Cosimo murgolo

I have to agree with this.

For the most part, give a middle-range client shallow depth of field and they're happy. But there's a reason I stopped doing those sorts of gigs.

For the most part, people do appreciate the quality difference even if they can't tell why they like it more.

It's important in as much as you should know that you can shoot on a GH3, GH4, A7s, 5D3 et al and shoot stuff that clients are going to be happy with.

But that does not mean you should not strive for better quality work in everything you do! I'd personally rather move my way up through clients than stall at a certain level because I'm happy just giving them 'good enough' images.

I didn't get to shoot commercials and films from delivering images that were simply 'good enough.'

Never. There are so many different ways you can light a scene, compose a shot, tell a story through the camera, - I'd go as far to say that there is no right way. Just 'ways' that are more visually pleasing to many than others.

The right way is the way the Director wants/is happy with. That way may be completely at odds with what you're thinking or what you want (hopefully it isn't, but sometimes it is), but at the end of the day you're working for the Director.

My tip is that there's always more to learn - it's impossible to learn it all, so embrace everything (even the terrible shoots) as a good learning experience.

Thank you~ you are both very kind. 
I think its a bit like painting, where sometimes when I see my old work,
I want to rip it off the wall but can't because I've already sold it to someone lol. 
 
Really good point about the actors actually. I think at that time I was guilty of working with an age group that I could 
feel comfortable in. 

though in 90% of cases things like the difference between a canon nifty fifity on a 550d / t2i vs a c300 + a zeiss 50 is overlooked, it should be noted that if you want the really good clients, they'll be used to seeing the results from proper cameras and proper lenses.  
 
Personally I don;t aspire to service clients who can;t tell the difference since then the hard work also gets overlooked in the same way. 

a personal favourite for dslr's with live view through a built in evf is to use a battery grip and bring the evf to exactly the right eye level when the base of the battery grip rests against my shoulder.  it adds a very solid point of contact, and since the shoulder is all bone you get no heartbeat/micro shakes.  
 
this technique has 4 points of contact-  the eyebrow, the shoulder and both hands.  added to this, the elbows can be kept close to the chest forming a very solid shooting position.  pans are also easy since you can lock your upper body and just rotate your hips/waist for a smooth 180degree pan.

There's a whole theory of philosophical thought that acknowledges people process "quality" regardless if they're illiterate with the medium.

I tend to agree.

There will always be anecdotal examples of people acting foolish and making bad choices, but overall folks appreciate something done well even if they can't articulate the how and why of it.

Effective planning goes miles when making any video content. Sure you can pick up whatever camera and shoot something, but if you are looking to make a statement - pre-planning is key to making sure you have done your research and covered all bases.

On many very low budget productions, I admit I do "wing it" for lack of time. This is fine as the budget covers this approach. The bigger projects are a different kettle of fish, planning is key to success!

Always remember that you don't ever get hired because of your brand spanking new flashy camera, you get hired on your ideas, creativity, skill and personality. Your equipment choice is a part of that personality and creativity. Get it wrong and your project suffers.

Good luck!

I only shoot "manual."

Being a good editor is what sets you apart.

Knowing how to work with clients, solve their problems, and answer their questions gets you hired again and again.

In my (admittedly low-end) world gear doesn't matter so much anymore. All IQ from modern cameras is good enough now.
 
EDIT:  It's just as important to know which clients you should stay away from.  Hard to explain that one.  You just kinda figure that out through wisdom.

Not interested in zooms mate.  in any case I can stick one on the iscorama or this FM unit as long as the zoom is parfocal.  the 2x selling point is null and void if the image quality is hopeless as i am seeing here.
 
even your flickr pics lack that sharpness pow that lets you know you;ve hit focus.  they're sharper than your recticlips but why are we not seeing the same sharpness in the videos?  the nex5n is actually pretty good for sharpness in video.
 
