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Everything posted by fuzzynormal

  1. Yeah, the ExProd's background is in set building, so he really loved helping on that part of it. But, truth be told, we cut a ton of corners when it came to authenticity. Made do with a lot of compromises.
  2. Aww, thanks for giving out such a nice compliment. Appreciate it!
  3. Yeah, I think they just got lost in the shuffle of on-line PR. The dark horse. I always liked 'em and wondered why videographers seemed to ignore the brand. My guess is a mix of slightly not the latest-greatest specs and lackluster marketing.
  4. So I'm wondering, is it a brand issue? Oly never really gets any love from the video folks. Is it simply because their specs are always behind the curve...or...what? Samsung made a splash with the NX1, but Oly never really got much attention. Why have you stayed away from their cameras? Not judging, just really curious why there never had more support in the video market. Goofy company business? Not impressed with their offerings?
  5. I gotta believe a sub culture dedicated to minimizing this reality has got to pop up sooner rather than later. I ain't talking about creating some hippy utopia nonsense, but just a collective of people willing and able to dedicate their precious time to things that are actually that, precious... rather than the trivialities we currently allow to dominate. I'm as guilty of it as anyone, but at least I'm TRYING to regulate my exposure to it. I don't know we've always been awash with banal possibilities, but the sheer volume we're expected to endure; doesn't feel healthy both mentally and physically.
  6. If that's where he was with things (including getting the insults to his kids), then, yeah, it's definitely a good thing to step back in general. I mean, all of it is just ridiculous and if anyone on either side loses healthy perspective, you might as well just throw it in the bin and walk away.
  7. Bail. Good call. Things seem to be built for 13 year olds. There needs to be an evolution of internet culture in order to healthily engage with it. Might not even happen in or lifetime, but it's okay for some of us to be content on the sidelines.
  8. I put up a URL to the latest working edit of the film here:
  9. Thanks for watching us act like idiots. Here's another:
  10. It's Canon XH-A1. HDV footage. A 1.6MP CCD sensor signal onto actual physical video tape @25 Mbps. 15 year old camera.
  11. Thanks for the pleasant feedback. We just started submitting yesterday. We are in one local fest that happens in March. So we'll see how all that goes. Fundraising is still open, hopefully, to alleviate the damage to our credit cards: https://www.gofundme.com/f/help-wrap-the-gift-for-all-ages-film If you have any other questions you'd like answered, drop me a DM. And again, thanks for the compliments.
  12. We're still heavily tweaking the mix and grade, edit... you know, stuff, but here's a close to finish draft for any of you chuckleheads that want a sneakpeek of M43 doing B&W stuff. Everything was shot at f2.8 on three lenses. Two primes, 24mm and 50mm, from the old Pentax Auto110 series, and the Oly 12-40 Pro. I had fun with it. We didn't do much fancy shooting 'cuz it was all one set and we wanted to emulate a 30's movie, but that was part of the joy of it all. Oh, GH5 and a EM10iii. 23.96 fps @25ss. ISO 800, mostly. What else? FilmConvertPro using their Ilford400 setting. Also (god help me never again) RedGiant's misfire plugin and universe transitions. So, look, small indy films involve a ridiculous amount of compromises along the way just to get made. It's a small miracle it happened, warts and all. Believe me, I pretty much only see the warts at this point. Hooray! Filmmaking! (I'll only leave this up for a short time...)
  13. Same here. On the one hand I'm glad I got to do a film and be a creative lynchpin in the process, but I didn't get fairly compensated for it. Could have easily made more money as a pan handler over the last 9 months that's been put into it. For perspective, I did a job for one week in 2021 and made twice as much doing that corporate thing as I did on the indyfilm. Yup. But I always tell myself unironically "posterity." Could be a prideful rationalization, but I lean into it. Be that as it may, we still have an active go-fund me for our film and we at least pull in some extended family and friends to help offset the financial hit. Still, it's a pittance. Thanks for the folks here taking a peek at the thing, btw. FYI, we're about one day from completion. Probably one more 8 hour session and it'll be complete. www.agiftforallagesfilm.com
  14. Any guesses? I will say I stupidly shot this accidentally on a tweaked color profile.
  15. I just did a sloppy car commercial Sunday where I was asked to shoot extreme shallow DOF. So, FF with a fast lens@f2. Not something I'd normally like to do, but the client wanted it, he gets it. Weeee!
