TheRenaissanceMan

This is the official start (and maybe quick death!) of the......
3 Hour 1 Minute Film Challenge!!!1
The rules:
You setup, shoot, edit, and upload a film in a single 3-hour period - no gaps, once you start the timer you can't stop it again The final film must be 1 minute or less If your finished film looks too good then others can challenge you about the 3-hour time limit and you must explain yourself to keep your reputation in tact There are no prizes, no timeframes, and no judging Everyone that makes a film and publishes it is a winner, people that don't try are losers, and people that try but fail should learn from their mistakes and just try again There are no more rules FAQ:
Can I plan things in advance?
Yes.
What limits are there for budget, cast size, crew size, and number of otters making cameos?
None.
Why are you doing this?
Why not?
No, really..  why?
We learn by trying new things, finishing and sharing them.  Too many people obsess over tiny things and never get anything done.  This challenge is designed to combat that.
What advice do you have?
You can be an extra special winner if you: 
Publish in 720p - equipment shouldn't matter and if your film looks dull in 720 then 4K will not save you Try new things and experiment - think of this as going to the gym for film-makers where you can push yourself to learn and if it fails then who cares (it was only 3 hours right?) Encourage others by being helpful and supportive Have cameos from otters Film a timelapse as a BTS so others can see how you did it - an action camera is a good choice for this*
(* if you wear it on your person, please remember to turn it off when you visit the bathroom) Invite friends over to help Focus on having fun and enjoying the process (having so much fun you didn't finish the film in time is also a kind of winning) Call your mother (after you've hit upload) It sounds like fun but I don't know where to start?
Set a timer for 1-hour, plan the video, when the timer runs out, reset it and shoot, when the timer runs out, reset it for 45 minutes and edit, when the timer runs out hit export, then upload.
Then have lunch, put in a fresh battery and SD card, then start the timer again....
I look forward to seeing the first films posted below in about 3 hours time.

Does anyone else seem to remember that this question has popped up on here previously at some point?
As far as I recall, the general consensus was that you need to go into the Settings menu of the camera and make sure "Motion Cadence Colour Science Mojo" is set to ON.
Have a go with the Search option just to make sure I've remembered correctly though.

Just got a Nikon 85mm 1.8 pre ai I am really impressed. This may be my favorite lens I've ever used next to the Minolta 35mm 1.8. Contrast and sharpness wide open is remarkable. I think it also just renders images nicely, can't put my finger on it. 

from the XT3 eterna jpegs, also used a lens turbo focal reducer 

Stumbled upon this reddit post today.
Love the results - definitely worth looking at if you crave for an analogue feel.
 

They were rentals, and very reasonable ones considering our producer worked at the rental house. Besides, the Canons are actually very affordable in comparison to other cinema glass.
Also, it was anything but a big shoot. 2 days in a friend's cabin with 9 crew and 4 actors. $2500 budget that largely paid for food, actors, and rentals. Our goal on the technical side was to get maximum production value for minimum money and give ourselves as much post-production flexibility as possible, because at the end of the day, no one watching the film cares what the gear costs; they just want to like what they see.

They were rentals, and very reasonable ones considering our producer worked at the rental house. Besides, the Canons are actually very affordable in comparison to other cinema glass.
Also, it was anything but a big shoot. 2 days in a friend's cabin with 9 crew and 4 actors. $2500 budget that largely paid for food, actors, and rentals. Our goal on the technical side was to get maximum production value for minimum money and give ourselves as much post-production flexibility as possible, because at the end of the day, no one watching the film cares what the gear costs; they just want to like what they see.

