fuzzynormal

Some of my colleagues watched Hertzfeldt's stuff and just didn't get it.  Personally, I love it.  The way he can animate little nuances into his work is impressive.  I really like his writing too, but the way he crafts it into motion pictures is the most enjoyable part.

Yes.  I find it so. 

Yes.  I find it so. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

I'm sure he'll be fine.  
As it happens, I too am shooting for a doc series for broadcast.  (wish I was directing and producing, but thats another story) I'll clarify and admit that I'm not shooting a capital "N" Network show, but it's airing on an affiliate.
Our process involves creating an immediate intimacy with our subjects in the field, so I've parsed down my gear to the smallest footprint I can muster.  I'm shooting hybrid cameras for this job simply because it's a non-threatening thing to have in the environment.  I'm a goofy guy in the room with a small stills camera, not an obtrusive film crew, you know?  
Plus, I like having a camera with in body stabilization.  These two priorities allow me to accomplish this particular storytelling easier than what would be more unwieldy with more "pro" gear.  
Unless I told someone what it was shot on, none would be the wiser.  I mean, I suppose I know a pro could determine that I'm missing a few stops of DR, and a pro might realize a thin 8-bit image may have been pushed a little too hard in post, but (pot stirring aside) it works fine.
As I say, it's all relative.  

Yup.  Over the air broadcast offers a ton of channels here in SoCal.  I wasn't aware of how much exactly 'til I did a goofy KickStarter video 3 years ago:
https://vimeo.com/102553528
(music is not my choice, ha!)

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

As an owner of 2 Oly cams, I've been sitting around trying to be patient as they play catch up with their video capabilities.  I still amaze myself how much I like using the EM5II.  
They may or may not meet and exceed Pany competition, but as long as they're in the ball park with what they're offering, I'll lean their way.  Can't help it, just like how they've designed and built their gear. 

Since you know what you're doing you won't have any issue with a bump up in camera gear.  I still think you'd be okay with what you're doing as is, but I suppose it depends on the situation you have to navigate with your particular TV station.  Getting your footage up-to-scratch probably isn't an issue for you at all.
Having a great camera is nice, no doubt.  If you're good, you should own or rent a great camera.  Doing so if fun and awesome  --but to think automatically that something is unworthy because of the tech of how it's acquired?  I just don't buy into that.  Everything is relative.  
FWIW, I have a colleague that's been shooting an emmy award winning sports program for 5 years on 8-bit Canon DSLR's.  (some of their cameras are as low-brow as the T2i) They broadcast their show all over the TeeVee airwaves.  Source camera has never been a problem.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it.
Have a conversation with the station manager.  
Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission.  Broadcast specs are guidelines.  If it looks good and the story is good, they'll make exceptions.  If they don't, then there's something wrong with them not what you're providing them.  Good craft and story should trump limited specs.
You should see the stuff that's presented on the local PBS station where I'm at.  The fact that they shoot on "pro" cameras is irrelevant.  Bad shooting is bad shooting.
And if you're doing great audio then that already makes it better than most, so see what they say.

I say if you're comfortable with your gear and you feel it offers you creative flexibility, stick to it.
Have a conversation with the station manager.  
Send the broadcast station some of your work, have one of their goofball engineers scope it out, and just go ahead and ask for the special permission.  Broadcast specs are guidelines.  If it looks good and the story is good, they'll make exceptions.  If they don't, then there's something wrong with them not what you're providing them.  Good craft and story should trump limited specs.
You should see the stuff that's presented on the local PBS station where I'm at.  The fact that they shoot on "pro" cameras is irrelevant.  Bad shooting is bad shooting.
And if you're doing great audio then that already makes it better than most, so see what they say.

Anchovies.  If you don't like em, then you don't like real pizza.  
...and you're stupid.
 

Anchovies.  If you don't like em, then you don't like real pizza.  
...and you're stupid.
 

But being pedantically critical on the interwebs about something that reflects a skill set vastly superior to my own is the way I attempt to assert my self worth.  Dang, now I don't even have that?

Blasphemy!  

Blasphemy!  

Works well enough when doing video though.

Yeah, but there's definitely a market for it.  More people have looked at dpreview A7RII studio charts than all the movies I've ever made.  
Now, I'd like to say my movies have probably made more people cry than dpreview studio charts, but I suspect that's somehow wrong too.

Might be irrelevant, but:
1) You have to make sure your stabilizer is set for the proper focal length. 
and 
2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. 
The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction.
I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.  

Might be irrelevant, but:
1) You have to make sure your stabilizer is set for the proper focal length. 
and 
2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. 
The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction.
I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.  

Well, I do prefer what analog film (or emulated analog film) offers for most situations, such as those you mentioned, but I'm not closed off to the idea that advances in tech can allow for some new artistic expression. 
Where Peter Jackson's bad judgment of wielding hfr led to failure, someone else may be able to succeed.

Might be irrelevant, but:
1) You have to make sure your stabilizer is set for the proper focal length. 
and 
2) The stabilizer is actually working. I have 2 gx85's. On one of them the stabilizer has actually got "stuck" a few times. 
The description of your ibis performance does make it sound like it's not performing adequately; through user error or malfunction.
I'd also advise that your moire could well be a computer display issue rather than the actual footage. I just did a shoot with a lady in tight stripes. Morie looked pretty bad in the edit window, but when I watched the footage full-rez, it was fine.  

Nothing wrong with that.  I admit I'm partial to images that look analog, but I realize it's a nostalgia thing, and nothing that's wholly artistically rational.  
If you're interested in the new, then be sure to check out Ang Lee's break from traditional cinema in his next film.

Grrrrrr...
Google serves up that ridiculous piece of software for just about any transcoding question. 
Brorosoft has vomitted this sort of manufactured content everywhere to exploit SEO. 
Heaven forbid one actually tries to locate legitimate advice about video transcoding through a search engine --as wading through the algorithmic garbage dump of information is barely useful. 
But then again, Monica660, you already knew that, didn't'cha?
That's why you're here.