The FM module discussion about group discount (you know, the thread you locked in anger) at 550eur seems to do a pretty good job - hence why i went and found a cinelux 2x ready for when i can afford to grab the FM Module!  - This is a 2x setup which far outperforms what i am seeing here.
 
Please don't take this as a personal attack, but one of critique of your product which seems to be pushed to the top of the forum as a hard sell on a daily basis without really providing anything of worth and distracting from the community spirit IMO.  

Personally i'm disappointed with the quality of testing. You don't charge $3000+ for a product and then shoot pillars and DVD cases. I don't think it's too much to ask to get some real-world tests up. With people. Just not the right way to show off the quality of your product. And all of these new items have no tests at all. You post up "product demos" that are just CG fly-bys of what the products will look like. You may be a great engineer, but you definitely need some help with the marketing aspect. 
 
Trying to be genuinely helpful too, please don't take it as an attack. 

Why do you think this is embarrassing?
 
Given that the actors are too young to be convincing, it's still a good job that shows a lot of talent, imo.

No Zooming, just downsizing the 4k image from 100% crop to 1080p
 
Snapshot (6660x2480):
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I picked the slow shipping so I'm still waiting for mine

Mine just arrived not more than half an hour ago...

Unfortunately not much time for extensive testing.
 
Focus Module with ES Cinelux 2x:

 
Taking Lens: Nikon 35mm @ f2
GH4 4k Photo Mode @ 4:3
Picture Profile: CineV -5/-5/-5/-5/ 0 iso 200-1200
 

I'm getting to really like the look it has with the Cinelux - seems to have the sharpness you would ever need when stopped down, yet it retains a decent stretch to the bokeh - quite unique.   Pretty much isco sharp in the sharps, LOMO soft in the softs. Let's call it 'The LOCO look'?   
The FM close focus ability is useful because you can stop down a fair bit yet still get that lovely diopter - shallow look when focusing up close and personal to your subject. I have not noticed ANY Chromatic Aberration at edges so far, only a highlight ghost/ stretch when taking lens is pushed to f2.0 and below. But this is nothing that the most beautiful LOMO Square-fronts don't do
   
 
Woah, that is crazy...small world huh!?
I discovered that track just today, after re-watching some old episodes of Twin Peaks.
 
Yeah man, get out there and shoot when you can...I bet the A7s + FM lens is a beast combo.

'Two peaks' at different Olympus primes at various stops to show Sharpness/ DOF / Vignette.
Full Information is in the description on the Vimeo page...
 

This was done couple of years ago. The whole thing was written, filmed and edited in about 3 weeks time so everything was in a rush.
 
Some shots are pretty bad, editing is not really all there and some cheesy dialogue.
I was embarrassed to show this to people so I didn't really put it out but I guess bad feed back is better than no feedback so here it is. Any comments are welcome thank you. 
 
Filmed on Canon 60D / Sigma 30mm f1.4 / Sigma 24-70mm f2.8 / Tokina 11-16mm f2.8 
 
 

Shot in my spare time during a commercial gig.  Autumn Leaves creative style, -3,0,-3. Edited in FCP X with Impulz LUTs
 

 

 

Thanks for the offer Kristof, first I have to save up for the FM itself, haha.

Those damn ninja star aperture blades then the 85/2 is set to f2.8!  Other than that, the results are really good and i like the glow.  I have a feeling it might be from the cold - creating misting on one or more of the optics?    

Checkt his out:
 
https://www.indiegogo.com/projects/axiom-beta-the-first-open-digital-cinema-camera
 
https://www.apertus.org/2014-NAB-Axiom-Beta
 

I liked it very much, well done!

Tito: Since you've been away, check the anamorphic forum for the "FM Lens module" as well, I think you might find it interesting, especially on the subject of "anamorphic on a budget". Interesting to see your contributions here again :)

lucky you, it's winter here in Italy, nice video, thanks for sharing.