fuzzynormal

FWIW, macintosh apples don't make for good pies.

Yeah, I don't get the Julian pie thing.  I guess I was spoiled by my grandmother, her baking skills, and our own apples growing up.

Yeah, here's the silly trailer.  Funny thing is, our main actor became best buds with Matthew McConaughey after our shoot while doing that HBO series with him.  Oh, timing!  Fair warning, this movie is pretty ridiculous.  Man, to think this was a decade ago.  Too many drugs, not enough script.  (not me doing the drugs, the actors)  Good combo?  Probably not.  
 

Same.  
I'm wrapping up a big project now and getting ready to sell off the PC gear I built up for it.  
My wife and I are going to live 2017 on the road in an RV, so a laptop is in order.  We were considering a brand new PC or Mac laptop, but have realized that our workflow for post is actually leaning on proxy-editing more than we would have first imagined.  Proxy editing is NOT demanding on a computer.  This reality informs us that buying a used laptop, like you did on eBay, would be more than adequate --and save us thousands of dollars.
(...and if anyone wants to buy a loaded PC for 4K editing in February of 2017, just let me know)

There you go.  If you want to run the maths with this stuff, fine.  Obviously the photo world is full up with these sorts of folks, this is a technical and artistic medium, but ...dang y'all... Just LOOK at the images a camera/lens produces.  If it works good 'nuff for you, get to it.  Go make something.
Don't worry a wit if anyone says what they do is better or worse.  Just do your own thing.

There you go.  If you want to run the maths with this stuff, fine.  Obviously the photo world is full up with these sorts of folks, this is a technical and artistic medium, but ...dang y'all... Just LOOK at the images a camera/lens produces.  If it works good 'nuff for you, get to it.  Go make something.
Don't worry a wit if anyone says what they do is better or worse.  Just do your own thing.

blah blah blah blah blah.  If you're truly worrying about this kind of stuff, chances are you're not really MAKING anything worthwhile with any of it.

blah blah blah blah blah.  If you're truly worrying about this kind of stuff, chances are you're not really MAKING anything worthwhile with any of it.

Oh yeah, most definitely.  Self distribution is the new (only) way to go for filmmakers like myself.  
Sundance gets a ridiculous amount of submissions (tens of thousands) from earnest people unable to be self-critical.  I'm working with a producer now that shipped off a proof-of-concept video I did with her to Sundance.  It was ridiculous.  I wouldn't even think of putting it into my own festival --and I made the thing!  I thought it was decent...for a corporate video, but that was the extent of it.
So, yeah, knowing the inherent value of your work and being self-critical seems to be a tricky skill for a lot of people.  Trust me when I say that exploiting such naivete is the financial backbone of many a film fest.  Those submission fees add up.

Oh yeah, most definitely.  Self distribution is the new (only) way to go for filmmakers like myself.  
Sundance gets a ridiculous amount of submissions (tens of thousands) from earnest people unable to be self-critical.  I'm working with a producer now that shipped off a proof-of-concept video I did with her to Sundance.  It was ridiculous.  I wouldn't even think of putting it into my own festival --and I made the thing!  I thought it was decent...for a corporate video, but that was the extent of it.
So, yeah, knowing the inherent value of your work and being self-critical seems to be a tricky skill for a lot of people.  Trust me when I say that exploiting such naivete is the financial backbone of many a film fest.  Those submission fees add up.

I made my last doc for basically free.  Just my wife and I doing everything.  Paid for flights to and from Japan, that was pretty much it.
As for the current film festival circuit:  They're a legacy thing.  Back in the day festivals had clout simply because they were a bigger deal.  Now-a-days they exist to prop up the purveyors on the things and, maybe, actual filmmakers every now-and-again. 
BTW, I'm a film festival producer for our local shin-dig here in SoCal, and I also helped (years ago) to launch one of the current premiere film fests in the mid-south, such as it is.
Ultimately, fests are like everything else these days.  Everybody's doing it since digital made it easy.  It's not a problem to get into some sort of a film festival.  However, it's not easy getting into a good one.  I just got back with my film from a rather lousy fest, that had no serious networking, horrible screenings, poor attendance...yet it was a lot of fun.  My wife and I even gleaned a great nugget of financial info from one of the panels that was wildly invaluable, so you never know... We have our last one in Toronto coming up, and it's gonna be the most "legit" festival we got into.  Still, that might be a lesser experience than our goofy no-budget fest we just attended.
We enjoyed our time at the goofy fest.  We made some new friends.  If you can do that, that's the main thing.  Just be gracious, try to get on the same wavelength as the interesting people you'll meet, and you'll be fine.  At the middle rung and lower rung of festivals, these things are just glorified parties -- if you're lucky!  (Some aren't even that) That's the best you can hope from it.  Having fun and meeting some good folks.
There's really only two or three festivals where industry stuff actually happens and films get "launched."  Because of that, there's only industry films represented.  Unless you're a creative wunderkind that made something uniquely awesome (and entertainingly so) you're probably not going to get into any serious festivals on your own. 
Actually, in spite of making something awesome and new, that actually would probably get you rejected from most film festivals.  The reality is that most selection committees are community regular-joe/jane types.  They're not savvy about film.  If subject matter floats in front of their eyes that they can relate to, they'll ignore all the shortcomings of the flick and give it a big old bear hug, filmmaking craft be damned.  Arguably, this happens with "savvy" festivals as well.
Three actors and three crew.  Make something with that situation.  Learn how to be smart with your time and talent.  It WILL pay off; creatively and professionally.

