Matt Kieley

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

I always like to think of David Lynch shooting Inland Empire on the Sony PD-150 with the autofocus on. He started shooting the movie not knowing it would be anything more than just a scene, using the cheap little DV camera, but then finding it creatively liberating. I wouldn't buy a Red or Alexa, even if I could afford it, for this reason. Digitial started out as this new, creatively liberating medium where you could just pick up a small camera and start making a movie without the need of a big crew, using a heavily rigged cine camera or camcorder just kind of defeats the advantages of the medium (for me anyway). My favorite shoots are the ones where it's just me and one or two actors. 

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

I'd rather watch a David Lynch film shot on DV over anything made by anyone on this board. But that's just my opinion.

There's weirdly a lot of G7 talk in this thread, and I just happened to get one. I've tried a bunch of cameras in the past couple of years and I liked all of them, but this one is my favorite. To use the sentiment popping up in this thread repeatedly, it's a joy for me to use. I love the feel of the body, and the monitor is so good. I shot B camera on a short documentary video yesterday with the G7+Panasonic 12-35 and I can nail focus manually with just the peaking and the monitor. I didn't even bother to hook up my Marshall VLCD50, which is something I can't say about my a6300. I attempted to do the ETTR technique with the G7 on the doc video yesterday, and today when I graded it, I was amazed how much detail was held in the highlights. There also seems to be very little RS skew in 4K. It's there, but barely perceivable. Maybe it's on par or worse than other cameras and the a6300 has just made anything look better. I don't know. I love the image I get out of the a6300 with SLog2 but it's such a fussy camera. I feel like I can get a better image more easily, with a body that feels good to use (and it doesn't overheat). I'll be selling the a6300 after I finish shooting my short film.

There's weirdly a lot of G7 talk in this thread, and I just happened to get one. I've tried a bunch of cameras in the past couple of years and I liked all of them, but this one is my favorite. To use the sentiment popping up in this thread repeatedly, it's a joy for me to use. I love the feel of the body, and the monitor is so good. I shot B camera on a short documentary video yesterday with the G7+Panasonic 12-35 and I can nail focus manually with just the peaking and the monitor. I didn't even bother to hook up my Marshall VLCD50, which is something I can't say about my a6300. I attempted to do the ETTR technique with the G7 on the doc video yesterday, and today when I graded it, I was amazed how much detail was held in the highlights. There also seems to be very little RS skew in 4K. It's there, but barely perceivable. Maybe it's on par or worse than other cameras and the a6300 has just made anything look better. I don't know. I love the image I get out of the a6300 with SLog2 but it's such a fussy camera. I feel like I can get a better image more easily, with a body that feels good to use (and it doesn't overheat). I'll be selling the a6300 after I finish shooting my short film.

I'm developing a mocumentary project with the style of 16mm documentaries like Crumb and American Movie, so I tested my Fujinon 18-108mm c-mount zoom on the Panasonic G7, in CinelikeD with Super 16 Gorilla Grain. I like the results so far. I was pleased that the Fujinon barely vignettes in 4K, only really when it's focused close. It seems to work better if I'm 5-6' away. This was mostly shot wide open at f/2.5, with maybe one or two F/4 clips. I still need to test this at more f-stops and distances.

I'm developing a mocumentary project with the style of 16mm documentaries like Crumb and American Movie, so I tested my Fujinon 18-108mm c-mount zoom on the Panasonic G7, in CinelikeD with Super 16 Gorilla Grain. I like the results so far. I was pleased that the Fujinon barely vignettes in 4K, only really when it's focused close. It seems to work better if I'm 5-6' away. This was mostly shot wide open at f/2.5, with maybe one or two F/4 clips. I still need to test this at more f-stops and distances.

I'm developing a mocumentary project with the style of 16mm documentaries like Crumb and American Movie, so I tested my Fujinon 18-108mm c-mount zoom on the Panasonic G7, in CinelikeD with Super 16 Gorilla Grain. I like the results so far. I was pleased that the Fujinon barely vignettes in 4K, only really when it's focused close. It seems to work better if I'm 5-6' away. This was mostly shot wide open at f/2.5, with maybe one or two F/4 clips. I still need to test this at more f-stops and distances.

