Timotheus

Hi All,
 
first post here so hello. When self shooting i use the LS300 with an Atomos Shogun and Samyang primes. As mentioned without the Shogun and its focus peaking you would need an external monitor or an EVF. However, despite this drawback the image quality (in my opinion) is great.
This was all shot with the JVC apart from 2 clips.
 
cheers

Finally got myself a Pentax S82 Achromatic +1.22 
Here is a a quick test I did with the SLR Magic Anamorphot

-Very- well done. Nice build-up and framing. And you really make me lust for that Isco 36...such a small package, certainly with a pancake like that Nikon...are you around on the Anamorphic Shooters FB group as well? Good place to show off ?

Cheers ! I actually only used the Nikon Pancake 50 1.8, with a variety of cheap diopters.

No offense but I feel much better having not watched this.
 
 

Wow... a couple of the most helpful and talented members (squig and kidzrevil) banned within a few days of one another for having an opinion... that’s a shame.

I'm pro free speech - and that means pro-offensive-speech. 100 percent. 
We're in Fahrenheit 451 territory as a culture.

Thanks for call for opinion - but, uh, it surely will not help for the case of my lovable Harlem shooter (actually, for the case of forum atmosphere) that is, as I see it, totally unguilty and fell as a victim of unhappy misunderstanding
I'm glad that - in spite of my bad English, i. e. in spite of effort needed to understand my attitude/position - you, as it seems, recognize my sincere benevolence.
My opinion: wholeheartedly honestly, I'm afraid that I'm totally indifferent about that and similar pseudo-fussiness in Hollywood industry. In general, I think that most of the Hollywood industry is so deeply sunken in hypocrisy and corruption, that most of the people there - especially those engaged in entertaining 'hits'' that are not matter of my knowledge and interest (I mean, not, say Inarritu-Beautifull or Quaron-Children of men, if they are Hollywood) - are so completely habituate to fakery, and so really-autistic-brainwashingly prepare to believe that nowaday problem of USA may be clown Trump or witch-dolly clown Klinton or salad-philosopher-Zizek or so-call left or right wings... that I simply cant take for serious their "problems"... Again, wholeheartedly honestly, I even don't see raison d'etre of existence of that part of movie "industry". Sorry - it may sound as idiotism, but I'm, say, closer (although far away of identical) to rude impulse of revolt presented in "Idioterne" by early von Trier, which, as I understand, you greatly respect. Or, better, I see problem of USA or some minor lastwave imperial society  and consequences as nicely pictured with early diagnosis in Antonioni's Zabriskie Point, or Roeg's Walkabout or Ang Lee's The Ice Storm:
Empty, hedonistic, deeply boring, out of ideas, unemphatic life that try to find miserable excitations, cheap thrills and "provocations".
Being little bit curious or trying to be at least so-so objective, I tried to find some works of that mr Gunn.
I simply can't call it "art". I don't think he is an "artist".  (And sorry for some presentation that I really don't care about here, but just for some light of explaining - my point of view is of an novel writer with Collected works and pair of dedicated dr-degree works, who is mostly compared with (complicated and maybe boring :) works of Joyce, Hermann Broch, Robert Musil etc.
So, I'm not strictly competent about "hit" industry, and, more seriously, I even don't care to be competent in entertainment hits while, say, milions of Syrian children had to survive life horor because American society has to be pumped with oil and entertainment hits for the task of keep refusing to recognize where nowaday resides truly problem of mankind: above all, infection of selfishness.
But I'd say I'm enough competent to disagree with one of your sentence as apodictic statement "In the earliest dawn of civilisation the role of the artist was as a provocateur." That is deeper question: role of the artist. Between many, I chose some of the East suggestion about role or born of the art(ist) - 'When the balance of the world is disturbed, the song comes out of the throat.'
Or not just from the East - it is also Hoppy Indian's idea/word that is intertwined  in Reggio's Koyaanisqatsi.
Personally, I think that it is not at all hard to recognize what is your point and your, at the base, completely normal reaction - yes, your impulse is right: society, especially at the hedonistic phase of its evolution (of course, we all read Oswald Spengler Decline of the West, or Ortega y Gasset's The Revolt of the Masses) has to be spurred, butted, provocated... with a purpose to find a soul instead of comfort and calculation and... entertainment because of "oblivion to the Being" (Malick/Heidegger).
But, I don't see anything of beauty and mastery of, say, provocateur Oscar Wilde, or poverty of old provocateur Diogenus, in that Mr. Gutt and his shallow works.
Actually, I see in mr Gutt's case just marginal fake dust of fake fight between two identical currents - it is the same old great invention of some master minds of XX century: put two (in fact identical, and) equally wrong and equally malignant political sides  in front of public, and let masses vote or kill for one or for another... with identical final result.
Or, as say recently late Alexey German in Hard to be a God - Problem is that after Blacks always come some Grаys...
To sum up - I think, mr Reid, that your impulse is noble and worried.
I think that there are much better cases than that of Mr Gutt that your noble impulse could be invested. His "jokes" was not neither provocations, neither liberations to anyone - for me, they are just exhibitionism. I think that you don't need to be involved in the side of megaexhibitionistic liberators for which ultimate level of freedom is exhibitions (tomorow it will be something "conservative" - they always change roles)
Your EOSHD is much much better place and achievement than any of similar hit makers that last one popcorn season. 
Actually, I think that Mr Gutt's case doesn't deserve such sort of your attention.
But I think that mr Kidzrevill impulse also is noble and worried.
And that's the reason why I'm guilty for this long boring love-affair-letter with both of you
And both of you are member of similar society, and share its similar "advantages" that nowaday are, in fact, more and more burden of confusion and tumble for sensible people - burden inside of which is very hard to make road out...
 

