Thomas Hill

Only in spirit, as far as i know. But Mercer has stuck with his 5D3 longer than I've held onto any camera. If i don't sell the A7iii soon, it'll set a record or something.

You aren't @MERCER secret lost brother or sister are you?? This changing thing looks familiar LoL.

So I'm almost finished with post on a horror feature that i shot with the A7iii and couldn't resist  checking out the X-T3. So I've  been  trying to decide whether to sell the Sony or send back the Fuji. Both are great. But I also realized that a couple gx85s or one gx85 and one g85 would be about right for my next project. So while contemplating these options today, I find this resuscitated thread. Maybe it's a sign...

My EF to Fuji AF speedbooster has arrived
Will hopefully be testing on a real gig this week. Otherwise it will be around the house and a road trip this upcoming weekend.

Have y'all seen this?
"As you know, Fujifilm has announced that by then end of 2018, there will be a firmware update for Fujifilm X-T3, that will add support for video recording in the Hybrid Log Gamma (HLG) and also give the X-T3 the ability to simultaneously output Film Simulation video and F-log footage."
https://www.fujirumors.com/fujifilm-x-t3-new-firmware-will-add-exfat-file-system-support-eliminating-4gb-file-size-limit/
I knew about there being an upcoming update for exFAT but the simultaneous recording is news to me.

My Commodore won't run these h264 files. Outrageous!

I have my X-T3, and think the video AF is great, at least with my 18-55. I mean I wouldn't use it if I was shooting a short film, but for everyday use (chasing my kids around), I think it's excellent, better than my old A6300 and light years ahead of my GH5.
I'm thinking maybe CyclingBen was referring specifically to that pancake lens in terms of inadequate video AF?
Well bless you then, I absolutely look forward to the day when I have the self control to keep a camera more then 8 months, much less two years or one and a half years. Hopefully age will affect me the same way, because it's exhausting now. (Or I need to figure out a way to become wealthy enough to afford more than one camera at a time).
((Anyone looking to buy an excellent condition RX1Rm2 to help me pay off this X-T3?))

Perhaps I could clarify this: users think that either the cheaper Sony lenses are not "good enough" (at least in regards to value/cost) OR they are fantastically good but very expensive (the G-master line and some other Sony branded lenses). 
Not everyone has 10K+ to spend upfront for lenses when adopting a new system, so having a reasonably priced, high performance option is always welcome. Furthermore, many Canonikon users already used to use and love Sigma ART lenses on their DSLRs; in fact most Canon users at least initially use their EF Sigma glass adapted on their Sonys.  

It’s here...
 

Shot some clips with the X-T3 today using Eterna and a couple of stabilized zooms from Fuji. Not as much fun as shooting with Rokinon 1.4 lenses or FDs--and if you shoot internal 10 bit 265 you better bring a LOT of batteries.
 

I'm not buying another camera until triple card slots become standard.
 

Ps... i really enjoyed my nx1, but if you think it's anywhere close to this... might be time for a trip to the opticians.

Not seeing why this camera would have any banding or moire issues beyond the normal 8-bit problems almost all cameras have. It only makes sense that 10 bit footage will hold up better then any 8 bit codec on the market. Plus no one has mentioned any issues with it including Cinema 5d which are usually harsh on things. 

I am not a fanboy but this camera is just a big deal to me. 10 bit up to 120fps in HD and 60 in 4k, with an APSC sensor, and solid auto focus, at $1500... that's insane IMO. 
Another amazing thing is Cinema 5d measured it as having more then a stop more dynamic range then the GH5S or A7SII. 

 

I feel the forum is still a fun place. 

Just I need to skim (but I always slow down for yours Mattias!) a bit faster over some other posts, merely because all these mirrorless camera announcements has lead to an EXPLOSION OF POSTS. 

Have we ever recently seen so many major developments from so many brands in so short a time?

Nikon mirrorless announced. 
Canon mirrorless announced. 
New Fujifilm camera, their best ever for video. (from a company you'd never have expected this from only a couple of years ago!) 
Panasonic FF rumored around the corner?
BMPCC4K shipping.  
Kinefinity's Mavo LF ("Large Format") specs and price was revealed.
RED's smartphone has shipped. 

All in the space of a few days!

Just need to get a few more to come on and we'd be complete!
What is Pentax up to, bringing out a digital Pentax 645 with decent video and at an acceptable price? Ha, if only! 
What about Sigma or Olympus? JVC?
Ha, what if Samsung returned! That would really throw the cat among the pigeons!

Arri and Sony are the biggest players I haven't mentioned yet, but Sony is meant to have either the a7Smk3 or a pro grade APS-C mirrorless coming soon. And the Arri Alexa LF could perhaps be added into my earlier list. 

I've heard the XE3 is better than the XT20 for smooth transitions

Yeah, I've been coming around to that conclusion.

Oh no doubt you can build a heck of a editing machine for a Lot less money going the PC route. The edge PC's have is it IS the only real gaming platform, so there is always this big push for faster,better CPU's, GPU's. The only real edge Apple has for editing is if you are using FCPX. For any other platform PC's are the way to go. Any Mac is pretty far behind even a PC laptop when it comes to the GPU in them. And Resolve is a GPU hungry NLE. and also I think in a few more versions will be hands down the best NLE out there for just about any money. Now I doubt they are going to displace Avid Media Composer any time soon, but I bet they are going to try and do it, and sooner than later.