I made my last doc for basically free.  Just my wife and I doing everything.  Paid for flights to and from Japan, that was pretty much it.
As for the current film festival circuit:  They're a legacy thing.  Back in the day festivals had clout simply because they were a bigger deal.  Now-a-days they exist to prop up the purveyors on the things and, maybe, actual filmmakers every now-and-again. 
BTW, I'm a film festival producer for our local shin-dig here in SoCal, and I also helped (years ago) to launch one of the current premiere film fests in the mid-south, such as it is.
Ultimately, fests are like everything else these days.  Everybody's doing it since digital made it easy.  It's not a problem to get into some sort of a film festival.  However, it's not easy getting into a good one.  I just got back with my film from a rather lousy fest, that had no serious networking, horrible screenings, poor attendance...yet it was a lot of fun.  My wife and I even gleaned a great nugget of financial info from one of the panels that was wildly invaluable, so you never know... We have our last one in Toronto coming up, and it's gonna be the most "legit" festival we got into.  Still, that might be a lesser experience than our goofy no-budget fest we just attended.
We enjoyed our time at the goofy fest.  We made some new friends.  If you can do that, that's the main thing.  Just be gracious, try to get on the same wavelength as the interesting people you'll meet, and you'll be fine.  At the middle rung and lower rung of festivals, these things are just glorified parties -- if you're lucky!  (Some aren't even that) That's the best you can hope from it.  Having fun and meeting some good folks.
There's really only two or three festivals where industry stuff actually happens and films get "launched."  Because of that, there's only industry films represented.  Unless you're a creative wunderkind that made something uniquely awesome (and entertainingly so) you're probably not going to get into any serious festivals on your own. 
Actually, in spite of making something awesome and new, that actually would probably get you rejected from most film festivals.  The reality is that most selection committees are community regular-joe/jane types.  They're not savvy about film.  If subject matter floats in front of their eyes that they can relate to, they'll ignore all the shortcomings of the flick and give it a big old bear hug, filmmaking craft be damned.  Arguably, this happens with "savvy" festivals as well.
Three actors and three crew.  Make something with that situation.  Learn how to be smart with your time and talent.  It WILL pay off; creatively and professionally.

I made my last doc for basically free.  Just my wife and I doing everything.  Paid for flights to and from Japan, that was pretty much it.
As for the current film festival circuit:  They're a legacy thing.  Back in the day festivals had clout simply because they were a bigger deal.  Now-a-days they exist to prop up the purveyors on the things and, maybe, actual filmmakers every now-and-again. 
BTW, I'm a film festival producer for our local shin-dig here in SoCal, and I also helped (years ago) to launch one of the current premiere film fests in the mid-south, such as it is.
Ultimately, fests are like everything else these days.  Everybody's doing it since digital made it easy.  It's not a problem to get into some sort of a film festival.  However, it's not easy getting into a good one.  I just got back with my film from a rather lousy fest, that had no serious networking, horrible screenings, poor attendance...yet it was a lot of fun.  My wife and I even gleaned a great nugget of financial info from one of the panels that was wildly invaluable, so you never know... We have our last one in Toronto coming up, and it's gonna be the most "legit" festival we got into.  Still, that might be a lesser experience than our goofy no-budget fest we just attended.
We enjoyed our time at the goofy fest.  We made some new friends.  If you can do that, that's the main thing.  Just be gracious, try to get on the same wavelength as the interesting people you'll meet, and you'll be fine.  At the middle rung and lower rung of festivals, these things are just glorified parties -- if you're lucky!  (Some aren't even that) That's the best you can hope from it.  Having fun and meeting some good folks.
There's really only two or three festivals where industry stuff actually happens and films get "launched."  Because of that, there's only industry films represented.  Unless you're a creative wunderkind that made something uniquely awesome (and entertainingly so) you're probably not going to get into any serious festivals on your own. 
Actually, in spite of making something awesome and new, that actually would probably get you rejected from most film festivals.  The reality is that most selection committees are community regular-joe/jane types.  They're not savvy about film.  If subject matter floats in front of their eyes that they can relate to, they'll ignore all the shortcomings of the flick and give it a big old bear hug, filmmaking craft be damned.  Arguably, this happens with "savvy" festivals as well.
Three actors and three crew.  Make something with that situation.  Learn how to be smart with your time and talent.  It WILL pay off; creatively and professionally.

Could it be a circle of confusion?

**** this discussion. Every time it's brought up people argue about it endlessly.

I dunno.
choreograph dancers doing indentical specific movement inside the suits and out side the suits?
Superimpose the normal dancers into the chroma key dancers of numerous outdoor static shots.  
The slightly off set nature of the movement would create really odd, distorted, but fluid images at the same time. 
Or maybe, if you want to be metaphoric, have wildly gestulating dancers "inside" the shapes of people acting "normal," like shopping, banking, socializing, etc.
the inner id of people that's not allowed to escape, for example. 

Guilty as charged. I can't escape it in the corporate video world. 

Buy an old laptop.  Mac or PC.  You may not want to use a laptop, but it's reliable and cheap.

I do wonder if, instead of debating about the tool, we should consider that the value of aerial shots is overrated?

Yes. Normal. Thus, worthwhile?  In other words, since the thing is easily do-able and many many people are capable of doing it, what value does it have?
Should one use it just because one can, or can the visuals it offers be implemented creatively?
I had a corporate client demand it on a recent production "just because," and I felt it ultimately looked ridiculous. Ostentatious for no particular reason.  It actually was detrimental to the video. The shots had no motivation. They were just there because the client thought it looked cool. 

If it finishes being like this with a decent tracking and without the distracting hunt I'm sold. I mean, I'm there already throwing money to the screen, but I must be doing something wrong; still no camera. I can't imagine how the people waiting for the GH5 feel!

Fair enough. Good luck. 

I'm not taking the tinfoil off my head for anything.

I'm not taking the tinfoil off my head for anything.

I'm not taking the tinfoil off my head for anything.