Tim Sewell

Fair enough, I might have slightly overexaggerated my point in my comment. 

Some people do spend some insane amounts on their hobbies! Be it golfing, drag car racing, stamp collecting, fishing, or whatever!

That sequence was graded slog3. He mentioned that later in the video. 
 

Having had and used both the Mki and Mkii C100, the latter is definitely a huge improvement in terms of usage. The DPAF is excellent and the EVF is actually usable! The only unfortunate hangover from the Mki is the codec. If you're planning to mainly use SOOC footage with minimal grading then yes, for the use case you've described it's almost a no-brainer. However, if you plan to grade to any extent you'll find the low bitrate 8bit files frustratingly thin.

Why must we always respond in extremes? The camera is the least of my concerns, it's the SYSTEM that I take into consideration more than anything. A camera is like a car, it immediately loses value the second you buy it. That's something you have to accept. 
If you don't view your cameras, lenses, audio gear, etc. as investments that's OK, but I do because they play a vital role in how I make the bulk of my living. For me, running a small business, it does not make sense to remain invested in a system that isn't going to be around in 5 years. I'm jealous of anyone that doesn't have to take that into consideration, but I do because I'd like to maximize what I can get out of one investment when it's time to make a new one. 
Like I said in a previous post, I'd be happy with the GX85, G85 and GH5 kit I've put together if I didn't have to worry about my M43 gear losing value. If a lens I paid $950 for ends up being worth $200 5 years from now because the system is dead, but I could've gotten $500 if I'd sold it a year or two earlier, that's $300 less I have to invest in my business. That might not be much for some but it is for a small business like me and it's something I must take into consideration. 
I wish we could stop looking at things in black and white, and accept that others aren't in the same position as us when mocking the decisions they feel they need to make. 

I dug up my two dozen issues from the 1980’s, and they are a real blast from the past for me.
I’ve signed on and have been downloading full pdf editions from the past 60 years with
articles and photos I’ve never seen before.

Another magazine I liked in the 80’s is CINEFEX.
Sadly, they have just put out their final issue, about The Mandalorian.
My few 1980’s issues had about 80 pages with no advertisements, and
great behind the scenes color photos of shot set-ups. That mag was also too expensive
for me to keep up a subscription at the time.
If they had the same offer as American Cinematographer, I’d grab that even faster.
 

I've read quite a bit of stuff on there in the past, but this was the piece I read just prior to subscribing:

https://ascmag.com/articles/clockers-lee-sayeed?fbclid=IwAR13fMTIFuI_YENtrEBVtJQPvN3e-JUFv-61QmfazqxfDKWNWIhBY-0xdmk

'I'm also not particularly interested in hearing about what people do just because they're famous.'
Well sure, but what's compelling, I find, is reading about how people at the very top of their game choose what they're going to do and how they're going to do it. The stuff in the piece referenced about the DoP's film stock choices, for instance, has relevance to how we (me and @kye, for instance) as enthusiasts, can approach our shooting and grading to achieve different effects and moods.
Will reading stuff like this make us better film makers? Maybe. Is it worth learning how committed, creative professionals go about their work - I'd say definitely twenty bucks' worth, probably more.

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

American Cinematographer (the magazine of the American Society of Cinematographers) has a great offer on at the moment - 1 year's subscription to the digital version, plus full access to their archive (which goes back to 1920!) for USD19.95. I just grabbed one - perfect for filling those long lockdown evenings, I'd say.
https://store.ascmag.com/collections/subscriptions/products/american-cinematographer-digital-subscription-1-year

From now on I will tell people that our 17 year old Honda Stream isn't, in fact, a piece of shit 'beater'. No. It's a 'collectible'!
I used to say that about our 22 year old Citroen ZX before I finally dumped it at the scrapper last least and got 125 euros for it 🤣

It probably seems a bit insensitive of us to announce that here, given your previous posts. I feel huge sympathy for Brazilians right now and feel very angry on your behalves about the asshole you've got in charge there - hopefully one day soon he'll face justice for what he's done (and hasn't done).

It probably seems a bit insensitive of us to announce that here, given your previous posts. I feel huge sympathy for Brazilians right now and feel very angry on your behalves about the asshole you've got in charge there - hopefully one day soon he'll face justice for what he's done (and hasn't done).

It probably seems a bit insensitive of us to announce that here, given your previous posts. I feel huge sympathy for Brazilians right now and feel very angry on your behalves about the asshole you've got in charge there - hopefully one day soon he'll face justice for what he's done (and hasn't done).

Me too - booked in for Saturday lunchtime.

I'm supposed to get my first dose of the vaccine this week so here's hoping we're seeing the light at the end of the tunnel. 🙏🏻

But what's your point? Does anything that you've just posted somehow invalidate the idea that films generally reflect the cultures of their times? Does posting a poster of a movie set in the far future (then) with a female president, then a comedy about the problems caused by proscriptive gender roles - at the end of which the female president resigns when she gets pregnant - in any way counter an argument that all films are inherently political in that they either promote or condemn accepted cultural and political norms?
Or are you just doing that thing that climate-change deniers, anti-vaxxers, 911-truthers et al do, where they find one tiny portion of someone's argument that they can (kinda, sorta) 'disprove' as a way of discrediting that argument without having to expend the mental energy to actually engage with it and argue it on its merits?
Better to stick to microphones.

Well yeah, that really shows that I'm wrong when I say that films reflect the social mores of the societies that make them. Doesn't trade on sexist or heteronormative tropes in the slightest!

£50 camera ordered. Inspiration inbound.

Anyway let's go with this idea, I'll officially start the challenge on the blog at the weekend!

Well yeah, that really shows that I'm wrong when I say that films reflect the social mores of the societies that make them. Doesn't trade on sexist or heteronormative tropes in the slightest!

😂

I'll just add that I am in no way looking down on people who aren't in the 'actual' film/commercial industry. Most of the time I am not there either, and I'm doing corporate work or branded content for local businesses. The resources and gear available today make it possible to create amazing content even as a solo shooter.

However when it comes to improving, those times when I do step in to a larger crew - even if it's just a 1 day TVC shoot, are without a doubt the times when I learn the most.

 

😂

Well yes - there's a reason why, in the *actual* film industry, nearly every DP started as an AC, every gaffer started as a grip/best boy, every producer (actual producer, not exec) started as a runner, PA and line producer. There is absolutely no substitute for hands-on learning surrounded by people who really, really know what they're doing.