Basically I'd say you need a totally new PC if you are editing a feature on a 4k highly compressed codec as you will need a lot of CPU power as well as GPU + fast storage.

This site has a lot of tests and hardware recommendations for Resolve and Premiere Pro.
https://www.pugetsystems.com/
I used to have an i7 4790k and 960 graphics card PC as well as an A7riii but I use Premiere Pro so what I say may not apply to Resolve.
I first upgraded to a 1080 GPU but didnt find it made much difference - in fact I cant really seem to get my 1080 to run much higher than 50% load.
I then upgraded my processor to an 8 core 7820x and this added a lot of performance.

Well you're talking about two elements of actor craft here.
Acting performance and then staging (blocking).
Are you worried about the actors performance or how they're blocking and staging the scene ? Or both ?
For sure they're related, but in my view (and I'm a DP not a director) actors want to be lead through a conversation about blocking.  It's a negotiation.  But there's nothing worse than demonstrating by example or showing them another scene or being literal.
Blocking is one of the most mis-understood elements of the craft of filmmaking,.  And no one ever says "great staging" or "amazing blocking" when talking about a film they like.  They're talk about editing, performance, the photography, the design...but never ever blocking.
It takes a while tor realise how powerful a tool this can be and it really SHOULD be the director that drives these choices.  From staging / Blocking comes coverage.  And it factors hugely in performance.
Normally I prefer to have the set cleared, you listen to the actors say the words and then you block.  This is a very very crucial and creative time for the director and actor.  The director may have really specific ideas about how they want the scene to stage and move through it's dramatic beats.  Or you might be looking for them right there and then in that moment and you work WITH the staging as you block to try and labour, extract and bring these beats into the light.
Good actors will be able to adapt their blocking as you talk ab out beats that are important.  They find ways to "physicalise" what you're asking for emotionally and dramatically.
If the issue the OP has here is just "overacting" my best would be to ask the actors to "do less" or "scale it back".  As an experiment sometimes it's fun to run the scene without speaking the lines.  Just do it in body language.  Try a rehearsal like that. Then tell them to do the silent rehearsal with as little body language as possible.
There are some great and obvious examples of blocking WITH CAMERA (hey I'm a DP) and how the actor blocking is DRIVING what you do with a camera.
here
https://www.youtube.com/watch?v=GfqD5WqChUY
and here
https://www.youtube.com/watch?v=2THVvshvq0Q
https://www.youtube.com/watch?v=gT3FZdMqtVk
https://medium.com/@dalonsoperez/mad-max-silhouette-and-clear-staging-fd67eda4b4d9
 
JB
 
 

In theatre, actors are trained to project their voice and emote to the back of the theatre. As you know Film is more subtle. The camera is in your face, it will pick up the smallest of gestures and hear the lightest of whispers... if possible for the scene or just as an exercise, have them whisper their lines... it’s almost impossible to overact with a whisper.
Also direct the speed of their delivery... say faster, or slower to break up their preconceived delivery.
Or in between a take, read the line back to them the way you want it delivered. Actors usually want notes... good and bad... they want to be directed.
Also as Kye suggested, explain to your actors what you’re doing and why. Ask what their interpretation of the scene, or line, is. Show them how your shots are going to help to express that visually.
As you know, movies are jigsaw puzzles put together one piece or shot at a time, so the blocking they’re used to in theatre isn’t the same as blocking... or hitting their marks in film. So just make sure they know their marks and obviously have a bunch of gaffers or painters tape to mark it.
But probably most important is to show passion for your project. If you have passion, they’ll have passion and they will follow your lead.

I don't think the majority of his work is even meant to be enjoyed. However in all of the Von Trier films I've seen, I've felt an intelligence and deep layered meaning was there behind all of the graphic scenes. If certain things are to be censored like sadism, then it means certain stories can't be told and I don't agree with that. Of course, everyone is entitled to an opinion on a film and whether they enjoy it or not is up to them. It's hardly going to be a date movie is it? But to get hysterical about it and walk out of the cinema like those 100 at Cannes is more likely a result of these people not really seeing beyond the surface.
As for left vs right politics, let's try not to get into that here, because it isn't really what the article is about. The left has gone more extreme, has gone hysterically politically correct, but the right has gone more extreme as well and both sides at their most extreme are as batshit crazy as each other. I don't support any form of political extremism either left or right. What I do support is the freedom of the filmmaker to make a film of his choosing without censorship.

They're coming soon!

There is a local one here called The Rocket City Film Festival that has a very low submission fee ($15, i  think) and is only one night with mostly local-ish films. They have a very cool small venue but i don't know if they turn any submissions down. They accepted a couple of mine. The thing they are missing from what you mentioned is discussion. I was pretty disappointed that every one split as soon it was over and the groups there with a film clustered together, not much networking. They didn't even introduce the filmmakers in attendance.
What you're talking about would be great. Go for it.

It was just okay for me... think Contact (1997) meets Invasion of the body snatchers (1978)
Ex-machina was a thousand times better...