Snowfun

This thread is fascinating. Partly because of the actual issue (although, bizarrely, we do seem to be flying an Inspire 2 in a bedroom at the moment...) but more so because it illustrates the balance between creativity and technology. Kaylee obviously has her ideas and, these being fixed, is addressing the technical question - how do I implement them? A more general question - is it good to stick precisely to the creative idea and force a solution rather than to modify the idea to better suit an easier technical method? (Eg my solution was to use stills and zoom in post - requiring static shots). When do we need to compromise our imagination? From a pragmatic perspective, should we be prepared to amend the idea simply in order to actually get it done? There is a difference between asking the question: “how might ONE do this?” and “how do I do this?” (because I have limited resources whereas the former makes no such restriction). To some extent (and in no way am I suggesting this applies to Kaylee) the existence of fancy technical solutions might even be restricting our creativity - no longer are we forced to think how best to achieve what we want within certain cost/time/resource parameters. “IF I had this, I could achieve that” is no substitute for “I can achieve this with that”. Tim

just a thought... if you took a high resolution still from the ceiling, could you crop in at the start of the shot and simply zoom out in post to replicate the movement? It would keep it simple. Assuming, of course, there’s no other movement in the shot.

To some extent point taken. But not entirely. The A7S (with a Shogun) does what I want (there is no “need” here as it’s a hobby). But a 10bit option would definitely be nice. AF is irrelevant for me (focus is on infinity). DoF is irrelevant for me. Battery life is irrelevant for me (I’m using vloks anyway). Ergonometics partly irrelevant as I simply press the red button on the Shogun (although if I have to change a camera setting it is horrendous). One day I’ll drop the Sony in the snow (again) and it won’t switch back on - then I’ll have to buy a new camera. And not a “concept camera” but a real one which, for next winter might well be GH5s, A7Sii/iii or C200 (which would also replace my BMMCCs). So happy to wait and see what comes next but also prepared to choose when the need arises.

Next time I’m standing out in -30 filming the aurora borealis at ISO 25000 I’ll console myself with the knowledge that I’m impoverished... There are times when a high ISO makes a genuine difference - I’m not interested in the GH5s until Sony have confirmed what they might do with the A7s3 (or I persuade myself that I can afford a C200).

I agree totally with Andrew. Things are more likely to change if those with ethical standards and values delete their own YouTube channels. It’s taking the moral high ground to appreciate that censorship isn’t the solution (ie banning someone else) but, rather, to state by action that “we” want nothing to do with it and leave. The line between genuine human tragedy and entertainment seems to have dissolved in a sea of mediocrity.

I’d rather a 4k sensor & lens unit with a “video assist” to do the job of recording and monitoring. Happy with external batteries. A 4k micro plus a 5” 4k VA (with raw). As a bonus it would be useful to interact with the camera menus via the VA - the buttons on the micro are truely dreadful. A power input socket rather than the mess of the expansion socket might also be a good idea. But I think I’d buy an A7Siii with 10 bit first because I do a lot of low light stuff.

For what it’s worth, the Edinburgh International Film Festival considers anything >30 minutes a feature. Less than that a short. https://www.edfilmfest.org.uk/press-industry/submissions/submission-rules-and-regulations

The only advantage of being supportive of an anti-neutrality stance is that it might - ironically - be seen as more open and transparent? WYSIWYG. Being pro-neutrality is often only a banner for advocating ones own definition of what is “neutral”.

It could be interesting to see what the Red Hydrogen brings to this debate. 10bit? Or will it ship with quite basic - albeit competent - specs with the corollary that this, that and the other will all be possible - but only with an add-on module. Tim

“PEOPLE ARE SHOOTING THEIR FUCKING VIDEOS VERTICALLY ALL THE TIME” Standing up is an interesting technique & variation...

