mercer

I think what a lot of creative people, who are in the earlier stages of their pursuit, forget is that honing your craft is more important than absolute creative freedom. I have written 4 feature screenplays and a dozen incomplete scripts and it never gets easier. Each script brings on its own set of problems and if it wasn't for the time I spent learning the craft, I wouldn't know how to solve those problems, or even how to break the rules. And I am far from being a professional screenwriter. Writing a screenplay is probably the hardest thing I have ever done. 
Also, you should probably read Save the Cat, by Blake Snyder as well. Back in the 80s and 90s... And even early 00s Syd Field was the paradigm Hollywood used, but I have seen a recent uptick with Save the Cat and the structural moments he defined as a basis for "good" Hollywod film structure. Also, don't forget "Story" by Robert McKee.
Honestly, you can go to Wikipedia and search screenwriting and they will give a breakdown of the most famous books written about the craft. If one of them appeals to your sensibilities, give it a buy. 

Thanks for the input everyone.
I will add Screenplay by Syd Field and David Mamet's Three Uses of the Knife to the list as well! I'm very interested in learning the pre-existing structure and language of screen writing, so that I can better articulate the nebulous ideas I have in my head, for myself to flesh out concepts and for clients when I pitch and the rest of the crew and talent to inspire better performances and spontaneity. I came across this interesting concept (I really wish I could credit this to where I found it) where you write a script with the intention that everything gets ad-libbed, but you use very evocative language to guide the spontaneity thus getting very natural performances but getting your direction without having to overbearingly direct.
 
Carl Jung sounds like a great idea, I have read derivatives of his work and found them to be really interesting so I will add that too! IMO Psychology, philosophy, sociology and the like are in my opinion incredibly important to understanding and then telling stories about people, their behaviours and decision paths.
 
There's so much to learn from Ancient Greek texts. It's too bad that Hollywood has bastardized many of the ancient myths. I have been trying over the last 2 years to revisit Plato's republic in its entirety, but it's pretty dense and often puts me in a sleepy trance. Which is great, because I used to have terrible insomnia.
I agree that form follows content big time. When I was studying interactive design in school, I hated the "designer" connotation that came with it thanks to fashion. Style over substance is a serious piss-off. 
That being said, learning doesn't stop with a sentence. Things aren't accidental, and studying and learning how to better do one's craft is a constant pursuit. The music that I compose now isn't classical, death metal, punk rock, hip-hop, downtempo, minimal tech-house etc... but I ingested all those things. I also studied music theory, composition and history when I was younger. I don't open any of those books or actively revisit any of that learning before I sit down to write music but it definitely has helped me a lot and I am glad I had that opportunity.
In the future here on EOSHD, I'd like to encourage more discussion on non-gear related things, is that something that you guys and gals would be interested in too? 

I smell a new Serial podcast brewing.

Lol
Yes, him, Dougdale, Chris and Jordan are all in it to make couple of quick bucks on lens scams. All the videos they made are just a front.
And they would have gotten away with it if it wasn't for those snooping forum people.
Sorry for the off topic, I will now sit quietly until Ebrahim replies.

Well said. Syd Field was a little unpopular for awhile because a lot of writers thought his "paradigm" was to formulaic when in reality it was just a basic truth about screenplay structure. There are a million ways to tell a story, but if your screenplay is not structured properly, your narrative will fall apart. Of course, not all screenplays would benefit from that paradigm... Especially short screenplays, but all screenwriters will benefit from understanding structure. 
I also recommend reading some Carl Jung, his ideas on the "collective subconscious" and "archetypes" are extremely valuable for a storyteller.

Truby's Anatomy of Story is a good book. Truby is a great analyst of movies. A good primer for screenwriting is Screenplay by Syd Field. Another great, quick read is by American playwright, screenwriter and director David Mamet called Three Uses of the Knife. 

Yeah, I also feel that I need more info. I'm not saying he is innocent, but nor do I have enough to say guilty. Even that message posted earlier is just one side and out of context.
Philip Bloom looked a whole lot guiltier than this but was still defended by the forum under the "innocent until proven guilty" principle.
I will hold on to my stone for a while.
(BTW, if it was a planed scam, where are all the others that also bought it?It sounds to me like a deal gone wrong. Ecatly who is to blame is the question. But it doesn't seem to be a big planned scam on any large scale.
Again, not defending anyone, just thinking out loud.)

As bad as this is, in my opinion you should hold a bit back @Ed_David. I get the feeling we get back to medieval age when I read that we should "embarass him" and "destroy his reputation", especially since I get this dejavu with Philip Bloom.

You can customize Canon's scene file settings using the given gamma curves and matrices from standard, cinema, wide dr, eos, and canon log to create customized looks and with quite a lot of power (adjusting each color's relative balance, gamma, IRE clipping point, knee, noise reduction, sharpening, etc.).
However cinema locked is... locked. And I just use those settings. It is undoubtedly the best gamma I've used for getting an image with decent dynamic range and tonality from an 8 bit signal. 

