fuzzynormal

I enjoy this website because I'm a gear oriented guy.  Even better because I'm a CHEAP gear oriented guy.  I like consumer stuff.  But gear is only one aspect of making films.  The slant of user conversations on this site might imply to a neophyte reader that camera gear is the primary consideration of the film making process.  That's not right or wrong, it's just the way it is. 
I certainly think gear should only be a secondary consideration.  I'd even argue that these days it could almost be an afterthought, depending on what one is trying to accomplish.  As in, "Well, we have a t3i already, let's just use that."
But, really, those creatives that are going to be successful at this motion picture stuff will be able to figure that out for themselves.  Those that don't, well, there's a lot of us around to write words on the internet.

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

It's an embarrassment of riches. And it's great. 
Even now I contend that even average consumer IQ is so advanced that it'll allow a filmmaker to create great looking cinema. 
5-10 years from now?  Whoa.  Its fun to watch it get better and cheaper  
If you can't manage to effectively create with this stuff, then you're not doing it right and/or paying attention to the wrong details. 

I think Nikon and Canon have nailed the raw color science in their stills.
I don't know why a video image is different, but it is.  
I looked at some stuff I shot on the sony ex1 with a lens adapter and a backed-in look and the skin colors were perfect.  
I still think it's the early days of log-shooting by everyone.  RAW has been going around since maybe 2003 or so and tons of people have used it.
Color correction for the masses in video is a relatively new thing I think - ushered by Resolve being made free.  Will take some time to figure out.

Spot on review. 
As a video shooter I'm in the camp of it's "just good enough."
If the IQ was any weaker I'd probably go to another cam... But I do love the 5-axis for what it lets me do handheld.  Since my gigs are for the web, the IQ is perfectly acceptable. 
Also, the colors look good to my eye. 
Btw, the bat grip w/headphones is great. Not only for the audio, but the ergos of it really helps shooting. 

Spot on review. 
As a video shooter I'm in the camp of it's "just good enough."
If the IQ was any weaker I'd probably go to another cam... But I do love the 5-axis for what it lets me do handheld.  Since my gigs are for the web, the IQ is perfectly acceptable. 
Also, the colors look good to my eye. 
Btw, the bat grip w/headphones is great. Not only for the audio, but the ergos of it really helps shooting. 

FWIW, that film looked like absolute crap on IMAX.
I always considered a hipster to be someone ignorant that professes an unearned expertise.  Basically all looks, no substance.  Superficial.  I'd say that Quentin is a legit cinephile that is also somewhat accomplished at this point, yes?

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Andrew mentions it...
When every hipster in the world has awesome image IQ and steady shots, what will you be doing that makes your work more impressive than that trust fund kid standing in the same spots as you?
Creating interesting stories is what's gonna matter.
Tell a better story.  Be a better editor.  Those skills are your future currency.

Wait, Are you implying artistic imaging skill matters more than what particular sensor is used?  Because that sort of rationale isn't going to get much traction here on the 'ol interwebs.

Editing is a "hidden" part of the filmmaking craft. 
When done right, it contains incredible power without being too noticed. 
The interesting thing about this sort of technique is how very very assertive it is while still keeping many things "hidden" --such as audio...and by visually connecting seemingly disparate elements. 
It's a sort of paradox.  It's also visual candy.  
Its an impressionistic film, yes.  And not one that is meant to be direct narrative. It's fun to watch, but as a viewer you're not allowed to have much emotional connection to anyone in it.  Which is fine.   It's more about letting that environments sounds and images wash over you. 
And, yeah, it will be a "dated" look a handful of years down the road, much like the twee "maker" movies will be/are. 
However, that's not to say that the craft used very aggressively in this sort of work couldn't be used judiciously as an effective narrative tool in other sorts of filmmaking. 

Forgive your lighting?  Why?  It looks like you know what you're doing.  From what I've found, much like music, what you take away is as important as what you do.  The space between the notes.  Those that know what to "hear" are ahead of the game.

Agreed, but when you know that your story is the type that demands that sort of treatment, then you make the decision to go that route.  Thus, your main consideration begins with the story --and not the fact that you just bought a cool anamorphic lens and need to figure out something to make with it.

Start with your story.  It flows out from there.  That's the fountain.  If you know you have a good story, then you do the things and make decisions to make sure it stays a good story.
As a documentary guy, I've shot things more or less identically for a film with dry information vs. a film with emotionally resonating stuff.  And a good compelling story always elevates the production.  
I don't think it works too well in the other direction.  You can decide to begin with awesome gear and base a production around what the technology offers you, but I just don't see that being the smartest way to approach a creative endeavor.

I enjoy this website because I'm a gear oriented guy.  Even better because I'm a CHEAP gear oriented guy.  I like consumer stuff.  But gear is only one aspect of making films.  The slant of user conversations on this site might imply to a neophyte reader that camera gear is the primary consideration of the film making process.  That's not right or wrong, it's just the way it is. 
I certainly think gear should only be a secondary consideration.  I'd even argue that these days it could almost be an afterthought, depending on what one is trying to accomplish.  As in, "Well, we have a t3i already, let's just use that."
But, really, those creatives that are going to be successful at this motion picture stuff will be able to figure that out for themselves.  Those that don't, well, there's a lot of us around to write words on the internet.

I enjoy this website because I'm a gear oriented guy.  Even better because I'm a CHEAP gear oriented guy.  I like consumer stuff.  But gear is only one aspect of making films.  The slant of user conversations on this site might imply to a neophyte reader that camera gear is the primary consideration of the film making process.  That's not right or wrong, it's just the way it is. 
I certainly think gear should only be a secondary consideration.  I'd even argue that these days it could almost be an afterthought, depending on what one is trying to accomplish.  As in, "Well, we have a t3i already, let's just use that."
But, really, those creatives that are going to be successful at this motion picture stuff will be able to figure that out for themselves.  Those that don't, well, there's a lot of us around to write words on the internet.

If one can tell a good story chances are one can be a good filmmaker.  now with the barriers to good motion picture IQ falling away, those that are creative will be the ones valued...unlike the past, where if you had the gear you were automatically established.
EOSHD's 2013 review of the GM1 and GX7 lead me to get my hands on cheap consumer cams with wonderful IQ.  Making movies with that gear has been a ton of fun.

I hope the Panasonic CM1 evolves and offers a little more video-wise in the next generation.  Even so, I've been tempted for awhile with the current version.