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That would explain your two in every three frames then, must have been 60fps.  

what frame rate were you shooting? It sounds like you were shooting at 48fps and it that were the case the duplicated frames would be because the shutter is opening at a slower pace than your sensor is capturing frames; thus duplication. 

That band is just crazy.      I don't mind the Dandy's.

There is one thing that matters most in music videos...  ideas.  Screw everything else if the video isn't original.
To that end, here's a great one:
People say that there's no market for short films....  wrong.  They just have music over the top.

There is No Cine cameras that have IBIS in them. So I don't see what the hell you would gain going that way.  And most of them weigh a ton for a good reason. Buy a freaking Osmo Action and just be happy. Why the hell do people think if they buy a better camera they will be better! The camera is the least of most peoples problems.

Not that I know of.  There are some de-flicker plugins that might speed up your exposure adjustments though, if they've got a long enough time-base built into their algorithm.

I am just starting to edit the largest project I've taken on, and I can quickly see myself getting a bit lost in the footage if I'm not careful.
It's from a 5 week trip I took through Italy and there are ~5400 source clips totalling almost 6 hours (average 4s per shot).  I have done a leisurely (~10 hour) first pass and pulled in any sections that I think might be useful in the edit, and I'm down to 2300 shots and just over an hour.  My strategy with this first pass was to cull the dud stuff and never go back to the source footage again, only ever looking at this timeline for the rest of the edit.  I typically do each pass on the footage and then duplicate the timeline to work on the next pass, so I can easily refer back if there are shots I culled previously but want to find again, etc.  I like creating little sequences that tell micro-stories with 3-5 shots and linking them together to create the broader story arcs, so I find I often choose hero shots then need the other random shots to make the story work, so I refer back quite a bit for the supporting footage.
My next step is to look at what sequences and locations I have so I can get a high-level view on the project, ahead of deciding the overall structure, which locations and sequences I will keep, etc.  I'm doing this with markers at the moment, but will probably make a list in a text editor outside the NLE.  I don't have a target format or final duration so for me it's just about shaping it the way I want it, then paring it down so it's constantly interesting, and it will be however long it ends up.
My challenge will be that my footage isn't quite in the order I want it to be in, and I'll need to go through a process of rearranging it before I get into it on a shot-by-shot basis, and I fear that I'll make a mess of it and confuse and frustrate myself in this phase.
My understanding is that people who edit docos do this rearranging all the time, essentially making the story in the edit.  What's the best way to manage this volume of footage during this process?  Is it just an admin process, do people sort footage using Compound Clips, separate Timelines, Bins, colour coding the clips, something else?
I'm using Resolve, but I expect that the tech doesn't really matter, it's more of an admin challenge of sorts.
Who is editing on this scale?  What do you do?  What advice do you have for me?  

I'm actually quite partial to a spam sandwich myself.
And also to its spiritual brother, Bacon Grill.
A childhood of camping defined those sorts of sophisticated tastes!
Good grounding for the post Brexit food shortages as well.

I wish they'd just embrace their cinema snobbishness and be wonky about the craft/industry, but whatever.  It's a friggin' awards show.  Even when I go to "Oscar Parties" I tune it out and just chat with friends.  It's total shit show from top to bottom regardless.  As Andrew says, it's there to drive revenue.  Anyone that hasn't caught on to that reality yet and thinks it's some sort of artistic endeavor, god bless your sweet soul you beautiful butterfly.
Yes, it's virtue signaling.  And, yes, it's been that way forever.  Anyone even remotely know about most of the "best" Academy films from the 40's or 50's?  Nah, 'kuz they're mostly preachy Hollywood treatments of social themes.  Decent movies, some, but mostly just industry fodder.
So, same complaint, new generation.
In the meantime, people like my colleagues out here in the SoCal desert are doing our part by trying to make our film festival a destination for cinematographers.  Point is, there's always legitimate platforms for the nerdier side of filmmaking.  If you're really into it, just go look for it.
Expecting a Hollywood glamour show to be something it's not is odd.  It's like complaining about watching a baseball game...or, I guess, cricket.  You should really know what you're getting into and accept it or reject it for what it is.

Whys that? ("Meteor man", "blade" were also black superheroes...)
 
Best film should not have anything to do by the margin of profits. Black panther was barely watchable, if you think black panther is one of the best 5 films of 2018, you either only have watched 5 movies or you have quostionable film taste.