@Timotheus No, it does not have anamorphic mode.

*** RESOLVED! ***
A few guys over on facebook suggested using a hair dryer. And it seemingly did the trick! That, WD40 and a shit load of hard taps to the focus barrel ?
Here's the process I used:
Apply WD40 into the grooves of the focus barrel. Wipe off the excess liquid and leave for 24hrs. Use hair dryer on low setting, high heat over focus barrel and inside grooves. Tap hard around focus barrel with palm. Try to twist barrel and tap some more. repeat step 2 (if needed). repeat step 3 (if needed). Hopefully this might be of help to others too.
Next Step: Clean, re-grease, re-build and at some point -- TEST.
Best,
-- B

or put another way - would you buy a C200 instead of the BMPCC 4k if it was 1/2 the price.........

Beautifully put. I am a little fatigued by people nitpicking about a camera that is nothing short of a miracle at that price. In fact, option-wise, it's never been easier to be a filmmaker. I suppose one of the downsides of a forum largely focused on tech is, it becomes a vortex of endless demands and a mindset that the right camera is never in the present, but at a near future, just around the corner.
 

It seems like the main message here is "If you learn the real skills of cinematography then the quality of your images will far eclipse all the high tech features, megapixels, and technical specs of the modern digital video age."  And it's true - great craft and artistry will win out over tech specs.
But I also think this is message overlooks some obvious realities about the nature of amateur and hobbyist videography - that tech specs often do increase image quality at relatively low cost.  Sure I could spend many months and even years learning great portrait lighting techniques so I can light a interior people shot really well, or I could buy a 50mm f/1.4 lens, slap it on my high-ISO/low-noise full-frame 4K camera, do a basic rule-of-thirds framing with existing ambient lighting, press the touchscreen focus with face detect and boom, I now have a fairly professional looking shot with creamy bokeh and sharp eyes in focus.
So sure it could be a much better image if I go much deeper into learning cinematography, beyond basic and overused techniques like point-of-focus shots.  But the shortcuts and some of the tech specs that enable them can be very high bang-for-buck for us hobbyists and amateurs.  Even more so if you're a vlogger or hobbyist that shoots run-and-gun or only with natural/available light under uncontrolled situations and you don't have the opportunity to do lighting setups or carefully framed shots.
I think Boyle's message is still correct and can even inspire us shortcut-happy hobbyists (I am firmly in this category) to go deeper.  But it does miss the point for a huge chunk of the videography audience, since few of us have the time or commitment to achieve the level of artistry he's calling for.  Technology has enabled us to generate images that make us and our fans/friends happy, often with an investment that matches our commitment or resources.  All of us are trying to maximize our return on investment, whether that's in time, money, or stress/difficulty spent learning a technique or tool, and technology has definitely escalated the return on investment ratio.

