hyalinejim

Or "8 1⁄2" as it's known in English speaking countries. It still feels fresh today, perhaps because the ways in which it bends the familiar rules of narrative have already been absorbed and reproduced in popular culture. You could make a link between Fellini's film and the original self-referential and rule breaking masterpiece, Laurence Stern's 1759 "The Life and Opinions of Tristram Shandy, Gentleman". People have been playing with conventions for a long time, are doing it right now and will continue to do so. Don't disregard contemporary experimental cinema as too obscure, because this is where it's all happenning. It requires a rewiring of your brain, but once rewired it's a joyride. The vast majority of film festivals pander to mainstream tastes. And it's difficult to sit and watch cutting edge experimental stuff at home. I like a screening environment where you sit amongst other people and watch something from start to finish. I had my mind blown at Rencontres Internationales Paris/Berlin.

Test all your lenses. Shoot the same scene in unchanging light at various focal lengths, both wide open and stopped down. Check for sharpness in centre and corners, vignetting, distortion, bokeh. Hours and hours of distraction

I haven't yet been fortunate enough to own a cam that does reliable AF. For the majority of what I do (marketing videos) manual is still best as I want to decide what's in focus and when. But I would dearly love, as mentioned, to have the option of AF for gimbal shots and even "2 people walking down the corridor pretending to have a conversation" shots.

I once travelled 3 and a half hours to an interview shoot and left all my batteries at home, next to the charger... fully charged I explained to everyone involved that I was an idiot, made a detour to a high street store / rental place who sold me a charged battery for a small fortune and I salvaged what I could from the rest of the day. Also, years ago I fumbled a mini DV tape and it fell down a waterfall.

Good to know the technical term! I think sometimes my clients would like to give me a double punch too. That is a comfort, thank you

I don't know what to call this phenomenon, but it happens to me regularly with my GH5. I get out of sync when I press the record button so that I end up recording the time in between shots and not the shots themselves. So I'm hitting record, thinking that I'm going to record a new clip, but actually the camera is already running so I actually stop it. Then at the end of the clip I think I'm shooting I hit record again, to stop the recording, but I actually start shooting a new clip. I usually do this for 2 or 3 clips before I notice, and I end up with lots of behind the scenes footage I think part of the problem is that I use slower cards on the GH5, which needs a few seconds after recording to buffer the clip. During this period the record button is inactive and I slip out of sequence. I'm quite aware of my tendency to do this and try to watch out for it, but it still happens regularly enough to be slightly embarrassing! Particularly if I'm doing a job for someone else and handing over the footage at the end of the day.

I gotta try this when I get back into Resolve. For convenience 90% of what I do is Lumetri with a lut loaded. Curves are ok before the lut for exposure adjustments, although not very accurate. But its WB controls are hopeless for correcting log footage equally across the range from light to dark.

I use 2 instances of OpenColorIO in AE, then pop it back to VLog and use a custom lut I designed for Gh5 VLog based on Portra 400. It means I can make WB and exposure adjustments in ACES where AE's legacy brightness control +15 = 1 stop and CC Color Offset does global WB. Then it's back to VLog, then my lut. It's a bit cumbersome so I only do it when I'm feeling fancy. I haven't yet found a way of doing accurate corrections to VLog in Rec709 space. So it's not a fully ACES compliant workflow, but the ability to make accurate corrections when in ACES space...

This. I've found an ACES workflow to be a revelation in terms of fixing WB and exposure issues with relative impunity for GH5 10bit.

A few years back I came to the conclusion that GH5 10bit 422 VLog was pushable enough without losing quality for me to make the leap from ML RAW and not feel I was missing out.

Decide on the style and format of the doc and then get those shots. - Interviews, yes or no? Who to talk to? Where? What questions? How should it look? - Voiceover, yes or no? If so, write the script for the VO and record it Once you have the interviews and/or VO you can put a rough edit in place and then you'll know what B roll you need to illustrate the points being made. And if you know some of this in advance you can begin to capture the B roll now, in which case you should also think about what style you want to shoot it in.

Yes, my 5D3 spanned almost all of the decade in 3 stages - normal h264 - mlraw - mlraw at higher resolutions

Nice work!

I just tried it now. The results are not so good. Adding the Arri colour space transform to GHa Main pushes a lot of the reds into negative clipping. This is especially noticeable in dark and deeply saturated reds, blues and purples. Lowering the saturation of GHa Main by a lot prevents this clipping. However, the issue is still evident (although not to the same extent) in GHa LogC. This means you might see some unnatural colours when using GHa LogC with LUTs that expect an Arri input. I would not use Soft or Main with Arri Luts at all. VLog - chart exposed for middle grey Add GHa Daylight Main Add Arri LogC to X 2 gamut only If you look at the bottom of the waveform you can clearly see the red channel going AWOL in this step from GHa LogC to the Arri X 2 gamut (this chart shot was ETTR, and has no clipping) GHa LogC: Now add transform to Arri gamut:

In the denoised version there are a lot of macroblocks that simply don't get removed at all. AFAIK Neat Video has options to remove codec nasties - have you tried playing with those settings?