I feel you. I love doing my own cinematography , maybe because it's kind of challenging to me, and I'm kind of a control freak, but recently I've worked a few times with a really talented and nice DP who owns a Red with Schneider lenses (he's even shot stuff for Schneider for their booth at NAB) on another director's project and he's offered his services. Ed David on this board has offered too. And lately I've been thinking I'm not really doing myself any favors by doing my own cinematography, and that I might even be holding myself back. But I still have that nagging feeling driving me to do it all myself. It's compulsive. Maybe if I let a good DP shoot one thing for me, I'll never ant to go back to doing it myself.

I'm thinking of going electric like Dylan and buying native E-Mount lenses for my a6300. Since I've been working for a commercial production house, I figure stabilization and AF could be very useful in commercial work, and my own narrative work, since I don't have the benefit of an AC, like ever. I'm thinking of the Sigma 19mm 2.8 DN and Sony 50mm 1.8. I like the look I've seen from these lenses. Anyone have any thoughts/advice? I'm used to using manual lenses, so I don't have any experience with this. I won't be shooting anything fast moving, just glidecam and slider shots.

Thanks! It's made me a Sony fan for sure. I am selling my BMPCC. It's still a great camera, but I got the a6000 for the APS-C sensor so I can use FD lenses without nearly twice the crop. And I wanted a camera that doesn't require much grading (there's barely any in this video, just some level and color wheel adjustments in Lumetri) and can work more easily without the need to rig it. I had been eyeing the a6000 since it first came out, but the reported overheating issues scared me away from Sony. I haven't had any overheating so far. I even let the camera run for like 5+ hours to stress test it and it was fine.
Thanks! I love Scorsese, but I forgot that song was in Mean Streets. It usually reminds me of a different movie with Harvey Keitel: Bad Lieutenant. And also John Carpenter's Christine, to a lesser extent. The opening shot/song was inspired by the Harmony Korine film "Mister Lonely"
 

Here's my new short film, shot on the Sony a6000 with Canon FD Lenses.
Harold is having a birthday party for himself. The only problem: he doesn't have any friends.
Here's a bonus video I made with leftover footage:
 

The lighting is really nice. Makes me want to DIY some lights.

Here's my new short film, shot on the Sony a6000 with Canon FD Lenses.
Harold is having a birthday party for himself. The only problem: he doesn't have any friends.
Here's a bonus video I made with leftover footage:
 

Thanks! I don't have the 28mm anymore, so I don't know. I recall it being very sharp as well. I love this camera so far. I'm shooting a short film tomorrow to put it to the test.  Yes, my video was shot in XAVC-S 50Mbit. I believe that was added in a firmware update a couple years ago. It was already on the camera I bought, no update necessary. From the little tests I've done it feels like a good codec so far.

Here's my new short film, shot on the Sony a6000 with Canon FD Lenses.
Harold is having a birthday party for himself. The only problem: he doesn't have any friends.
Here's a bonus video I made with leftover footage:
 

Shot this with the Sony a6000 and Canon FD 24mm 2.8 (at f/4). I don't even have my FD-E mount adapter, so I just attached it to my MFT adapter and held it against the camera body. I love this combination so far.

Shot this with the Sony a6000 and Canon FD 24mm 2.8 (at f/4). I don't even have my FD-E mount adapter, so I just attached it to my MFT adapter and held it against the camera body. I love this combination so far.

I still have the BMPCC, did some b-roll shooting with it and the FD 24mm today. I might post grabs tonight or tomorrow. I also have a Sony a6000 coming tomorrow, which is mainly why I got the FDs--to have some nice sharp vintage lenses for APS-C.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.

Re-bought the Canon nFD 24mm 2.8 and 35-105mm 3.5 Zoom. I forgot how much I loved these lenses.