Matthew Hartman

No. If manufacturers would instead build better cameras from the start with longer support cycles I believe most people wouldn't feel the urge (as much) to replace it with something new and shiny. The tech blogs/journalists do not help. At the end of the day they're not your pal. 
Not to sound hypocritical but I've picked up the Ursa Mini Pro 4.6k not because it was a camera that as released in 2017, but because I like what it has to offer my workflow and ultimately the image is is priority one for me. I will end up sticking with it for a good while and learn how to get the most out of it despite newer models sure to be released and other new cameras hitting the scene too. Oh well.
This philosophy is better for the consumer, but not so great for the manufacturer who needs to keep rolling in that dough cycle after cycle. But I don't care about them more than I care about my own needs, and neither should anyone else unless they own stock in a particular company. These companies have no shortage of profits. They don't need anyone's charity. 
This very thread is a prime example of the negativity that comes from fanboying way too hard over something that's only trying to meet a small niche. People end up placing more importance in things rather than each other, when in any other circumstance that wouldn't be the case. Even though no one likes being reminded (or preached to) of that it's important to stay grounded and focus on what truly matters in life. I doubt anyone on their deathbed was like, "Damnit, I should have gone with the Fuji".  

Paper and pencil will always be the quickest way to get things from your brain to materilization. You are using different centers of your brain doing this, as opposed to other methods like navigating an app. 
But as far as refinement, polish and the details of focal length, sun direction/light source, this app looks promising. I'm going to try to find something similar for Andriod...

No. If manufacturers would instead build better cameras from the start with longer support cycles I believe most people wouldn't feel the urge (as much) to replace it with something new and shiny. The tech blogs/journalists do not help. At the end of the day they're not your pal. 
Not to sound hypocritical but I've picked up the Ursa Mini Pro 4.6k not because it was a camera that as released in 2017, but because I like what it has to offer my workflow and ultimately the image is is priority one for me. I will end up sticking with it for a good while and learn how to get the most out of it despite newer models sure to be released and other new cameras hitting the scene too. Oh well.
This philosophy is better for the consumer, but not so great for the manufacturer who needs to keep rolling in that dough cycle after cycle. But I don't care about them more than I care about my own needs, and neither should anyone else unless they own stock in a particular company. These companies have no shortage of profits. They don't need anyone's charity. 
This very thread is a prime example of the negativity that comes from fanboying way too hard over something that's only trying to meet a small niche. People end up placing more importance in things rather than each other, when in any other circumstance that wouldn't be the case. Even though no one likes being reminded (or preached to) of that it's important to stay grounded and focus on what truly matters in life. I doubt anyone on their deathbed was like, "Damnit, I should have gone with the Fuji".  

No. If manufacturers would instead build better cameras from the start with longer support cycles I believe most people wouldn't feel the urge (as much) to replace it with something new and shiny. The tech blogs/journalists do not help. At the end of the day they're not your pal. 
Not to sound hypocritical but I've picked up the Ursa Mini Pro 4.6k not because it was a camera that as released in 2017, but because I like what it has to offer my workflow and ultimately the image is is priority one for me. I will end up sticking with it for a good while and learn how to get the most out of it despite newer models sure to be released and other new cameras hitting the scene too. Oh well.
This philosophy is better for the consumer, but not so great for the manufacturer who needs to keep rolling in that dough cycle after cycle. But I don't care about them more than I care about my own needs, and neither should anyone else unless they own stock in a particular company. These companies have no shortage of profits. They don't need anyone's charity. 
This very thread is a prime example of the negativity that comes from fanboying way too hard over something that's only trying to meet a small niche. People end up placing more importance in things rather than each other, when in any other circumstance that wouldn't be the case. Even though no one likes being reminded (or preached to) of that it's important to stay grounded and focus on what truly matters in life. I doubt anyone on their deathbed was like, "Damnit, I should have gone with the Fuji".  

