fuzzynormal

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.

Yup. Those charts are how part of how Inazuma comes up with his LUT's, for example.

Agreed. -5 is the max desaturation, but there's still a good chunk of color info there.

Hold on a moment, I think we need to confirm this accusation so we're not misunderstanding. You're claiming that personal footage you shot is in a video that someone else, Ebrahim Saadawi, is representing as their work?

I guess we all like a good intriguing story. Antagonist vs. Protagonist. And perhaps, as storytellers ourselves, we might want to shape the plot a little bit. Be that as it may, best for me to let things unfold as a passive observer. Who knows? Maybe there's a twist that'll catch us by surprise. So, I'll mix my metaphors and say that I'm not really ready to light my torch or sharpen the prongs of my pitchfork. I think we do like it when a smarmy bad guy get what's comin' to 'em, especially one of those snot nosed punk kids (shakes fists at troublemakers playing on my lawn) -- and this narrative looks familiar. Maybe we can't help it. Perhaps we've been conditioned by a lifetime of American movie tropes.

I like shooting 8-bit as close as I can to "done." Bake a nice clean image right into the camera as you like it.

Your shutter speed needs to synchronize with the power frequency of the lights. In the U.S. the alternating current (AC) frequency is 60 hz. It's 50 in Europe. Anyway, there's a ton of info out there on the Google about this. It's certainly research you need to know if you're gonna be a shooter. Alternatively (excuse the pun) you could just shoot in daylight. Those photon waves move so fast a camera shutter speed doesn't matter. Ask Kelvin about that. Seriously though, cinema is a technical craft as well as an artistic one. So, rtfm ;-) and good luck.

I use the A3G3 setting as well.

Yeah. Page 116 of the manual. https://www.mu-43.com/threads/gx80-85-user-manual.84812/

Its a sub modification within the white balance setting. There's a color graph/grid with numeric values. A3G3 references these color settings.

Agreed. I'm eager to see how Olympus evolves regarding video.

Cutting is cutting. If the handle of the knife feels a bit better than some other, that's cool. I mean, there was someone on here a year or so ago claiming he edited with After Effects. Not sure how that's the most productive thing, but if he made it work for him, why not? Theres a legacy notion among technical/artistic careers that one needs professional gear to make professional product. It's up to the individual to determine if that particular notion makes sense for them or not, based on what current consumer tech offers. FWIW, I moved off FCP7 to Resolve and Premiere (mostly Premiere at the moment)

I know that's not true.

Yeah, but I think maybe the fact that the gx85 doesn't moire as much as the EM5II makes it appear a bit "sharper" in whole. Anyway, 4K in the gx85 vs. no 4K in the em5II is a pretty big deal for me at the moment. As I've mentioned before, I truly love the ergos and features of the EM5II, and I'm not dismissing it as a great tool, but if 4K is needed, (or desired) well...

I can testify to this. The ibis is not as "aggressive" as the Olympus. Meaning, the floating seasor doesn't compensate-shift as suddenly. The Pany tends to "feather" the sensor adjustments. In my hands, this means the Oly works slightly better stabilizing while handheld, but on the flip side, it'll behave weird at the end of a tripod pan/tilt as the stabilizer tries to figure out why the body is static all of a sudden.

Another very competent and impressive hybrid camera. The x-pro2 was a pleasant surprise and now the xt... "Serious" cameras, not serious cameras, who's to say? When every photo and film enthusiast has a great tool in their hand, what comes next, really? More than past time to be thinking about a post-technical reality in this bizness. The xpro2 is a really fun camera. Fuji has a good handle at making appealing gear.

Add into it the tendency to evangelize and thus rationalize one's camera purchase... which is a pretty big inclination among enthusiast (and even pros) and you get opinions that are clouded with so much subjective attitude they're sort of worthless. Bottom line, if it works for you, have at it.

By all means, if you finish the thing and are proud of it, and it doesn't interfere with your film fest ambitions, go out of your way to arrange a screening at a local theater. You can't replicate the cinema experience any other way. It's a bit of work but always a lot of fun since you'll probably pack the place with friends and family. BTW, some theaters that knows attendance will be high and will often embrace a one-off showing of a local film. I made an absolutely horrible horror film years ago. The biggest redeeming thing about the whole process was the ridiculous opening night!

Any camera, really.

You can do that, and I have. Just be aware that under their revenue sharing agreement you'd have to move a lot of units to make decent money. If you have a broad entertainment film with the necessary metrics to accomplish a bunch of spontaneous general sales then it's a huge market to tap into and may make sense. If you're more of a niche player and you need to lead specialists viewers to your film, then a place like Vimeo might be a better option.

Yeah, this camera is leading right now in value/performance as far as I'm concerned. It is sort of amazing what can be accomplished with this stuff now-a-days.