Imo, you can read this as primer and closer. Not, because it is so insightful or inspiring, but on the contrary, because it analyzes something that should be quite obvious for someone who wants to learn how to tell a story.
In recent years, it has become hip to refer to The Hero's Journey, deducting the roots for all narrations in mythology. Quite interesting read, but if Syd Fields "findings" actually repeat what Aristotle had found some 2300 years before about the nature of drama (completely with 3 to 5 acts and what have you), these books (i.e. The Hero With A Thousand Faces) don't help to understand story, let alone let you find your own narrational structure.
Reality proof: good stories don't fit those "receipts". Moby Dick, just for instance, would never have been approved by any lector infected by those dogmata.
There is a hereditary need for human beings to tell stories. In the office between colleagues, to your children, around the campfire. They may be personal, educational, reassuring, unsettling asf. But they have to be interesting. The content as well as the form. Someone offers you a formula? Fine, but someone wise once said the form should follow the content. Find something you find worth telling to the world, and the best way to tell it will be revealed to you by your muse.

Truby's Anatomy of Story is a good book. Truby is a great analyst of movies. A good primer for screenwriting is Screenplay by Syd Field. Another great, quick read is by American playwright, screenwriter and director David Mamet called Three Uses of the Knife. 

Comparing at ISO 6400 the GH4 and the GX85 in 4K (UHD) - same Lumix 25mm f1.7 lens, at f1.7, 1/60th shutter, AWB, ISO 6400, NR -2, histogram used to equalize exposure by manipulating the light source. No re-compression was applied to the files, so they are exactly what the cameras produced. You can see the greater crop factor for the GH4. GH4 is first.
 

Hallo John!
loving your findings. Went for the A3G3 and A3M9, but on my G6, outside in the late afternoon sun with WB at 7200 Kelvin, shot at Natural all -2.
The image out of cam looked so lala. I don´t know if the Canon FDs "attract" IR polution. The 28mm definately has not its strengths in strong sunlight compared
to the 20mm 1.7 Pana Lumix lens. Paired the FD with a China Booster.
But what amazed me was what kind of color I got from grading the footage, as always with my G6 I am amazed by the "hidden" color in that 24Mbit codec.
Curiosity enough, I shot 50fps for slomo, so only 28Mbits for twice the frames per second. Still, codec holds up amazingly well.
So can you explain your reasoning behind the A3G3 a little bit more. I don´t think I completely understood the technical aspects you were explaining.
 
By the way, grade is from the 28Mbits for 50p, so almost half of the 24p bitrate per frame!
 
Thanks a lot for your awesome contributions!
 

The guy who made the short Lights Out that catapulted him to a Hollywood directing career, always ADR'd his shorts. I don't think he even plugged in a mic for a scratch track. 

I don't thing downscaling them from 16:9 1080p to 4:3 480 is helping you either. Try going to 720 to keep the same aspect ratio as the 1080p. Or do a custom number, closer to 480 that is still 16:9. I think the smallest 16:9 aspect ratio is 1024x576.

Thank you Andy!
It is something I'm considering for a web series: maybe it is far more easy to ADR six episodes of 5 minutes each then having perfect audio on the set

most big Hollywood films are ADR , Fincher has been doing it for years now , as it lets the actors craft a performance for the dialogue , I do prefer it as you get a much better contralled dialogue sound in the studio , also outside in a big city its impossable to get useable production sound as you have car traffic noise , airplanes, policesirens etc etc all messing up your sound , so I prefer crafing at all in ADR and post.

Director is being bold ! and decided to ADR the entire movie - partly as the sets where built in a building under Manchester Airport flight path so Jumbo jets very five minuites made on set sound unusable !! that decission made it alot faster and easier for me as DOP !!

BMCC EF is a no no due to the hefty crop.
 
Skip the BMCC MFT in favor of the BMMCC which is a lighter form factor and gives you 60fps slow motion

This might be my favorite of your "looks" with the NX1. It has the perfect mix of contrast and milky blacks. The subdued color looks nice. 

every set up is different as you have to go by what the script requires , sometimes its complex moves and focus pulls,  some times its just needs 2 camera and is easy !!

The voigtlanders really do transform M43 to deliver a dreamy look - especially the 25 / .095
 
here are my shots with a GH4.  
 
The GX80 would be a mean low light low profile combo with this lens - I tried the combo in store (i didnt purchase a gX80 as I am waiting on the GH5) and THE IBIS was awesome with the NON IS VOIGT 25
 
 
 

28mm 2.8, would like to get the f2..
 

Yeah, I just saw this over at BMCuser. Definitely the best design I have come across for the micro. I've been using a half cage designed for the pocket cam since both cams share the same height. It's been working nicely for me, but that preorder price is almost too good to pass up. Of course I am really surprised no company has come out with a hinged design so you can mount your monitor directly behind the Micro and have it tilt up and down like a regular LCD would on mirrorless cameras... Or even better yet, a battery/monitor in one that slides directly into the battery slot of the micro. The cam is so small, it's a shame to have to rig it up into some monstrosity. 

Yeah, I just saw this over at BMCuser. Definitely the best design I have come across for the micro. I've been using a half cage designed for the pocket cam since both cams share the same height. It's been working nicely for me, but that preorder price is almost too good to pass up. Of course I am really surprised no company has come out with a hinged design so you can mount your monitor directly behind the Micro and have it tilt up and down like a regular LCD would on mirrorless cameras... Or even better yet, a battery/monitor in one that slides directly into the battery slot of the micro. The cam is so small, it's a shame to have to rig it up into some monstrosity.