fuzzynormal

Art is conceit.
Cinema is a altered from reality by default.  Because of that, it's perfectly fine when some filmmakers decide for it to absolutely fail to be accurate in certain ways.
Flaws are beautiful.  They invoke an alternate reality.
Some filmmakers like 48 or 60fps.  So be it.  I like 24fps and a 360 degree shutter.  My preferences ain't wrong, they're simply mine.

Here's one co-produced and released a few years ago:

This topic thread has been with us for awhile.  This movie my wife and I helped make has been around for a few years too.  
Still, it's the holidays, and this is a "1930's" Christmas film. So, if you're interested in that sort of thing, take a peek for a half hour:
 

Since movies are supposed to be a magical representation of our reality, there's always going to be a place for B&W.  The lack of chroma makes it inherently unique and other-worldly.  Because there's not as much visual data as with color, the frame focuses the viewer's attention to other aspects of the image.
If you like cinema, it's really hard not to like what B&W gives you.
I'm biased, I guess, because I've always been a fan of old movies and my dad let me use his darkroom when I was a kid.  Developing cheap B&W film was quick and easy.  Shooting a roll a day with a high-schooler's part-time-work wages was doable -- and a ton of fun.

This topic thread has been with us for awhile.  This movie my wife and I helped make has been around for a few years too.  
Still, it's the holidays, and this is a "1930's" Christmas film. So, if you're interested in that sort of thing, take a peek for a half hour:
 

This topic thread has been with us for awhile.  This movie my wife and I helped make has been around for a few years too.  
Still, it's the holidays, and this is a "1930's" Christmas film. So, if you're interested in that sort of thing, take a peek for a half hour:
 

Since movies are supposed to be a magical representation of our reality, there's always going to be a place for B&W.  The lack of chroma makes it inherently unique and other-worldly.  Because there's not as much visual data as with color, the frame focuses the viewer's attention to other aspects of the image.
If you like cinema, it's really hard not to like what B&W gives you.
I'm biased, I guess, because I've always been a fan of old movies and my dad let me use his darkroom when I was a kid.  Developing cheap B&W film was quick and easy.  Shooting a roll a day with a high-schooler's part-time-work wages was doable -- and a ton of fun.

FYI, the Xiaomi 12S Ultra does not enable 10-bit recording through 3rd party apps like the mcpro24fps.  
Not a big deal for me, but if you're in the market, be aware.  Best bet is to just ask the developer directly if the hardware you wanna use is compatible with 10-bit.  

FYI, the Xiaomi 12S Ultra does not enable 10-bit recording through 3rd party apps like the mcpro24fps.  
Not a big deal for me, but if you're in the market, be aware.  Best bet is to just ask the developer directly if the hardware you wanna use is compatible with 10-bit.  

FYI, the Xiaomi 12S Ultra does not enable 10-bit recording through 3rd party apps like the mcpro24fps.  
Not a big deal for me, but if you're in the market, be aware.  Best bet is to just ask the developer directly if the hardware you wanna use is compatible with 10-bit.  

If you're gonna shittify the footage this much to achive the "film" look (which is not a criticism, I actually like doing that sort of thing myself) then you don't really have to worry about what camera it's shot on.  As long as the source footage isn't a mess you'll be fine.
 

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

Yeah, from what I've seen it offers video-paths similar to the old Grass Valley switchers.  Intuitive, but also deep in certain ways.
Also, I like how the old half-million dollar equipment is now ridiculously cheap.  Of course, who wants NTSC? but still...kinda neat.
https://cutt.ly/FwEfAsoc

I used this camera for awhile and liked it as well.  Some of us just want that smaller form factor I guess.  Honestly, my fav cam of all time was the imperfect but really fun GX7.  Man, that was 10 years ago already?

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

FYI, went for a used Xiaomi 12S Ultra.  Will report back after using it a bit.
Thanks yet again for the advice.

M43 @f2.8 is a nice sweet-spot DOF for me, especially on vintage lenses.  Soft, but not too much out of focus, ya know?

M43 @f2.8 is a nice sweet-spot DOF for me, especially on vintage lenses.  Soft, but not too much out of focus, ya know?

Cheaper alternative to 12S Ultra is the Xiaomi Mi 10 which can be had for about 200-300 euros used.
This produces 6K RAW reliably at 24fps in Cinema DNG from a 1/1.33" sensor, same size as a top-end Galaxy and much larger than the older phones with their tiny 1/2.5" chips.
Oneplus 8 Pro is the MotionCam's developers favoured device. It's reliable, fast, great sensor, good selection of lenses and does 4K/60p in RAW.
McPro24fps is very handy for 10bit when you don't want the massive file sizes of RAW.
By the way MotionCam can transcode to ProRes on Android phones in-app, or you can do it in post with their free app too.
It's the Magic Lantern of phones basically.

Appreciate the insight.  My tendency is to hang back behind the tech curve so it's good to hear advice supporting that.

I've worked with a film director Chinese-Portuguese from Macau I simply find unique, even though to come to my mind another one from past also 'cause the way they work with female characters:
https://wolffianclassicmoviesdigest.wordpress.com/2019/07/07/george-cukors-way-with-women/
 
I invite everyone of you to pay attention to her career... here is her most recent motion picture released in China these days (September 28, 2023), more specifically Hong Kong production -- where she got her master's degree after graduated from Taiwan:
 
Her debut as director is this one:
https://www.cgiii.com/trailers/item/sisterhood

I like a single prime around the "portrait" focal length.  For me, that's a fast MANUAL 50mm on a 4/3rds sensor. 
I'm near-sighted so using the cam's display is very easy for me.
That's about as simple as it gets. Camera. One lens.  You want a wide shot, move away from things.  Want  tight, move in.  The longer focal length almost always makes people look flattering and cinematic.
I also like footage where focus can drift and the shooter pulls it back into focus.  Feels real and organic to me.  I don't want perfect, I want something that's a deeper truth than that.  "Quiet" handheld is a technique I've practiced for years.
Finally, another technique I use is to "dirty the frame" to add to the aesthetic.
Overall that's kind of my jam anyway.  I'd suggest trying it; you might like it.  Less techy, more human.  It's a loosey-goosey way to shoot and, personally, I do find it low stress because gear is minimal, I don't fret about anything but the shot, and it's just fun.

It's a "no excuses" filmmaking world now.  Obviously the new tools basically mean that creative folks can make studio level cinema.  
For instance, there are super-talented colleagues in my town that have made feature films on their own with pretty much zero crew.  Their latest is a wild and lovely silly movie, but it's better than most things out there and looks just as good.  
Literally made on 1% of a studio budget.
https://www.heavenofhorror.com/reviews/the-island-of-lost-girls-2022-fantasia/

It's a "no excuses" filmmaking world now.  Obviously the new tools basically mean that creative folks can make studio level cinema.  
For instance, there are super-talented colleagues in my town that have made feature films on their own with pretty much zero crew.  Their latest is a wild and lovely silly movie, but it's better than most things out there and looks just as good.  
Literally made on 1% of a studio budget.
https://www.heavenofhorror.com/reviews/the-island-of-lost-girls-2022-fantasia/