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Somehow I could take the boring part if it meant world peace. Wait, let me think about that. Actually no, forget that. Long live The Brian Jonestown Massacre.

Right. I missed that and now see that is what webrunner was waving the flag for. I hear you partially on being able to pretty much enjoy any 'live' music. But this bluegrass stuff, somehow makes seems embarrassing for Western culture... whatever though. Going back quite a bit, this showed up on MTV Asia back in 2001 and grabbed my eye for it's simplicity... which I somehow found fresh. Or maybe it was the woman

Now now webrunner5, calm down, everyone here know what a good little soldier you are. But to answer your question I make doc films (that are in part sanctioned by my country) that help reflect the state of the world and in some cases... tie directly into the long ugly arm of American foreign policy meddling and the fallout. And it is here, in this space, that there is room for reflection on the best course forward... somehow more illuminating and progressive that being told what to do in a military barrack. Listen amigo, let's agree to disagree. I say bluegrass sucks. But grass that is blue(ish)... well that's a different story.

For clarification, I was speaking about Bluegrass music... not as you often try to frame things towards 'nationality.' Though here's the kicker sarg, that you'd open the heavily compressed Youtube link I posted and claim to not hear the million dollar sound design and capture suggests something of where you may be at technically... and maybe how much time you spent in the artillery battalion Carry on soldier...

Somehow that's not surprising to me my philistine friend. But truth be told, I much rather party (and ride a bicycle around the world ) with David than have to listen to and (God forbid) watch a bunch of okalie dokalie hillbilly bumpkins constantly try mount one another... but to each their own

The band spent 1 million of their own dollars to make sure the sound was captured correctly. Hard not to smile watching this... David was/ is a wonderful nut.

Possible further insight into the Canon's inner workings... Canon represented as the woman, Bill as the filmmaker:

That's for goddam sure Keep the GH5s and buy a Sigma 18-35mm. Although that lens is not stabilised, it is heavy enough that it will provide enough stability to the GH5s for handheld. Moreover, you will then have a fucking great cinematic lens and not a characterless native OIS lens. If your images are still too shakey, you are not breathing correctly. Practice.

Amen. Round and around this same tired conversation goes with folks wanting Canon dslrs to deliver what their C line does. Maybe Canon should set up some kind of therapy group for those who still think it's 2008.

Hey thanks Kai, my own Google searches came up blank. I'll give your 'de-flicker' suggestion a go and see what comes.

Hi folks, Like the title suggests, I've got the 'stepping' motor iris blues. No smooth iris adjustments. Is there a software cure... other than exposure keyframing (when sort of helps) these iris bumps?

Exactly. To me, docs are one of - if not the most - challenging genres to work in. Especially ones that drift across cultures and languages.

Oh I don't have to hope... I've got an explosive motherfucker that is going to get me blacklisted from my favourite country for all the right reasons But yes the nature of what I do is verite and so much of this depends on what happens spontaneously... and that can mean long rolls of footage. Thanks again for taking the time to lay out your process.

Seriously great post Kai... thank you! I'm deep into the edit on a sprawling doc film set in South Asia with close to a 1000 pages of translations and 17,000 clips I lensed and hundreds of other associated files. 4 main characters and 3 minor characters all with their own trajectories... and besides you guys, I'm entirely alone on this. It's been an absolutely massive undertaking. This is exactly how I'm working... so it's reassuring to hear that this is your approach too. For this doc film, I've stumbled upon a method where I place everything on timelines and work my way through them cutting out the fat and then building scenes as my characters get caught up in something interesting. I also colour code interesting scenes and shots so I can easily find them later and then will move towards organizing them in the months ahead. Some years ago I spent months key wording much of the project only to realize that, although this can be helpful to quickly find stuff, it might have actually been better to just lay stuff out on the timeline and work through it and build. It may not apply to you in the same way since it doesn't sound like you are following protagonists over longer periods but laying out each characters narrative trajectory is something that I'm going to be facing very soon. My approach will be to find the most powerful (emotional) moments for all of the characters and place them on the timeline at (what might be) the climactic 85% part of the timeline and then build everything towards these moments. This is really the nuts and bolts of story... I know from attending some festival masterclass talks that this stuff can be talked about in a broad sense, but the real heavy lifting takes months (if not years) into a doc film between the director, editor, story consultant and producer. @BTM_Pix Thanks for the links, I founds these a few months ago... there is really so very little out there (blind spot as Kai says) on the web about how to do this stuff. @hk908 I tried the Freeform View and found it of little use... but it might prove helpful down the road... I sort of doubt it. I like what you've said about maintaining a 'high-level' view over the project... all to often it can be daunting to see the forrest through the trees so one really has to step back and try to envision where things can and should go. Notice the coincidences and trust that, if you are keeping a level head, all will be revealed as you work into things. Trust the process Kai and at the same time try and include people you can trust to lend their insights, even if they don't work on these types of projects. And finally, if it give you goose bumps... you are on the right track!