You're my newest best friend here. ? 
I was looking at the Rokinon XEEN series but at that point as might as well just buy an Alexa and sell the blood of my first born child. ?
I've done a general search for anamorphic on a PL mount online, but since I have little experience with anamorphic I really have no idea what qualities to look for. I'm finding a lot of affordable anamorphic projector lens, but I'm assuming that won't work? 
I really like the look and quality you got with your Bolex, but I don't know if thats unique to the wider format or the properties and characteristics of that particular lens? You definitely have the most experience with this that I've come across online. 
I'd love if you could share some of your knowledge, like requirements to get the NX1 to conform with anamorphic, what systems are valued as the gems, what systems are considered acceptable, which ones to avoid.
I wish we lived near eachother, I'd love to talk shop and explore NX1/anamorphic setups with you, because above anything else I've seen in terms of making the NX1 produce a more filmic quality, I think you are onto something with the biggest potential. 
I'd like to see some results with some diffusion filters on the end of your Bolex lens, as well as shooting faces with diffused lighting. I think this trifecta is the 3 combo power punch into filmic quality on the NX1. 
And then there's this photo:
 

And a recent shoot using faux cinescope in Premeire:
 

If it was under a grand it would do well. As it is it's a monitor to a red camera that receives calls from the producer complaining about setup times

I don't but I can update you, or the cinematographer can update us here as he's a member of this site as well. 

Trust me, it's bewildering to many Americans as well. I won't get into political conversations here, so if anyone has a retort you will not get a follow up from me.
But we definitely need a good overall of our public policies in my country. Webrunner's story is not unlike many, many Americans. Statistics show that many Americans are roughly a paycheck away from total poverty and many go bankrupt with medical bills, even with having insurance.
I recently had a talk with my 13-year old son about what to do if some crazed individual comes to his school with a weapon. Not a conversation I ever imaged I'd have to have with my children. It's surreal. 

I read an article about a year ago that Samsung has done extensive user testing/research on the "Samsung look", and they found that "most" consumers prefer the image "sharp" and really punchy.
To the untrained eye I could see why ppl would latch on to these qualities, they give off the impression of "high tech". THIS is why Samsung crams these characteristics into their display technology. Some like it, others don't. 

No, but I'm definitely considering 15 Stops of dynamic range. ?

In Seattle. Ever come south? 
I'm 44 now. You must always be on your toes to stay market relevant, especially if you live in a country with little to no social safety nets, like the United States. Fortune has little to do with anything. If your local state economy is shit, what exactly do you hope to gain from it? You have to be where the money is. Simple math. 

Yes, this a x1000 over.
It is an affliction and lots of ppl on every level of proficiency and skill get caught up in it one way or another.
It never fails on any set I've been on. Someone in the crew is going to start talking shop and I'm guilty of getting caught up in those conversations, even though I consciously try to aviod it, because the "mojo" is not there.
I honestly care only to the degree of whether or not I'm happy with the shot and the massaging is on point. Obviously, most ppl are not okay with a crap image unless that is the narrative. 
My highschool photography teacher was a huge technical shooter. I spent so much time making sure I was exploring my creativity in every assignment and all he could do was comment and grade me on nitpicking my "exposure". (Celluloid) He was awful to me and would shame me quite often. I would hate having to bring up my contact sheet or review. The bastard would call out my last name and then freaking let out a loud sigh. ?
My second year I took 1st place in a statewide competition, for the category of "creativity". (Not that my exposure had issues) My teacher had to eat his lunch. I was happier about that than winning the prize. ?
Not to put ppl in a box, but I learned a long time ago that there are technical shooters, let's call them craftsmen, and then there are creative/narrative shooters we deem as artists.
Both could learn a lot from eachother. That being said, creativity is hard to teach. I actually think to tap into creativity you have to be a little clinically insane, which is a mental state a technical person would find very uncomfortable, because it involves intuition and a bit of chaos, rather than hard-concrete controlled facts.
This very thread got really unhealthy really quick. People were attacking one another's preferences, which arent really debatable. You like what you like. And what you might like today, you might hate tomorrow. It just doesn't matter, and everyone here is worth more than the sum of their preferences.

