fuzzynormal

FWIW, the basic technique of match-cutting has certainly been part of the craft from the earliest days of montage editing. Now, since the tempo of modern editing is so frantic and kinetic I'd call this evolution of the style "hyper-match-cut" as it's over and above even the fast paced stuff we're used to in more "standard" edits. Also, the craft to aggressively accentuate the blend of movement is obviously such a huge priority it becomes the prominent aesthetic and the entire justification of the video. Cool, to be sure. Enjoyable in short doses as it's style above substance and fun to look at. Perfect for impressionistic travel films. How well does it work for fictional narrative though? I suppose it depends. Alright, so this is going to be a bit of a tangent, but I must say since this thread has me thinking about it, after watching "Jason Bourne" last night, I felt that the fast cut style was pushed beyond my tolerance. Your mileage may differ, but for me it became unnecessary distraction rather than an effective technique. However, it was interesting to note how incredibly short the editor/director was willing to make a shot and still attempt to maintain narrative cohesion. The answer, as much as I could tell, was about a 4th of a second. For me, it was like this: visual mess, visual mess, visual mess, okay I see a knife falling to the ground, visual mess, visual mess, visual mess, he landed a punch there, visual mess, visual mess, visual mess, okay I see a gun, visual mess, visual mess, visual mess, his wound is a liability, etc., etc. --And all that happens in about 2 seconds. I'm actually not being dismissively critical of the "mess" part, (flying elbows, CU's of motion blurred faces) because I realize it's designed (or tolerated?) to be a sort of impressionistic din and then the incredibly short but important visual clues let the viewer connect to the unfolding sequence. I'm just fascinated by deconstructing the technique and the limits they were willing to push. So, it works for me when it's short and highly stylized as in these travel videos, but kinda annoying when looking at it for extended action sequences.

Yes. Seems like you have a handle on things. When it comes to small productions, unless you have a good reason (story) to actually use a camera and film something interesting I really don't see a reason to put the cart before the horse. When you're finally really excited about what's on the page, then take time to worry about the tech. If your film was on a budget wherein you were the DP and your main concern was the camera, then you could burrow into the rabbit hole. Otherwise, just get what you can with that 8K and you'll be fine. Personally, I sometimes wonder if too many production people feel like the subjective issue of skin tone/color is something that'll make or break a movie. I mean, I care about it too, but it's waaaaay down on the priority list. That's me though. I tend to do work wherein I'm the beginning and end of everything, so my priorities need to take into account much more than just camera... The first one being, would a viewer even find this story interesting?

If all you're trying to do is add eye/face fill during daytime shooting, want it to be easy to use, and are shooting with a shorter lens so the camera is close to your subject, wouldn't a dim-able ring light be an option to consider?

And things roll on. As you know, I'm a Oly fan for the ergos. Rumors are floating that their next model is definitely 4K. Pretty great. It's still amazing to me how these consumer still cameras have become so awesome for motion pictures.

There ya go.

I like the 20mm lens. Small and unobtrusive, as you say. Video looks good. Er, lots of depressing rubbish/trash though at that event...

You can encode the offending clip/shot into an edit friendly file (ProRes422, for instance) and once you use that newly encoded shot instead of the original one it will probably fix the issue.

Bug in the app, I think. Looks like it's a wholly different camera for that shot, so I'd consider that whatever codec you're using for that footage might be an issue for your editing software. What app are you using to create the effect?

iZotope Rx.

PC: i7 6700 3.4 GHz. 32GB ram, GPU GTX1080. Premiere 2015.3. I also downloaded Resolve for any in-depth color work. Tried to make the editing work on Resolve, but it couldn't meet the demands of what I needed for my doc work. "Optimized" (aka in-app proxy creation) editing was flaky and incredibly unreliable with long GOP footage. And Resolve couldn't handle real time editing with native h.264 files. Premiere is...okay. It behaves pretty close to FCP7, so that makes things relatively painless. It cuts through h.264 4K without issue and if I need it the proxy workflow has been solid. Seems a bit bloated and unintuitive in places, but nothing that's a deal breaker. My wife is also doing assistant editing so I'll soon put together a less "juicy" PC build for her. Ultimately we'll be NAS editing between the two PC's. All in all I'm comfortable where things are at. Spent a good chunk of change, but not a ton, so that's good. I don't really like Win10, but it's not horrible.