  16. I'm American. That doesn't work here. We get by on merit; the principals of the best talent rising to the top and... Oh, who am I kidding? That's pretty much only how it works here. Land of opportunity, innit? ...and FF is a look unto itself when you're putting fast lenses on em. If you've used it, you recognize this. No charts or online debate is really needed.
  17. Wut? You lucky bastard. I need to hunt down something like this too. And I thought I was sneaky getting an EM100III for $300 last year. Your cam at least has an audio input for external recording. You could reverse the process by exporting an .xml and taking that into Resolve, but whatever works, I suppose.
  18. FWIW, I don't tend to look at a need for answers, but rather what the options are for the compromises. It's never really turns out how I see it in my head, but mitigating the circumstances can sometimes get it close. It's kinda, basically, sorta the "serenity prayer"...
  19. It's a bit of that. There's something intangible...and having wisdom to recognize skill sets and utilize the dynamics of interpersonal relationships is one of the marks of a GOOD director, among so many other things. From my limited experiences on set, I believe that the best way forward is to get other people around you that are not only much better than you are, but also kind.
  20. GX7 was a fav of mine. That had some great IQ mojo. I like the image better than my GH5. I'd shoot with that thing again without hesitation. Still bummed I lost that camera. It had the weirdest glitch though. You can't do 60p with a 60shutter speed. You had to set the shutter to 125 for the camera to legitimately record 60 frames per second. 60p/60ss would result in a 30p video...even though it would register as 59.97 in the meta data. Damndest thing.
  21. Depends on what kind of filmmaker you want to be. Most advice from these places will suggest technical skills development. If your deposition is to play with the tools and make great images, then that's perfectly fine and fun. But, FWIW, I help run a small film festival. Almost every indy film I see now-a-days looks half way decent. Getting the tech to do it's thing is pretty easy. I honestly don't know what sort of advantage an IQ specialist is going to have moving forward in the business when literally everyone can make decent IQ. "All hat, no cowboy." (Love that expression) OTOH, only about 10% of the films I have to watch/endure throughout the submission season have the ability to hold my attention. Story is key... Can you write? Failing that, can you recognize a good story when you see it? Can you develop the skill to elevate the words on a page? It's freakin' tough. Being a person that can do that is really remarkable. I've taken to watching successful films that are 50-100 years old. If the story works without the spectacle of modern tech, then all you gotta do is pay attention to those sort of storytelling and acting fundamentals ...and figure out if you can develop the skills to facilitate them as well. I find myself re-watching David Lean's early work at the moment. That sort of inspiration is very valuable.
  22. As do I. The newer people on the planet probably don't care. I definitely came of age going to "grind-house" cinemas. My visual biases are falling by the way-side as probably no one under 20 has ever seen a battle-worn print in a shitty theater. Heck, my favorite movie theater was a small converted cotton gin warehouse; never screened a print of a movie that hadn't been on the road for half a year... Still, I stick to the notion that the analog quality of 24p film smooths out the hard edge sheen of a production. For instance, I bet you could watch Wizard of OZ with 60p interpolation --and just that change would remove a lot of the "magic" we internalize without even realizing it. I want that magic. I often push my digital stuff into that emulation mode to grab some it. For instance (and I've said this many times) but I typically shoot 24 frame rate with a 25 shutter. I just love the motion blur and the "non-digital" look of it. Visual butta'. I'm just finishing a film that's in B&W and is a direct homage to 1940's code era films. As such, I've been shooting things "wrong" to make the IQ feel authentic to that era and NOT look like it was shot on a cheap digital camera. The slow shutter thing is a bit of a secret sauce many tend to overlook or ignore.
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