Most of my holiday films (friends & family stuff only) are based on this. I often characterise my work as being “moving photographs”. I find it a challenge to assess just how little movement is required in a scene to maintain the sense of dynamism and interest. It is fascinating, I think, just how even the slightest movement can bring a scene alive. Ideal for films which don’t have an obvious story but are intended to portray beautiful scenery or architecture whilst travelling. Tim

I have two bmmcc - both in cages with a video assist attached using 7” wooden camera arms (with nato attachments). Works well (I put nato clamps on the ends of both arms and rails on the accessories/cage). That seems to be better than the recommended one clamp & one rail set up. I attach it to vLoks for tripod use and carry a good quantity of canon batteries. Nice little cameras - I found my Pocket really did not like cold weather. I’ll be interested to see if the Micro is more tolerant. Tim

I was beginning to think that we need JCS to tell us whether this is some obscure AI bot at work... but then I realised there’s an issue with the “I” part...

Quoting rates of pay (and worse, “I’d not do it for less than X”) is irrelevant. It is unfortunately likely to be the case that they can find someone cheaper (free) if they need to. It doesn’t really matter whether that person is better/worse more experienced/less experienced. If it’s “good enough” then it’s good enough. If it isn’t then from their perspective it doesn’t really matter. They’ll find someone else. The only light at the end of a dark tunnel here is that you have been offered an opportunity to prove that your services are invaluable to a market (apparently) prepared to pay. It is obviously your choice as to whether you want to make the investment (of time, primarily) required to exploit that opportunity. Perhaps this is a naive way of looking at things but in today’s economic climate (outside London, Paris etc) I suspect it’s also realistic? Looking at it as being asked to work for free appears very unattractive. But looking at it as being handed an opportunity to impress and develop a market on a plate is more positive.

Damn, I bought the contact zeiss 28mm which was only a few hours ago “all I need...”

I hope we get to hear the outcome!

That would be a useful indicator if the question concerned the purchase of a lengthy tape measure. But I admit that as an inexperienced film maker I’m not sure how this helps. That comment notwithstanding, i enjoy threads like this - I am always impressed by how the eye of an experienced cinematographer sees so much more than I can. It is fascinating and slightly humbling to realise that things which, to me, look the same (even on repeat viewings!) actually reveal so much more.

Heavens above! They’ll be making them without film next!

In response to the “one camera” for life post, I thought it might be fun to ask the same question for a lens. In some ways a more realistic situation as lenses do not become obselete at the same rate as camera technology. Me? I’d love to say a Cooke Anamorphic. But I’ve never used one (and am never likely to although it is always added to the Christmas list!). I do like my little Voigtlander 35mm Leica lens - possibly sentimental rather than artistic reasons. So, you’re allowed a lens. Which one & why? Tim

I too have just bought a Kowa Prominar - bigger than expected! Will make my BM Micro look slightly silly (hoping to rig it on 15mm rods with lens support but not yet sure what taking lens might suit - 35mm?) I hope to post some results once my step up rings arrive. Tim

Following Mattias I'd suggest three - if it's good then your audience will let you know that they want more. Making it too short and having an enthusiastic audience is much better than making it too long and risk everyone getting bored. Once you've introduced one idea or joke or theme don't assume the credits last - you'll need to keep them coming (your "black eyes" will result in an initial one-off "wow" but you won't get the same reaction in episode 9!) This comment based on experience of live productions rather than film. "I wish I'd done more" is inspirational and a motivation to keep going...

A but I don't really know why.

It's easy for everyone to agree that the out of box settings are not optimal. Less easy for everyone to agree what they should be. And that, presumably, is the problem facing Sony, LG, Panasonic et al. I know several people who have bought new 4k TVs only because the picture looked so good in the shop (including a couple who assumed that it was the TV which made things "4k" rather than the broadcast...)

It must an interesting and stressful job for the person (committee?) who makes the final decision that all this promo footage is good enough to be released into the public domain.

It is sort of possible to rig the micro into something approaching that? OK... possibly only a rough approximation but a micro plus VA or SmallHD is a compact unit albeit running from the Canon rather than Sony batteries.