Tim Sewell

I bought FilmConvert years ago but balked at paying for Dehancer. And yes, of course you could do subtractive sat before now, but nowhere near as easily as slices and FLC make it.

I was given a free temporary license of Dehancer to do a review for them and they said I would receive a free permanent license upon finishing the review (whether I gave it a positive or negative review).  I tried it and declined to continue.  If you already have a Nitrate license from FilmConvert, you're in the right place.  Dehancer did a few things better and could make a pretty nice starting point for an image, but the output colors in many cases didn't actually match the film that it claimed to be emulating (like not even close with Velvia 50) - and their answers for why made no sense at all.

Good evening to all !!

Here is my very first try with handle hand video with my a7iv using Gyroflow.

I didnt go up at shutterspeed like 1/200 like other users said to avoid blur here and there

and the results at some cases didnt go well.

But for the first time i use it , i thing is a very powerful tool !

So , here is my pride, the Tenere 700 with a recent change in full body exhaust, filter and program.

+5.5 horses that didn't spoil us at all!

The sound from the camera does not accurately reflect the sound of the exhaust, but what did we do!
 

When I did the music video for that band a couple of months ago - it was a nightmare, but at the same time had me thinking - this just feels so right and so much what I want to spend my time doing. If only I didn't have to make a living!

Script and partial shortlist written. Ready for action tomorrow night when wife is out, so hopefully no interruptions!

It’s also an ‘updated’ film noire approach for the 2020’s.
There’s also a nod I think to Wes Anderson, but not in a comedic way and almost every single frame is a like a work of art.
The locations, the lighting, the framing, how one frame leads in to another…
My kind of filmmaking.

And the utter lack of it has me admiring Ripley on Netflix right now.
I’m partly thinking the Amalfi coast should be in colour, but the rest is definitely working for me as a B&W production.
Of course it would look shite if the coastal stuff was colour whilst the rest was B&W but chapeau on this 8 parter, I think it’s great.
Sorry it’s not a Joker II comment 😛

That sounds great!
Having two people instead of one would be an incredible advantage and time saver.  I've tried to film myself for camera tests enough to know that it's almost impossible to frame and focus and expose correctly when you're the one in the frame!!
Also, what about Resolve 19 are you excited about?

Making a film is one of the hardest things I've ever attempted... especially in a DIY, low/no budget space... but it's also one of the most exhilarating experiences I've ever had... even if ai haven't been successful with finishing the film...
Yet. 

Film Look Creator all day long! Slices seem cool too. Only trouble is that render cache seems a bit borked in the beta - where I was previously getting real-time playback it seems to be falling over a bit.
You?

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

So there's a guy who lives near me - young guy, good looking - who 2 years ago gave up a film-making degree at a London university (can't remember which one - but a good one, I can remember thinking when he told me) to go on the tools with his dad, because he couldn't see any way that an expensive 3 year course was ever gong to wash its face.

Was talking to his sister this evening and she reckons he'd be totally up for getting involved in my short. Which could mean I've either got talent that isn't me, or a camera op that isn't me. Either way, it suddenly makes this project a whole lot easier.
(Not to mention Resolve 19 - which changes the space entirely!)

It’s not just because the B&W makes it ‘arty’.
The script is great, taking what was originally a book, then a French film, then the well known Matt Damon movie and now an 8x near 1 hour episode series.
The acting is great.
The cinematography IMO is superb.
I have zero criticisms of it and that is rare for me.

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

I highly recommend going to the source if you're interested in going deeper, here are a couple of interviews with Jill on Joker that I found to be fascinating and thought-provoking:
...and this interview with Jill on John Wick and other films where they even talk about specific shots etc:
Lots of info out there if you search and go looking for it 🙂 

Same! The color really brought us into a different/alternate universe!

Actually unreservedly loved it. I'm finding that I'm gradually getting further and further away from preferring verite/realistic looks and getting into the wilder end of things!

I watched this yesterday and it inspired me to watch the first film (only 5 years late!). It's unusual to see Waqas quite so excited about something but it was an excellent view into the art, rather than the technique, in top-end colour grading.

There are *some* advantages to being both crew and talent myself! Obviously this is a passion/learning project, though, so reshoots aren't a problem, except for getting the time to do them.
In terms of movement - I'm not missing it too much. There is one point in one shot where a subtle push-in would really help to sell the moment. I can do it in post, but that it won't have the (very mild) parallax that a 'real' push-in would give me.