As I understand things, WDR retains just as much DR as CLog. It's what I've always used on the C100MkII.

The link is broken. What's the current story with Vimeo? Are they, as I believe this thread was pointing towards, taking down content that is in violation of copyright? If Vimeo is taking down this content, a quick search easily revealed that there is still content that is in violation. For example: A large body of my password protected Vimeo material contains very small amounts of content (mostly music frequencies) that I do not own or have not licenced. I'm wondering if I were to remove password, could it be identified and flagged in violation? Is Vimeo's DMCA policy still in effect? My Vimeo subscription is up for renewal and I'm wondering what others here are doing? Anyone?

Finally a camera that lets me phycially adjust the bit depth.

Wrong. With all this horrible PC bullshit, this is exactly where things are headed. Milo for president!

Agreed. But I think that we'd agree that it's still good to have something of a base, even if it's rented. Thailand is wonderful... nice work Robert.

Nice promo piece OliKMIA! It's a little too clean and tidy for my liking... but to think that Trump called it a shithole... was he off. Fuck. I also like the idea of 3 locations so as to keep things interesting... Italy is beautiful but I also struggle with the Italians No time in Spain, but I found the Portuguese are very civilized and well mannered.

Bunga bunga? 8ish?

*Edit.

Absolutely. I haven't had a tv for 30 years... traded it for an internet addiction I guess it depends on just how much one is willing and ready to engage in their new surroundings. But you are right about not fitting in if'n you ever return... which doesn't necessarily have to be a bad thing... as long as one has a few good folks around to have a strange laugh with. I believe it's well and understood that so much of the experience we will have shifting to a 'new' land will have to do with how we hold ourselves and participate in where we've moved from. And as much as I like the idea of setting up in a cheap beautiful country and developing a really wonderful drug addiction, I sort of know that this really isn't a way forward... so engaging in the local culture and building relationships is absolutely paramount. Moreover, having something reasonably challenging to do will be equally important as well. I understand that we all have different interests, but I'd be curious who here has their eye on a 'place' that they feel could be 'right' for them, where that is, and why? Anyone? @Márcio Kabke Pinheiro mentioned Algarve. Part of me has joking about moving to Pakistan just to get away from all the uncomfortable 20 something social justice warriors who have made life in the West (particularly North America) so unnecessarily frustrating. I recently started watching Seinfeld as an antidote: https://www.youtube.com/watch?v=1YHz493rnLw&feature=youtu.be

Nice thread Webrunner5. I've spent 25 years hoping 40 different countries with long periods in several of them. As Kye put his finger on, I'd say the main challenge is building up a decent group of friends - especially in a world where many seem to be content with social media and their own families. In my younger years I thought I could set up in just one place and hang in, but I began to see that it was somehow better to keep my options open and that meant not owning property unless it's was a base in the country of my nationality, which I've managed. But it does get exhausting always having to hunt accommodation out in the wider world. The challenge is that after so many years in so many places, no place is home... even my home. So I constantly keep an eye out for a place that could work... the trick in going forward is to not get trapped in paradise Cuba gets interesting, highly educated and low crime... just have to wait for Trump's court date and the warming that we saw under Obama can continue. Let's see.

In L.A. you know what you are looking at when you see it. Here not When Marsellus Wallace and Butch Coolidge stumble into that junk shop... that, for me, is Los Angeles. But who's counting