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

I put together a Interview Lighting kit that fits all into a backpack including 3 light stands, batteries, chargers and umbrellas. Got to test it out Saturday night and its perfect for interviews when traveling and I believe everything should be safe to carry on a plane. The new Aputure Amaran AL-F7 on camera LED light' have a very good energy efficiency when set at 55k color temperature and along with the GH5S and A7S Mk ii low light capabilities got me thinking about making a very useful scaled down lighting kit for travel. 
I am using 4x Aputure Amaran AL-F7 LEDs with batteries. Each NP970 battery is getting little over 2.5hrs on a full charge. I have 10 in the kit giving me at least 5hrs of battery life plus 2 extra when running all 4 lights at 100%.
In the images below I have some screen grabs from the interview I did last Saturday. I got with my GH5S with the Metabones Speed Booster F2 at ISO 400 with V-Log. The close up shot was with the A7S MK II at ISO 2000 with F2.8 while being 1 stop over exposed for SLog.
I did a lot of looking around and for diffusing the key and fill and the best thing for being fast and compact enough to fit with in the backpack were Westcott Collapsible umbrella.
So even though I own a lot of lighting and grip gear I can find myself using this very often. Air Travel would be a big one. Cramped spaces like offices or small living rooms for interviews. But also when I do documentaries sometimes the subject being interviewed can be intimated by lots of lighting and grip gear. This would give me the freedom to make the subject feel comfortable. 
The kit with everything in the list below was $1050.
Let me know what you think, if you have any questions or suggestions for improvements. 
Here is the list of everything in the kit:
4X Aputure Amaran AL-F7 On-Camera Variable Color LED Light (3200 to 9500K)
https://www.bhphotovideo.com/c/product/1400467-REG/aputure_amaran_al_f7_on_camera_led.html?sts=pi
Lowepro S&F Transport Duffle Backpack (only backpack under 100 that fit the length of the light stands.)
https://www.bhphotovideo.com/c/product/736044-REG/Lowepro_LP36261_PAM_S_F_Transport_Duffle_Backpack.html
3x Kupo Handy Stand (7.4')
https://www.bhphotovideo.com/c/product/840712-REG/Kupo_KS041011_Steel_Baby_Boom.html?sts=pi
2x Westcott Optical White Satin Diffusion Umbrella  collapsible (43")
https://www.bhphotovideo.com/c/product/63314-REG/Westcott_2001_Collapsible_Umbrella_Optical.html
Westcott 43" White Umbrella, Collapsible
https://www.bhphotovideo.com/c/product/501164-REG/Westcott_2011_43_White_Umbrella_Collapsible.html
BUBM Electronic Organizer Travel Gear Bag(3pcs/Set/L,M,S), Cord Organizer(Black)
https://www.amazon.com/gp/product/B075Q58KCT/ref=ppx_yo_dt_b_asin_title_o00__o00_s00?ie=UTF8&psc=1
5x Wasabi Power Battery (2-Pack) and Charger NP-F970 (10 all together)
https://www.amazon.com/gp/product/B00FPZY0BK/ref=ppx_yo_dt_b_asin_title_o02__o00_s00?ie=UTF8&psc=1
3x NP-F970 USB Dual Digital Battery Charger
https://www.amazon.com/gp/product/B01GPEREXU/ref=ppx_yo_dt_b_asin_title_o02__o00_s01?ie=UTF8&psc=1
ChromLives Dual Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder (Used this to double the LED panels as the key light)
https://www.amazon.com/gp/product/B07FYF8GXV/ref=ppx_yo_dt_b_asin_title_o03__o00_s00?ie=UTF8&psc=1
ChromLives Flash Bracket Hot Shoe Speedlight Stand Umbrella Holder 2 Pack
https://www.amazon.com/gp/product/B07317T52Q/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1
3-Pack 3-Outlet Grounded Power Cube Wall Tap
https://www.amazon.com/gp/product/B01LY5WZVT/ref=ppx_yo_dt_b_asin_title_o03__o00_s01?ie=UTF8&psc=1
AmazonBasics 6-Outlet Surge Protector Power Strip
https://www.amazon.com/gp/product/B00TP1C51M/ref=ppx_yo_dt_b_asin_title_o00__o00_s02?ie=UTF8&psc=1
 
 
 
 
 
 
 
 
 

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

Very much enjoyed the look of the Canon CN-Es (same glass as the Ls with better QC, coatings, and housings) on Helium for a recent short I gaffed. Attempted a more raw, naturalistic feeling look than I generally do, and I'm pretty happy with the results. Grabs are from ungraded Rec.709 proxies.
 

You want the look of a heavier camera, you need to make the camera heavier. Period. The extra weight/mass is what makes bigger cameras look better handheld. Either you're willing to do it for the look or you're not. There's no way to "fake" inertia.
Gimbals and steadicams will give you steadier footage with a light camera and eliminate micro-jitter, but it's not the same aesthetic at all.
On a recent short, all it took was popping the F3 on a simple shoulder pad, and suddenly beautiful handheld was effortless. I can PM you a link if you're interested.

If you want the "feel" of a big rig, then the simplest way to do that is.... have a big rig. 

And the easiest practical way to do that is to pop on a V mount battery on the rear (which is useful! Don't need to worry about power for hours and hours), a mattebox (with rails) on the front (which actually can be handy), and monitor in the middle/side. 
 

Yes, but..... 

A glidecam has a completely different feel/language to a "heavy camera" (if it is handheld, easyrig, or shoulder rig, which are each subtly different to each other as well).
 

At least a big beefy 230Wh V mount battery has more practical benefits than weight than a load of lead has. 
Even a naked F3 can be surprisingly lightweight, compared to a heavy Alexa.
Need to add more weight if you want to fully match the mass of the two of them!
 