What does best produced even mean?

welcome to LA!

this thread is great
this is what the internet and message boards are all about
i would like to think that we're all friends here, and that we should be able to have a spirited discussion about anything from cameras to global politics without devolving to personal attacks, and being mean spirited
cheers, guys ??

The crux of it is that people were given an opportunity to give a simpllistic answer to a very complex question.
Irrespective of the flat out lies, they were asked if they wanted to sit on a chair without being told it was an electric one.
For such an enormous change to have been actioned, the threshold should have been set at a much higher level than 50.1%
For anyone outside the UK, the impact of this vote might not seem as seismic as they are being portrayed but the underlying factors that caused it should scare the shit out of you.
The targeting and manipulation of voters through social and traditional media sounds like something out of a conspiracy thriller but was frighteningly real and comparitively frighteningly cheap.
Anyway, time for a break for me.

I think it's getting more and more difficult these days to get clarity on what people deserve.  You're right about the people that didn't vote, but for the people that did, the amount of misleading information around topics like this makes it pretty hard to understand what your choices really are, even if you actually care and put in time to understand the issues.
The impact of the media constantly trying to trigger your emotions also doesn't help in keeping perspective.

I have no problems with assessing people for entry into a country, especially if they are claiming refugee status.  No-one wants to let criminals into their country, regardless of what motivates them to break the law.  
Unfortunately, at least here in Australia, these facilities are now being used as a deterrent to stop people from trying to seek asylum, where people are held indefinitely, refused basic medical care, and are never evaluated for entry into the country.  We also distinguish people arriving by boat vs by plane.  Boat people (whom Australians are terrified of) are taken to these offshore centres, but those who arrive by plane aren't.  
Our stance on boat people is so strong that we even got the US to take them from us...
That's from the UN (link).
It is the modern equivalent of putting heads on spikes at the border.

No they don't.
 

I saved you also. Your welcome. Ungrateful people, wow. And I told you I don't drink. Silly rabbit.

Looks like DPR forum now!!! ?

such a great response ?

If its old world and fucked up you're after then look no further than us from the end of March.

Bring your own medicine and trade deals with you though.

I think there's too many people concerned with defending themselves against the people with big problems and not enough concern for actually fixing those problems in the first place.
Then again I live in a country so full of socialist communist lefty hippies that the conservative government used a massacre as an excuse to take away all our guns, and now as a forty-something I live in complete repression with only the fact that neither I, nor anyone else I know well, has been directly impacted by gun violence.  Naturally, I'd rather be packing serious heat and going to funerals like all the free countries out there.  But maybe that's just me?

I think two of the biggest challenges that we face in photography, and which starts fights, are:
People make different kinds of films.  
I just started another thread with a great BTS from an adventure film-maker who shoots everything 60p so he has flexibility in post with which things he can use for slow-motion.  This makes sense for adventure film-making, but would be stupid in narrative work where slow-motion plays very little part.  If I had a zillion dollars then the best camera for narrative work might be an Alexa, but if I'm going to jump out of a plane it sure wouldn't be (extreme example) but also if you're running a studio for a game-show then the Alexa is probably also not the best choice. People see differently and have different tastes.
Lots of the talk about colour science is about taste, but some people can't see colour that well and don't care.  Some people are much more sensitive to motion and care about the 180 degree shutter, whereas others are sticklers for blowing highlights and chase high DR cameras with low noise and >8-bit outputs to ensure that the foreground looks good and the highlights aren't clipped. Most of the "this camera/lens/mic/preamp/tripod/etc is better" arguments are really people judging equipment according to their individual sensory perceptions, their workflow priorities, and their shooting situations and then thinking other people are stupid because other people have different perceptions / workflows / and shooting situations and evaluate differently.
I think the solution is for people to be more curious.  If someone says something you disagree with, instead of disagreeing with them, try asking them why they disagree, or how they came to that conclusion.  This is how to cool a situation and learn something as well.

You know, the rest of the world seeing Anglo-Saxonic influenced countries as exactly the opposite, as making too many stupid things on a very short time and act as nothing really matters in this life, or the next, while that can be insulting for different cultures and peoples.
There is even a term "anti-Americanism", that extends to extremeties from completely different cultures, while a lot of Europeans consider the "Americans" naive/clueless/cowboys, or worst.
Certainly Canadians have a much better reputation around the world!

LOL..  I'e seen a few versions of that box and having the sensors when it opens detect if there's a hand nearby is great - makes it look like it has real personality!
I'm guessing you'll be moving to Resolve after your current project then? ???