I've never acted myself, but I used to be heavily involved doing backstage work for amateur drama groups (lighting, sound, scenery building etc.) so I've seen a lot of amateur acting go both well and badly.
I think acting to an inanimate camera is probably quite difficult - the interaction and extra adrenalin provided by an audience often really helps. I've been at dress rehearsals where at the end you think 'Oh dear...it's miles off being ready', but the first night performance with an audience is 200% better.
People seeing the performance/movie for the first time don't know the script or the movements, so as long as you stay 'in character' when things go wrong you can often ad-lib your way out of mistakes. But dropping out of character immediately says 'I've messed up'. I've worked on shows where sizeable chunks of the script have been skipped by an actor but the cast have held it together and got away with it.
Remind yourself you're doing it for fun (I assume), so relax - it'll come out better if you're not worrying about every detail while you're performing.
 
 

Firstly, it's awesome that you're actually shooting something!  and the fact that you're on-screen is next level above that even, so in my books you're already successful 🙂 
I'm not sure what you're shooting, and therefore what making it good / interesting really means in your context, but here's a few random thoughts..
I normally screw things up the first (few/many) times I do something, so just chalk it up to a practice shoot and keep going If you're able to get a technically competent capture then you can really change the look in post, so I'd suggest just covering the fundamentals The success or failure of a film depends 97% on what is in the frame (with the remaining 2% being sound, and 1% image) so that's where your attention should be going Is there a way you can separate the various tasks in your mind while you're shooting?  For example, maybe you put in a full battery, an empty memory card, and then completely forget the camera exists and just roll as you do 20 takes of the scene from that angle, focusing on your performance and emotional aspects while you're doing this? If there are small errors in continuity or performance there is always the option to just include them and make it a more stylised final film.  For example, if things cut funny or jump around a bit etc, and you lean into it in the edit, then the impression might be that the character might not quite be in control of all their faculties, or might be drunk or on drugs, etc.  Obviously I have no idea what the context is, so this might not fit your vision, but it might give you options where previously you didn't see a way forward or just couldn't get excited about the material If you haven't storyboarded or done detailed planning, one thing you could do is to pre-shoot the whole thing without lighting or performances etc, and then just edit it together in the NLE, and treat that as a moving storyboard.  This would have the advantage of being able to anticipate any issues with any camera angles, and also to get a feel for the pacing and even things like if you decide to cut an angle or part of the film then you can skip filming it altogether. Best of luck and keep us updated - we are definitely interested in hearing how you get on!

So an update, if anyone's interested. I shot the first scene, which was made up of 5 distinct shots. They came out OK. They were... competent, but only that. The lighting was good - nice contrast, nice colours, well-motivated, but that's all.
Can you tell I'm dissatisfied?
I was so focussed on getting everything 'right' that I didn't pay enough attention to getting it good or interesting.
So I'm going to reshoot and one of the things I'm going to do is lean in to the limitations I have - first among which is that I'm doing this almost completely alone. I am both crew and talent! The biggest limitation caused by that is that camera movement while I'm on screen is not going to happen, which means that to create interest I need to make my angles and composition more interesting.
Also, the lighting as I did it the other night looked, basically, like a commercial, not a movie, so now I'm happy with my ability to get decent levels etc, I'm going to really try to push the envelope with ratios and temperatures and try to have some fun with it.
Once I've reshot I may post both versions for comment before I continue with the remaining scenes (it's going to take a while to complete the whole project given that I work full-time and my main set is our kitchen, which is in near-constant use as my 3 children attempt to bankrupt me purely through food costs!).

So an update, if anyone's interested. I shot the first scene, which was made up of 5 distinct shots. They came out OK. They were... competent, but only that. The lighting was good - nice contrast, nice colours, well-motivated, but that's all.
Can you tell I'm dissatisfied?
I was so focussed on getting everything 'right' that I didn't pay enough attention to getting it good or interesting.
So I'm going to reshoot and one of the things I'm going to do is lean in to the limitations I have - first among which is that I'm doing this almost completely alone. I am both crew and talent! The biggest limitation caused by that is that camera movement while I'm on screen is not going to happen, which means that to create interest I need to make my angles and composition more interesting.
Also, the lighting as I did it the other night looked, basically, like a commercial, not a movie, so now I'm happy with my ability to get decent levels etc, I'm going to really try to push the envelope with ratios and temperatures and try to have some fun with it.
Once I've reshot I may post both versions for comment before I continue with the remaining scenes (it's going to take a while to complete the whole project given that I work full-time and my main set is our kitchen, which is in near-constant use as my 3 children attempt to bankrupt me purely through food costs!).

It's great that you can reshoot!
I'd also say that if the composition/angles and/or lighting are boring, moving the camera is just a crutch anyway.  Fincher's stuff usually looks great/cinematic and he rarely moves the camera.  That said, moving the camera can be a great addition to good composition and lighting.
Anyway, it sounds like you're off to a solid start!  Looking forward to seeing some wip scenes or screen grabs!