C5D also doesn't understand how to use a Xyla chart properly. You expose so the brightest chip is just BARELY clipping, then count down from there. Every C5D test I've ever seen clips more than one chip, and I can never figure out why.

C5D also doesn't understand how to use a Xyla chart properly. You expose so the brightest chip is just BARELY clipping, then count down from there. Every C5D test I've ever seen clips more than one chip, and I can never figure out why.

You don't think Fuji will make royalties from this jointly developed technology? Sony makes more money selling their sensor tech than they do from their actual cameras. The same logic applies.

Wtf? Do people on this forum even work in production? EVERYTHING with a budget I work on is Alexa with fast lenses close to wide open, big soft LED sources, and practicals that play as real scene lighting. Low light levels are the current flavor, not only for speed (HUGE on paid work where producers are trying to save pennies anywhere they can), but because at those intensities, lighting looks about the same to the eye as it will to camera, as opposed to high levels where you'll often have no idea of your ratios until you pull out a meter or a monitor. This also means controlling your sources, blocking light, and choosing visually conducive locations becomes more important than ever, as your keys aren't nearly bright enough to knock errant light down. 
Maybe we need to make a topic detailing current industry visual and sound techniques, just so we're all on the same page with how things are done now and what matters.

Wtf? Do people on this forum even work in production? EVERYTHING with a budget I work on is Alexa with fast lenses close to wide open, big soft LED sources, and practicals that play as real scene lighting. Low light levels are the current flavor, not only for speed (HUGE on paid work where producers are trying to save pennies anywhere they can), but because at those intensities, lighting looks about the same to the eye as it will to camera, as opposed to high levels where you'll often have no idea of your ratios until you pull out a meter or a monitor. This also means controlling your sources, blocking light, and choosing visually conducive locations becomes more important than ever, as your keys aren't nearly bright enough to knock errant light down. 
Maybe we need to make a topic detailing current industry visual and sound techniques, just so we're all on the same page with how things are done now and what matters.

I am mainly a lurker here - mainly - but I'll decloak and will say "yes, please" for that one. It'd be much more interesting, and useful, than the gear debates. 

But I also know that those topics cost a lot of time, and might go up in flames easily - so I'd be thankful, but also understanding if it doesn't happen :).

Wtf? Do people on this forum even work in production? EVERYTHING with a budget I work on is Alexa with fast lenses close to wide open, big soft LED sources, and practicals that play as real scene lighting. Low light levels are the current flavor, not only for speed (HUGE on paid work where producers are trying to save pennies anywhere they can), but because at those intensities, lighting looks about the same to the eye as it will to camera, as opposed to high levels where you'll often have no idea of your ratios until you pull out a meter or a monitor. This also means controlling your sources, blocking light, and choosing visually conducive locations becomes more important than ever, as your keys aren't nearly bright enough to knock errant light down. 
Maybe we need to make a topic detailing current industry visual and sound techniques, just so we're all on the same page with how things are done now and what matters.

Zoom F1? Just a nice self-contained lavalier mic/recorder?

There are awesome resources for colour grading and Resolve techniques out there, but they're scattered around the place, and are hard to find.  Please post anything awesome you find.
(Note: for those that are new to Resolve or colour grading, there are lots of YT "colourists" who have very little actual knowledge.  These people provide a steady stream of bad habits, misleading and flat-out wrong information.  There are exceptions, but on the whole you should be very suspicious of people selling LUTs and pumping out video after video - most of these people are professional LUT salespeople and/or YouTubers and not professional colourists!)
Juan Melara is excellent.  If you watch all the below you'll get a sense of how he uses Resolve, especially the Colour Space Transform plugin and which tools in Resolve are designed to work in which colour spaces.
 

At least where I am, it's generally an owner-operator camera, or owned by agencies/production houses. Those entities sometimes rent it out, like for a couple Garmin/Harley shoots I've done. Anything with product shots loves the Varicam for accurate color. 
Even in Milwaukee, a rather small market, we have as many Varicams as Alexas (though more REDs than either). Chicago, you'll definitely see more FS7s (they have a virtual monopoly on doco/reality), but Varicams are out there working all the time, like on the Lifetime movie I worked on a few weeks ago or the Kohler commercial the month before.
Here's what I'm saying, man. Your experience in the professional sphere is limited, and in a small market, and your observations are purely anecdotal. So unless you have an article with hard sales numbers that back up your claim, then with all due respect I'm going to disregard your (in my eyes) baseless assertion. 
Let's try not to derail this thread any further. If we want to talk Varicam popularly, let's make a separate topic.