fuzzynormal

That's one reason we go. Eastern Europe is still cheap and not as crowded as other places during the summer. Not a huge fan of popular Poland politics, but neither am I in the USA, so no big deal.

The goal my wife and I are striving for is winter in SoCal, spring anywhere shooting a film, summer in Poland, and Japan during autumn.

I'm still using their generic "De-noise" from RX5. That's a must-have plugin as far as I'm concerned.

I have the Voits. They're nice, but wide open expect spherochromatism a bit. A FF with a sharp lens @f1.8 still can't be beat. That's physics. Still, I shoot interviews all the time with M43 'cause that's what I got. When I feel I really need FF on a shoot, I just go and get FF. DSLR rental is cheap.

Yeah. For me, it really is the ideal format. Small, nimble, and perfect for doc work. Aside from having a FF cam to allow extreme shallow DOF in tricky interview/talking-head settings, I really don't want for much else.

Well, it's not a camera for me as it's too expensive, too big, and all I really do with these things is video. Some hobby photos, but nothing serious. The idea of electronic ND was intriguing --but not to be for video. Yeah, kind of with Andrew on this. Although it would really have to be a special camera for me to ever really consider it, it certainly would have been nice to have a real reason to consider it, ya know? Wonder why they're lagging with the 60p 4k? Weird. Loved the EM5II. Best camera I ever owned. But we're almost 4 years on from that. Getting a little worried here Oly. Without a homerun product across multiple markets can you stay in the game? As for M43 I still love it. I like the smaller gear and lenses. Always have, always will. A small kit is a productive kit in my world.

Hope not. Mostly, it does look like a good camera for MY needs so I'll consider it. Pretty good spec list. However, one of my top priority needs is 60fps 4K. It's just something I use when shooting. EDIT: Just checked the rumor site. 60p in 4K, so no worries there. But... there's this: "Live ND functionality...in five levels: ND2 (equivalent to one shutter speed step), ND4 (2 steps), ND8 (3 steps), ND16 (4 steps), and ND32 (5 steps)." Kind of a bummer. ND64 is required for daylight shooting and a wide open lens such as f1.4. ND32 and 5 steps just isn't enough.

"Mean IQ Of dpreview Members?" 100. Give or take 5 points.

Heck, I once shot a feature on the HDV codec. Camera and codec are considerations, but, damn, they are so far down the priority list when doing a low budget film and you're just trying to make it happen. We've all seen great looking films shot on thin codecs and cheap cameras. How one shoots is so much more important than the tech. Be that as it may, I'm currently working on a feature doc with 100+ hours source and proxies. It all fits comfortably on a 4TB drive.

Knock yourself out. Caveat: I was hired as a director and then ultimately didn't have that responsibility. Production drama silliness. So, not thrilled about the situation there or the final product, but you can see the footage. https://video.kpbs.org/show/reflect/extras/

I shot plenty of docs on the gx85 for TV broadcast on PBS. Would recommend. BTW, shot 4K and mastered in 1080. It's perfectly effortless to do. Whats your editing platform?

The "pro" that typically goes unmentioned, but I rather like, is the fact I can put all my source files, and all my proxies, on a single cheap ($99) external 4tb drive --and work easily with the proxies until the whole thing is about 90% complete. (I triplicate copy the drive for backup purposes) This is really great for budget editing. And, honestly, so much of editing work is perfectly viable with proxies. A good editor is concentrating on storytelling, not pixel peeping technical stuff, so watching the most pristine video during an edit is pretty irrelevant in my mind. Heck, I'll even do the majority of the color grade with proxies. Only when I'm doing the final tweaks do I turn off proxies and really analyze what the colors look like with the camera source files. Even then, it's just minor tweaks. Did they ever fix this? I was all set to go full-Resolve two years ago, but my test project crashed and burned during the "optimized media" stage and I just couldn't commit to the product.

I shot 6 documentaries on the DMC-GX85 (silver body looks cool). It's a really cheap camera these days --and I really had no complaints about it. The IQ with fast lenses was more than adequate for me. And, since it's so darn cheap, it's a great value. BTW, if you want to go for a really cheap "c-camera" and 1080 is good 'nuff for you, then grab a GX7 for a few hundred bucks. I always thought the IQ out of that camera had some serious mojo. I'd buy and use that camera again for doc work if I was heading into demanding environments. It's so inexpensive it's practically a disposable camera.

I always encourage proxy editing simply because there's less processing stress on the computer. The less the computer has to work the less likely it is to crash or lag. At least that's my reasoning. Doing native format editing is okay for really short form projects, but even then I tend to go the proxy route simply because it allows the editing GUI to function more cleanly. FCP was always breezy with ProRes, but I'm not on FCP at the moment, so...

