fuzzynormal

There seems to be lots of oddities about RAW workflow (for me) that are counterintuitive and/or (as you say) self-defeating.

Ha ha! Funny sarcasm.

Perpetual discontent among consumers, next best thing, etc. It's good for industry sales; much like designed obsolescence.

I would love to have a workflow that allowed me to rotate a few c-fast cards while off loading raw footage to a hard drive RAID. From there: work on said footage via proxies in an NLE, finalize my edit, color-grade those relevant raw files, and then media manage to save ONLY the final cut source footage. Storing the remaining 30-60-90 minutes of RAW is demanding, but not too overwhelming, right? However, my big RAW gripe, unless I'm grossly mis-informed and things have shifted in the past year or so, is that the typical RAW work flow seems to put a lot of file color processing before the actual editing. If so, I really can't work effectively that way. I mean, I could, but not in a practical manner. --Not with doc style shooting where I need to track just about every second that's shot. Anyway, RAW is neat-o in theory, but seems to need a lot of people to make it viable for a heavy-lifting-fast-paced sort of production. And, yes, many boutique biz'nesses in low end productions aren't going to mess with it often because of the extra work involved. There's always gonna be folks that do wonderfully pretty things with RAW and then post them on vimeo for all of us to drool over how great it looks, but those folks are the outliers. I mean, for instance, you're not going to see any of my low-end-real-estate videos shot on RAW, but those productions are what allows me to buy this stuff to begin with. For my world, I can see the reasoning why comparing the 8-bit to the 8-bit is justified. Not just for this particular scenario, but for all cameras.

Horizontal distortion of bright light sources. My Canon A1 Hi-8 camera was especially "good" at it. (a shitty camera that cost twice as much as a GH5, btw) However, the funky light smears we got from old cathode ray tube video cameras always looked really cool to me. Actually, it's too bad someone doesn't make a (ridiculously impractical) UHD CRT camera. It's a unique look.

Being brutally honest, most of us here are just camera consumers, right? How many of us are truly filmmakers? I mean, truly? I know I'm not half as prolific as I should be to call myself a "filmmaker." Not really. I feel more like an enthusiast than a filmmaker. In addition to that, it's much more satisfying to complain about stuff I want, but then is undelivered --when it's not perfect, that's a convenient excuse to avoid doing the difficult creative work. (Well, okay, I'm projecting...but I've had my GH5 for a month now and haven't really done anything special with it.) Point is, if you put a decent camera in my hands, I should be able to make something. If I don't, it's not because a company failed to deliver an "x" or a "y" or a "z." Anyway, that's my filmmaker existentialism...pay it no serious mind. Turn back to talk about skin tones, MSRP, and camera mounts.

I'd say card, first guess.

Man...every time I think I've landed on a lucrative niche market for my productions I find I've already been beaten to the punch.

Someone on the internet is offended?

I'm available.

That's how it works. Who you know... The creative world is not meritocracy. And Cannes plays the celebrity game probably better than all other film fests I can think of. BTW, Angelina Jolie is a director too.

Yeah, the Oly has some special mojo for me too. I'm shooting the GH5 right now, but it's because I need 4K 60p for a specific client. Nice camera. Does things in a practical way. No nonsense, but also no big whoop. Doesn't excite me when it's in my hands. --Looking forward to Olys next EM5. whenever that happens I'll be back and I'm pretty sure that will be my personal documentary rig (and photo cam) for a good long time.

Presets are fine. You can also make your own C3 set to compensate against some of the funkier typical indoor lighting "spike" situations in SE Asia..if not a horribly purple fluorescent, it seems like it's a cheap green LED...

Better, I think, to turn to a set collection of "kelvins" to use. 3200, 5600, something a little cooler, something a little warmer. AWB will drift and adjust as a shot changes.

I'm using latest firmware on everything. The lens that's problematic is the 10-24. As far as I'm concerned, that lens is way too expensive to have this serious a flaw.

Really. What could possibly be happening? So weird.

Check this nonsense out: https://www.dropbox.com/s/avskgunn4ieqrdy/DSCF1303.MOV?dl=0

Yeah, this is disappointing. The wide I have not only shifts exposure, but I got some seriously weird shit happening on the edge of frame. I'll upload an example. It's brutal. Fuji has wonderful color, but the inequality of the image... I can't abide.

Media100?

It would be. But I'm not saying that he doesn't have authentic Twitter followers. Maybe some in Russia too.

Ask Donald Trump about this. Aren't a lot of his "followers" just Twit bots?

I subscribe to the theory that if you do good work, you get noticed. Now, you can work it the other way, and many do, but how genuine and authentic is the result? You have to decide. (Of course, not many people know who I am, and might never know) Now... that's for self promotion. As for FILM promotion, social media is a good tool. Targeting info to like minded people that are inclined to enjoy and buy your creative efforts is a lot smarter than advertising to random folks who wouldn't care.

A little strip of gaff tape on the adapter...

Don't know. I'm not shooting anything wherein I change focal length DURING the shot.

It comes and goes intermittently. Not a flash. https://www.dropbox.com/s/9u0oao2xdj6d2ib/DSCF0844.MOV?dl=0 I'm shooting manual. If a switch to auto fixes the problem, fine. I won't like it, but as long as it works for now. This exposure "bump" is ruining some of my shots and I'm on a paid gig at the moment. 10-24mm