 200 and 25 ISO? I long for the day I can dial in proper exposure for motion picture shooting using only ISO.

Olympus EM5II. It did nothing exceptional but for the IBIS. IQ? Meh. Good enough. Colors? Pretty good, but not Canon. Still, the thing is the compact size, the design of the camera, the ergos. I just liked shooting with it. Enjoyed it so much I wanted to take it with me wherever I went. For me, it was a joy to use. Haven't had a camera like that for decades. I also have a warm spot in my heart for the GM1. Weird little thing that was charming to use and shoot with.

The guy likes to make things that resemble dreams. VR seem like a good place to do that.

If you have the time/collection, always use a single filter to give you what your want. Especially ND. That said, I shoot run-and-gun and I use a variable ND. It mucks with the sharpness of the image, but the trade off of being able to grab exposure in a split-second makes it worthwhile, imho.

Yes. In my experience, it's best to just turn it off once you're below a FF equiv of 16mm. Unless you're trying to get completely static shots while hand-held only. Otherwise, no IBIS on the wides. BTW, Optical stabilization with FUJI lenses is good. But then you're locked into buying FUJI lenses on those bodies.

Handheld by yourself? Suggest that Olympus with their IBIS is a good bet. I also use a GH5. Good codec and color, imho. Useable IBIS, but inferior to Olympus. AF? Myself, I'm not a fan of AF, like a bit of human wabi-sabi in the shots. Maybe consider buying a set of three old manual primes with a straight dumb adapter and speed booster. You'll get 6 focal lengths from 3 lenses...and you can get those lenses cheap too. More than enough to give you cinematic options. Throw in a variable ND with step up rings and it can travel across your glass --making run and gun a LOT more pragmatic. I'm not a fan of how variable ND mucks the image a bit, but the trade off is worth it. I have an old EOS Sigma 10-20mm wide and when adapted with the speed booster it's an expansive field of view.

As you may have noticed, the film making industry makes plenty of movies specifically for dumb people. It's the larger market, so why not?

Yeah, I just like old lenses too. They don't resolve resolution as well as modern lenses when wide, but... so what? You get good character out of them. I did another one of these "hometown" things with the Oly 12-40 Pro f.28, and it looks sharp as a tack, but it's also kind of sterile. Good for things if that's what you want/need, but I always like taking the edge off of video. For the chainsaw guy, I shot most of that stuff at f2.8 through a cheap-ass variable ND. FWIW, if you shoot stopped down a bit and without filters, almost all lenses made in the last 100 years will look fine for video.

There are many way to do LINUX formatted disks. extFS also works on Windows. I believe you can do command line level LINUX formatting with some other software. I didn't want to bother, so I just got extFS. BTW, the trial software works for...10 days (?), if I remember. The first DCP-saved-to-a-disk I made, I made for free in about an hour. FWIW, I did get extFS when the trial expired because I just wanted to make sure if anything happened and I need to create new DCP's quickly, I could do so. So, I basically just put my DCP's on a few random USB thumb drives I had laying about. The first cinema I gave it to complained that the thumb drive worked, but was super slow (it was), so I got a few newer ones with acceptable read/write speeds, no complaints after that. Before I did all this, just by bumping around the internet, I was imagining that making DCP's was some esoteric wizard level computer stuff. And 15 years ago it kind of was in a way....but now, it's literally just hitting "export" on Premiere, clicking a few parameters to set up, and then saving the DCP folder on a LINUX drive. Easy.

I read the same myself online, but it was in there Premiere so I tried it. What the heck, it's "free," right? Worked fine in my experience. Never had an issue and I ran the DCP through about 13 different cinemas. I did buy software called extFS for Mac. It gives you a simple GUI to format disks in LINUX (makes DCP systems happy) but it was only something like $30.

It's built into Premiere. There's a few solid YT tutorials.

I do have a super cute Pentax a110 fixed f2.8 50mm that I've been wanting to use. Hmmm...

Finally sat down with footage from over a month ago. Shot for about 45 minutes with this guy, grabbed some goofy audio, and eventually put in my afternoon of editing. I used a Helios-44-2. So, 116mm FF equiv on the M43 camera I used. Lens had a variable ND filter on it.