Rumor sez it may have a built in electronic variable ND filter. Okay then. I'm listening Olympus. That's useful real world stuff right there. I'm beyond pixel peeping at my age. All these modern sensors do enough for me. Now, show me pragmatic features and you got my attention. Built in variable ND is exactly that. Allow me to lock in my SS, ISO, Iris, and Frame Rate... then control exposure with built in ND? Man 'o Man. That's a video shooter's dream. (at least this particular shooter)

Stuttering (maybe 5fps) playback of PROXY media to the point audio dropping out during said playback. These are 1024x540 res PROXY files that were created by the default PROXY settings in PP and created in Adobe Media Encoder. Bottom line, the new software couldn't playback those clips. My issues were happening on an older machine, but the older machine could handle the exact same project just fine in 2017. Once that project was loaded into 2019, nada. All settings were identical from the project in 2017 to the project in 2019, including all preferences. My conclusion after internet sleuthing was that 2019 just demands more processing overhead for some reason. Don't really care why this is, it just does. That's my experience and it caused workflow issues. So....that and some random unrecoverable crashes that I hadn't seen before made me nope right on outta 2019. I got better things to do than trouble shoot beta-level software. Couple of nice features that come with 2019, but without a certain level of workflow stability, just no no no. Yes and no. When I'm pulling and pushing the grade it's usually during the coloring stage --and proxies are turned off at that point anyway so you're seeing a pretty accurate rendition of what you're gonna get from your source footage+grade. Sometimes I'll quick color grade a proxy too as I'm editing; it holds together enough to do the basics. And, as mentioned, all fine tuning I do with the source footage anyway. Basically I'm saying that, for me, working with proxies doesn't really affect the coloring workflow. It does, however, make the basic editing so much more pleasant. Just scrolling footage in the thumbnails with no lag is such a blessing.

I am editing my current doc with PP and I'm getting it done. My anecdotal experience says it can handle large projects (100hr+ of footage) such as a feature length documentary, but with caveats. 1) You should use proxies 2) don't do any complicated compositing 3) use an old version (I went backwards and am using CC 2017.1.2) 2019 just about killed me for a week before I did a XML export and took my project to an earlier version of Premiere. Premiere Pro crashes, but I can't say more or less than my FCP used to. Still, PP just never feels "solid." There's no objective way to qualify that assertion, you just need to use it to get a gut-level feeling about it. That feeling has never been reassuring for me. Also, the way PP demands media to be loaded into a project in order to migrate sequences is, augh, such a pita! That mundane detail might seem trivial to the uninitiated, but to those of us trying to move edits across different editing seats it's absolutely horrendous.

Yeah, if you're transcoding the source video to a different format you can expect it to slog along a bit. Regardless of what the ultimate issue is, you really need to know if your editing sequence and export settings are appropriate for whatever work you're doing. If you have any doubt about what's "appropriate", the safest assumption to make is that you're doing it wrong and it needs to be changed...to...something else...

I now use Voightlander primes on my MFT cameras. Before I bought 'em I often used vintage Canon FD glass on a cheap speedboster. Also used vintage Pentax and Nikkor speedbosted primes. The whole collection of my vintage glass was a weird hodgepodge of stuff. I kind of like the vintage look, tbh, but it's a different look for sure. You either like it or not. The Voits are great in that I could buy a set of 3 primes --and be good to go with visual consistency.

My initial handheld shooting experiences were with film cameras and electronic tube cameras with outboard 3/4" recorders. Heavy stuff. You can't compensate for mass. As mentioned, that's pretty much the solution. You want a certain look with handheld, make your rig balanced yet heavy.

No. PP adapts display settings automatically based on source video properties.

I just use their default cineform proxy setting. 1020x540. It works across various sizes and frame rates. Now, I'm currently working on a doc with so much footage that the proxy data size is greater than 700GB, so I don't know if you can get a ton of data to be functional across the "cloud," but if it's not a long project, maybe. I've never gone out on the internet looking for .epr presets, but I suspect there's got to be something out there.

Various hybrid camera owner here. Tell me how I can do this with any of my camera's OEM bats. 30-50 is what I typically experience. I think the Black Magic camera is a fine value. You don't want it, don't get. No need to make excuses. All hybrid cameras shooting video are a compromise.

Yeah, I don't know. The basics of editing are so...basic. Never had a big issue with using different NLE's.

I'm hopeful that some sort of internet economy will rise up wherein services, like a video streaming platform, are decidedly privately owned and willing to cater to niche markets. Markets such as small time film makers looking to have an avenue to stream and do sales. A service company that exists wholly for actually doing a good service for eager clients would be great...not some sort of "long-tail" financial commitment to business oriented shareholders. Something more akin to a company that does, say, a craft brewery as a passion business --rather than a corporation that dominates the beer market because they are incredibly large and are always chasing that 2% annual growth. Give me a small company that's looking to make a decent living doing their thing, but also absolutely content on being modest so they can offer a quality product. Can that sort of industry somehow happen in this world?