Personally, I am against anything that is a roadblock for me to make a film.
Technology advances and in the not so distant future, all audio, at our level, will be captured in camera and it will be more than good enough for the intended outlet.
I don’t understand why anybody who champions the DSLR/Digital Revolution would be against technological improvements in audio, color, editing, cinematography, etc... but in the end it doesn’t matter... technology moves forward and resistance is futile.
Obviously, I would love to have a full sound crew, it would be one less thing for me to worry about. But you can’t always get what you want, so you deal with what you have. So, if these presets help to clean up some dicey audio... bring it on.

I believe the people in "these forums" are exactly the ones that will find them helpful.
At least these are in the right direction and people with no sound experience at all, can improve their sound.
I am a professional soundman for 19 years, and I know that my experience, education and expertise can't be simulated on a few presets, but there is a huge percentage of video makers outhere -amateurs, one man bands, photogrpahers turn to video, cameramen not willing to hire a sound man, ultra low budget productions - that could be benefited for those presets.
There is an increasing attitude in this and other forums, that even camera's internal mics are sufficient for sound, at least now they have a few presets to back up their claims!
For the price, I see a lot of people invested on them. 

You sure your not Scottish? A really good monitor lasts for Years, and Years. At your age, come on LoL. At my age, I don't even buy Green Bananas!

I recently shot a very short film in Chinatown (Chicago). I decided to use the GH5s for discreet purposes. All natural lighting. Zeiss 50mm Master Anamorphic. 3200 ISO VLog L.
 
https://imgur.com/a/FTy8OtI
 

Thanks everyone, it's great to get such a helpful mixture of technical and more philosophical tips.
As @OliKMIA says, it's the creative process, and I am definitely still working it out for myself but I have got a lot of elements down.
I shoot a lot, and @mercer and @IronFilm are right that it shouldn't get in the way of the trip, but for me the logic is actually a bit different.  I like shooting, the challenge of it, the way that it forces you to actively look, rather than just passively drift through situations.  I also use photography if I'm a bit bored too as it's fun to try and challenge yourself about how to have as much variety in your B-roll for example, which is great if you're in-transit between locations.  Also, I think I shoot a lot of clips because I want to enjoy my holiday and so in a way I'm shooting while thinking about my holiday instead of shooting trying to think about the final edit.  I'm also shooting in-case something happens in much the same way as a street photographer would find a background and then frame and pre-focus and just wait for someone to walk through the scene, but in video you need to be rolling if you want the whole shot.  It makes me far less efficient, but in a sense I'm trading off enjoyment of the holiday vs work in the edit suite.  
Also, I like to be spontaneous and let the holiday dictate what I shoot, rather than pre-visualising or planning as @mercer and @Don Kotlos mentioned and then making the holiday fit more into the shooting.  I also don't like to direct, so these trips are mostly fly-on-the-wall (or massive-camera-on-the-wall as the case may be!)  On this whole trip I might have asked someone to stand somewhere or to look at the camera only a handful of times.  The last thing a family holiday needs is a bossy photographer ordering everyone about all the time
I think I've got the technical aspects of editing that @tellure mentioned mostly in place, I use markers, scrub through longer footage, use an editing codec (720p Prores Proxy proxy files are smooth as silk on my MBP), and removing useless clips.
I got this editing process from Kraig Adams at Wedding Film School who did a BTS of his whole editing process (10 x 1hr YT videos from nothing to finished films) and what I liked about it is that you don't spend time looking at 'bad' clips again and again, but @Don Kotlos is absolutely right about it being the "brute force" method, and that's definitely what it feels like!!
The other approach that @NX1user and @Mark Romero 2 mention is that instead of starting with everything and deliberately taking out the bad stuff to only pull in the good stuff.  This makes total sense considering that only a small percentage of the footage makes the final cut.  The challenge I have with this approach is that I think I will start off finding some good footage that suggests a particular style of edit but then later on I'll find more footage that suggests a different style of edit, and now I've reviewed a bunch of shots with one style in mind but am now going in a different direction and so many decisions were made incorrectly.  I think this would work well for videos that are pretty straight-forward, or for people who can hold a lot of information in their heads and can remember what footage there was and kind of hold multiple edits in their head as they're working.  This is absolutely not me!!
Breaking it down into bits as @Anaconda_ says is a good idea, and publishing them to keep up motivation is also a good idea - thanks @User.  I'm still not sure if I'll end up with just one final video or multiples.  In terms of the final output I'm also undecided.  I've previously condensed week trips into sub-5 minute videos, but this one had a lot more locations and activities.  I've thrashed this out with a couple of friends and we came to the conclusion that the length is irrelevant as long as it stays interesting - I've seen a 25 minute home movie from a 5 week trip through Europe that stayed interesting, so it can be done for home videos, plus there's the "super vlog" format that seems to work really well too.
Getting more understanding about what my audience wants would be good.  Unfortunately it's mostly relatives and friends that are in other cities / timezones and aren't up for critiquing my film skills so that is likely to be limited.
Music is important too, but I don't think that starting with it would work for me.  I think my editing process is more 'emergent' where my review of the footage (however tedious that is) gives me a sense of what happened and the vibe, then I can get a bit of a high-level view, which obviously you can't from 1100 clips, and then I bring the music in, and then the structure comes from that, and then the clips kind of conform to the music.  It's not a straight relationship between the clips and the music.
Perhaps the most crucial part of the whole picture is motivation and creative energy.  As @tellure and @jhnkng suggest, it's limited and needs to be managed.
I know that procrastinating is a sign to manage my energy - unfortunately I feel half-way to burn out just living normal life (full-on kids, full-on job, full-on family, etc etc) and I will look back on a month gone by and be annoyed that I didn't do any real video stuff (camera tests don't count!) but the truth is that I was just tired for the whole time.  I'm trying to improve other parts of my life but it's slow going and I want to still be able to share some of these moments.

