fuzzynormal

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

Old Canon video cameras used to shoot low shutter too. I remember shooting 15 fps hi-8 video for my "dramatic" moments.  That's not really step printing though.
I did stumble across a neat little in-camera effect back in the day.  Shot 8fps shutter with my XH-A1 and then would ramp up the footage in post.  Lots of camera blur, and if you filmed your subject moving in slow-mo, it looked like stop motion animation.

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

You build what you want to an acceptable baseline that satisfies you and then release it into the wild.  What happens after that is anybody's guess.
If you think video is bad, you should try making music recordings and then giving it over to the world.

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

Therein lies your answer.  Mitigate the threat seriously (which we do not do in the USA) and continue on as much as possible.  A new disease is going to wreak havoc.  Decent leadership tries to help minimize the trauma of it.  Bad leadership makes it worse.
Brasil vs. New Zealnd for example.  USA vs. Japan.

Here's a fun anecdote.  In 2019 I did a "4-wall" tour of a doc my wife and I made.  I'd set up screenings with theaters in the area that were willing to rent out their auditoriums.  Basically we took it on the road to a bunch of local meet-ups with groups that supported the theme of the film.  We did this in conjunction with our film fest run so we were able to bounce in and out of region where the film was accepted.  The story had a niche appeal so we were able to pull about 50-75 people, on average, into the theaters wherever we sold tickets.
As such, I made a DCP.  Not the first time I did that, but it was the first time I traveled with the DCP and watched it on multiple screens in multiple theaters.
Here's the deal.  It looked different in almost every theater I took it into.  The variable of sound quality was even more intense; usually in an unfortunate way.  With DCP visuals at least , theoretically, you should be getting a standardized visual experience -- as the projectors and media are supposedly tightly controlled.
Well, nah.  Far from it.  For every theater that had well informed skilled people working the projection, just as many were kids with the priority job of selling popcorn.  Sometimes it was a struggle to to explain the concept of aspect ratio to the projectionist.  The state of their DCP equipment was all over the map too.  
Although, there was one grand old theater in upstate New York that not only sounded amazing, but had the best color rendition, biggest screen, and the sharpest resolution of them all.  That one? They didn't have a DCP projector. I played the film from a PC laptop off a 8-bit 1080p .mp4 usuing a high-end consumer projector.  I don't know who their technician was at that theater, but they REALLY had it dialed in.  Restored my faith in the movie-going experience, that show.
Point is, you can round and round about standards and whatnot, but you can't really adjust for the chance of what's going to happen in the real world.  After all, you can't really overcome ignorance you can only hope to alleviate it a little bit here and there.  So, yeah, fight the good fight if you want, but it's a war of attrition and the other side has more troops.

You build what you want to an acceptable baseline that satisfies you and then release it into the wild.  What happens after that is anybody's guess.
If you think video is bad, you should try making music recordings and then giving it over to the world.

You build what you want to an acceptable baseline that satisfies you and then release it into the wild.  What happens after that is anybody's guess.
If you think video is bad, you should try making music recordings and then giving it over to the world.

You build what you want to an acceptable baseline that satisfies you and then release it into the wild.  What happens after that is anybody's guess.
If you think video is bad, you should try making music recordings and then giving it over to the world.

For someone that says he doesn't want to build, sure seems like you jumped through a lot of hoops to get that PC!  Not that I'm not impressed, and you got a HP supported Enterprise System, just seems like a chore.  I'm transitioning off of PC editing and will just pay the "Apple Tax" for their computers.  Yeah, it's more expensive, but oh well.  The biggest concern with a new Apple is getting the thing out of the box.
OTOH, I might Hackintosh my old PC just for grins...but I'm not going to rely on that sort of futzing around to be my main editing rig. (which, honestly, my editing is not THAT demanding anyway.  I'm a make-everything-proxies-kind-of-guy, so powerful editing rigs aren't a necessity)

For someone that says he doesn't want to build, sure seems like you jumped through a lot of hoops to get that PC!  Not that I'm not impressed, and you got a HP supported Enterprise System, just seems like a chore.  I'm transitioning off of PC editing and will just pay the "Apple Tax" for their computers.  Yeah, it's more expensive, but oh well.  The biggest concern with a new Apple is getting the thing out of the box.
OTOH, I might Hackintosh my old PC just for grins...but I'm not going to rely on that sort of futzing around to be my main editing rig. (which, honestly, my editing is not THAT demanding anyway.  I'm a make-everything-proxies-kind-of-guy, so powerful editing rigs aren't a necessity)

I'm not worried. The tools'll always be there.   It's simply the beginning of the end of an era.  I grew up with camera-bodies-and-lenses...as did those experiencing 150 years of camera technology before me.  As that model steps back from the forefront of the market it's just a bit unfortunate as it's something that's not going to be as important as it used to be.
I imagine computational photography will exist within 10 years that allow you capture hi-res images from a FF equivalent of 12 to 150 mm FOV, maximum DOF, and then you can literally choose how you want that to look in post.  75mm with a shallow DOF of that emulates f1.2?  No problem.  Dial it up in your phone, you're good to go.  You want anamorphic bokeh?  Be sure to tick that box while you're at it.
Hell, I wouldn't be surprised if it's a 360 camera and you literally can crop out whatever image you want during the time the camera was capturing.  You don't even have to compose framing on location, just have the camera in the space you deem appropriate then make the more nuanced choices later...all on a 1" sensor capturing 384MP per frame, or something crazy like that.

Y'all need to watch some Journey videos if you find this amusing.

I don't understand the sarcasm.  This was just about every single music video in the early 1980's and it's glorious.
Martha Quinn probably introduced this video after an on-set interview with Sue Ross.

Y'all need to watch some Journey videos if you find this amusing.

I don't understand the sarcasm.  This was just about every single music video in the early 1980's and it's glorious.
Martha Quinn probably introduced this video after an on-set interview with Sue Ross.

I'm an owner of an EM10III and 3 lenses, but typically only use one (manual prime) ...and I make films all the time, so my perspective is that almost all this gear on the market pretty much works great if you know what you want and how to get it.

I'm an owner of an EM10III and 3 lenses, but typically only use one (manual prime) ...and I make films all the time, so my perspective is that almost all this gear on the market pretty much works great if you know what you want and how to get it.

I'm an owner of an EM10III and 3 lenses, but typically only use one (manual prime) ...and I make films all the time, so my perspective is that almost all this gear on the market pretty much works great if you know what you want and how to get it.

10 years just about EVERYBODY on the planet that can afford a phone will have the same motion picture IQ power we currently have.
Best to question "what exactly do I bring to the table when offering video production services?"  If your answer is "the camera" you need to start getting really paranoid.  Most clients are not going to fret about DXO scores. If that's where your attention lies (and there's nothing really wrong with that) I hope you're aspiring to a much higher echelon of production than I am!
I'm pretty close to retirement so my day in the sun with all this stuff is coming to an end.  Looks like I'll be riding the imaging technical wave as it crashes onto the beach.

Eventually ended up being a dedicated virtual keyboard instrument for our bubble-gum-punk-rock band.  --Dial up a keyboard emulator and go to town.  Moog, Jupiter, Hammond, Harpsicord, String Ensembles, etc.  We used that thing until 2012.  Not a bad life cycle for a laptop.

I had that laptop too.  Rugged little bugger...well, at least mine held together okay. Went around the world with me a few times.  Miss it.  Was really a good balance of size/performance.