Bubbie! Where's the white knight in this mess?

I thought I did read in a recent post that Zach was banned, but I sort of thought it was an off-handed joke, not really the truth. Truly, his worst sin, if you even want to call it that, was that he was wildly naive and earnest; dash in a heap of ignorance. Quite honestly, after three dozen pages of this thread I think we all deserve some of his sort of youthful alt-reality. I'd welcome some of those types of halcyon days at this stage of my life, believe me. The wonderful insane messiness of all this stew we read here is why this site is actually interesting. Banning Zach seems like a bit of a take-away from that vibe. You don't get this sort of juice from sanitized corporate curated websites.

Well, better DR at any rate.

You too? I mean, it's been a few years, but if you look at my early videos on youtube it's obvious.

Pretty good. I find it decent enough to shoot with and I'm very pleased with the images it delivers. I'm used to color grading/correcting some pretty fragile 8-bit stuff, and it seems I have a tad more room to wiggle compared to my GX7 files. Plus, the GX85 is a camera that barely costs $700, which still blows my mind. I will say I don't plan on owning my two GX85's forever. I'll eventually upgrade to a more ergo friendly Pany or Oly 4K 5-axis cam when they become available. Still, I'm going to be shooting the equivalent of two feature length documentaries with this gear, so that should illustrate how much I trust this model to perform. The things that one can do handheld, with shooting discipline, are really fantastic and fun. Plus, I've jumped back into Premiere editing (with some Resolve) and the hardware upgrades on the post side was long overdue. Now that I'm blazing through native 4K footage unencumbered, it's really kind of awesome.

So...anyone use a camera lately to film something? Anything?

Silver Linings, right?

Mea Culpas are never a bad thing, right? As long as the personality making it is strong enough to handle the fall out and don't do anything stupid to themselves.

Is it possible for the radiation of a old lens to resurrect a zombie thread?

Regarding my previous post: Brainfart and the wrong info. I'm using an i7-6700 CPU on my PC.

Well, as I've mentioned, it's hard to ignore a fascinating storyline. Perpetuating it is a strange compulsion. Maybe more so for those of us that fancy ourselves as just that: storytellers. We get to be a part of a so-called-real drama without all the physical messiness of it touching us. I'm sure there's a sub-study of psychoanalysis being developed in regards to the virtual-ness of this new culture.

I'm now getting back into trying Premiere after years of being away. Just installed Win10 and Adobe apps on my latest PC this week. Anyway, I have a GTX1080 and an i7 3770, 32GB of RAM. CUDA is enabled within Premiere's preferences settings. I get surprisingly acceptable scrubbing at this point with camera native 4K .h264 files. I haven't really pushed the system, just been doing small edits so far, but rolling forward and backward, while not as "crisp" as working with prores422 or HNxHD, is rather painless so far. GPU-z is telling me that the 1080 is working at 15-25% load during playback. And the CPU pretty much maxes out. When I add a few effects to clips, the GPU load jumps a bit. I can tell you this, Resolve on my system doesn't handle these exact same files worth a squat when scrubbing. I haven't kept up with all the hardware/API development, all I know is that Premiere is accessing something that Resolve sure doesn't. Will it choke when there's a large documentary loaded on the system? Can't say yet. I'm sure hoping it doesn't!

The rapid rise and fall of this threads story arc surpasses the narrative of the theft/plagiarization.

Regardless of the truth, I must admit a shameful vicarious fascination about everything. The direct testimony suggests that the perpetrator has to be an intimate. That's just incredible! It's a tangled web, so mysterious, and kind of sad. Not sure what good can come from this, but I hope it's something.

May I suggest Amazon.com's "turk" service? If you want some opinion it might not be a bad idea, that. You can fashion your own focus group on the cheap with it.