Procrastination is your body telling you you need a break. Seriously, take the day off, force yourself to go enjoy something else guilt free. But when you come back to it you just need to force yourself to focus on the task. But break each task down to manageable chunks and give yourself small breaks in between. Your creative energy is finite and needs to be replenished, managing that is as important to your work as the work itself. 

I generally put everything on a timeline on track one and group everything by what it is. Then I quickly scrub through each group, roughly cut out the stuff that looks good, and move the good stuff to track two. Then I duplicate that timeline, ripple delete all the track one stuff, and again scrub through the selects to pull out the good clips. Once I do that I should have gone through all the footage twice, and I should have an idea of what I've shot and how it can go together. From there if I can see a clear path I'll put a very very very rough assembly together, right up until I run into an obstacle -- then I switch gears and go find music. At every turn when I hit a roadblock I change direction and do something else, because at least for me I find that if I hit too many roadblocks it completely drains my motivation and I fall into a rut. I make it a priority to manage my motivation, and in the long run it makes me more efficient.

Of course, ymmv, some might read this as silly touchy feely self help crap, but it works for me!

The basic process is always the same with 4 steps:
1. Shooting
2. Review and sorting (remove the bad stuff, trim each clip to keep the usable part, put markers and group the sorted clips by topic/date/location/subject/quality based on your need)
3. Editing (create a story, make it fit with the music, etc.)
4. Effects and grading

I understand that you struggle during the "Review and sorting" step which can be very boring especially on a big project. However, it really helps if you plan ahead before recording the first clip. Personally I always have a general idea of what I want to create, I usually pick a few songs or stories in my head and then start shooting accordingly instead of shooting everything randomly because then you end up with a lot of footage but still no idea of what you can do with it. That's demoralizing (gosh, I have millions clips to sort but I still don't know what I to do with it). Early planning helps to shoot less and be motivated to finish your project because you have a vision and a plan. Perhaps you should think about your creative process.

For my latest video (music video of Buenos Aires with hyperlapse and aerial video) I did a lot of research about the city before going there, I created a storyboard, listed the shots I wanted in order of priority and picked a song. I ended up with close to 8 hours of footage to create a 5 minutes video, but at least I knew what I wanted. The "Review and sorting" phase was done over two weeks one or two hours at the time maximum because it's boring as hell (I listen music or podcast at the same time). Then it was just a matter of fitting the best footage in the timeline with markers based on the music and storyboard.

If I'm procrastinating on an edit I done of two things:
1. I don't think about the whole project and just edit the part I know is good. You have to have at least a couple shots in mind where you thought "Wow this is a great shot."  Find those and start building around those clips. That's usually enough to keep me going on a project.
2. Alternatively, I start with the part I know will be most problematic. Once I have that done and see that it took me less time than I thought, it's easier to keep going on the parts that don't have problems.

Can't say I am not in the same boat as you. I consider your steps the "brute force" method which many times we just have to go through. 
What I find helps immensely is having an idea of the end result before you even shoot it. Makes both shooting and editing more fun/easier/faster. 
If you already got the footage, instead of looking at the footage to determine what moments you need to include, try to mentally recollect moments of the event. Our imagination is really good at making good stories but most often external information restricts it. 
Music can be inspirational as well. Many times I hear a song my imagination runs wild and all the just shots fall in place. 
Hope it helps. 

For holiday videos I separate all the clips into folders per day. Then put that whole folder on a timeline and scrub through it. I cut out anything that's definitely not going to make the cut and leave the rest in the timeline, trimming out the nice bits of each shot. Sometimes I close all the gaps, sometimes not. Now I have a sequence with only usable material. I duplicate that and have a sequence to actually work in, creating your stories.
This way, you have the fun actual editing part laid out, and if you need a clip you saw yesterday, you can scrub through the rushes timeline of the day to find it, and bring it back into the main sequence. To take it one step further, you could also label clips green for 'great', orange for 'possible' and red for 'hopefully not, but if I really need it'. Then you can just skip to the orange bits to find those cutaways or whatever.
I imagine for the most part each day is it's own story, barring a few situations. So you can even just edit the days as they come to breakup the spotting process a little.
Also, what might help is not thinking that your just spotting your footage, but look at it more critically and think how you could have improved each shot, even the good ones. Then it becomes an important part of making the next one even better, which might make it a little easier this time around haha.
Another great way I've seen, for premiere users at least, is automating to sequence. It's absolutely amazing, although I guess can take the fun out of the editing to music? 
(shame about the shitty clickbait title)
 

I have the same issue as the OP.. especially with those personal/family projects where there is no deadline, it's super easy to keep putting it off.  Here are a few things I've found have helped me.  Also, is this the most first-world problem or what?
General life / process stuff:
Find the music first and let it guide you.  Usually you have an idea of the style of the video, and the tempo or mood you shot for, so instead of grinding through 10 days worth of clips it can be more fun to go trawling through some really cool music listening for the piece that works best.  It does help to have a few clips to put up against the music candidates, but it's usually pretty quick to find a few good shots for that.  Once you have the music (or a few top candidates) it can help clarify the tempo and pacing and sometimes certain sequences will start to take shape in your mind (e.g. an cool intro or a dramatic crescendo).  The music can then act as a good motivator for starting to work through the clips because you're thinking about how the moments you're finding can fit into the different musical sections. Temporarily suspend some other personal projects/hobbies.  All the other stuff in our lives can easily get in the way of starting a big project like this.  Sometimes you need to give yourself a bit more breathing room.  For example right now I'm taking a 2-week hiatus from guitar practice so I can get enough time to work on a personal vacation video project. Reviewing clips:
Use markers in the clips to save the good moments.  You mention reviewing clips and pulling any good moments directly on the timeline.  I used to do this too but it's much faster to scrub through a clip and just mark the good in and out (with hotkeys of course) instead of trimming it on the timeline.  It also gives you a permanent record of the good moments (saved in the marker data) instead of depending on that trimmed clip remaining on the timeline as the record of that moment.  Also doesn't clutter up your timeline until you're ready to actually edit. Scrub through clips at high speed.  Probably goes without saying, but there's no need to watch every clip from start to finish at regular speed.  Most clips only have 1 or 2 good moments and you can usually spot them while scrubbing.  Scrubbing is also better than skipping ahead as you'll see quick moments go by that could work.  When you spot a good moment, scrub back a bit and then watch just that moment at full speed.  Then mark the in and out, as above. Make sure you can scrub clips smoothly.  If your camera source files don't scrub smoothly (like my Sony A9's X-AVCS h264 files, ungh) then make some proxies to be able to scrub quickly (I use 1080p Cineform).  This will also speed up the editing process as it will remove all those little micro-delays when you re-position the play head or skip back a few seconds or do some scrubbing through the timeline.  I waited way too long before doing proxies but they are totally worth it and very low-hassle nowadays (e.g. Premiere's ingest tool, only took me a few minutes to find the encoding settings and start encoding them). Remove useless or very low-value clips from the project.  Again probably goes without saying but sometimes we review a clip there's nothing good there, but we're afraid of losing anything so we leave it there cluttering up the project.  If you know there's nothing there then just remove it from the project as it will speed up the rest of the process and with over 1100 clips you'll almost certainly have more than you need.