Yes, this a x1000 over.
It is an affliction and lots of ppl on every level of proficiency and skill get caught up in it one way or another.
It never fails on any set I've been on. Someone in the crew is going to start talking shop and I'm guilty of getting caught up in those conversations, even though I consciously try to aviod it, because the "mojo" is not there.
I honestly care only to the degree of whether or not I'm happy with the shot and the massaging is on point. Obviously, most ppl are not okay with a crap image unless that is the narrative. 
My highschool photography teacher was a huge technical shooter. I spent so much time making sure I was exploring my creativity in every assignment and all he could do was comment and grade me on nitpicking my "exposure". (Celluloid) He was awful to me and would shame me quite often. I would hate having to bring up my contact sheet or review. The bastard would call out my last name and then freaking let out a loud sigh. ?
My second year I took 1st place in a statewide competition, for the category of "creativity". (Not that my exposure had issues) My teacher had to eat his lunch. I was happier about that than winning the prize. ?
Not to put ppl in a box, but I learned a long time ago that there are technical shooters, let's call them craftsmen, and then there are creative/narrative shooters we deem as artists.
Both could learn a lot from eachother. That being said, creativity is hard to teach. I actually think to tap into creativity you have to be a little clinically insane, which is a mental state a technical person would find very uncomfortable, because it involves intuition and a bit of chaos, rather than hard-concrete controlled facts.
This very thread got really unhealthy really quick. People were attacking one another's preferences, which arent really debatable. You like what you like. And what you might like today, you might hate tomorrow. It just doesn't matter, and everyone here is worth more than the sum of their preferences.

Yes, this a x1000 over.
It is an affliction and lots of ppl on every level of proficiency and skill get caught up in it one way or another.
It never fails on any set I've been on. Someone in the crew is going to start talking shop and I'm guilty of getting caught up in those conversations, even though I consciously try to aviod it, because the "mojo" is not there.
I honestly care only to the degree of whether or not I'm happy with the shot and the massaging is on point. Obviously, most ppl are not okay with a crap image unless that is the narrative. 
My highschool photography teacher was a huge technical shooter. I spent so much time making sure I was exploring my creativity in every assignment and all he could do was comment and grade me on nitpicking my "exposure". (Celluloid) He was awful to me and would shame me quite often. I would hate having to bring up my contact sheet or review. The bastard would call out my last name and then freaking let out a loud sigh. ?
My second year I took 1st place in a statewide competition, for the category of "creativity". (Not that my exposure had issues) My teacher had to eat his lunch. I was happier about that than winning the prize. ?
Not to put ppl in a box, but I learned a long time ago that there are technical shooters, let's call them craftsmen, and then there are creative/narrative shooters we deem as artists.
Both could learn a lot from eachother. That being said, creativity is hard to teach. I actually think to tap into creativity you have to be a little clinically insane, which is a mental state a technical person would find very uncomfortable, because it involves intuition and a bit of chaos, rather than hard-concrete controlled facts.
This very thread got really unhealthy really quick. People were attacking one another's preferences, which arent really debatable. You like what you like. And what you might like today, you might hate tomorrow. It just doesn't matter, and everyone here is worth more than the sum of their preferences.

Yes, this a x1000 over.
It is an affliction and lots of ppl on every level of proficiency and skill get caught up in it one way or another.
It never fails on any set I've been on. Someone in the crew is going to start talking shop and I'm guilty of getting caught up in those conversations, even though I consciously try to aviod it, because the "mojo" is not there.
I honestly care only to the degree of whether or not I'm happy with the shot and the massaging is on point. Obviously, most ppl are not okay with a crap image unless that is the narrative. 
My highschool photography teacher was a huge technical shooter. I spent so much time making sure I was exploring my creativity in every assignment and all he could do was comment and grade me on nitpicking my "exposure". (Celluloid) He was awful to me and would shame me quite often. I would hate having to bring up my contact sheet or review. The bastard would call out my last name and then freaking let out a loud sigh. ?
My second year I took 1st place in a statewide competition, for the category of "creativity". (Not that my exposure had issues) My teacher had to eat his lunch. I was happier about that than winning the prize. ?
Not to put ppl in a box, but I learned a long time ago that there are technical shooters, let's call them craftsmen, and then there are creative/narrative shooters we deem as artists.
Both could learn a lot from eachother. That being said, creativity is hard to teach. I actually think to tap into creativity you have to be a little clinically insane, which is a mental state a technical person would find very uncomfortable, because it involves intuition and a bit of chaos, rather than hard-concrete controlled facts.
This very thread got really unhealthy really quick. People were attacking one another's preferences, which arent really debatable. You like what you like. And what you might like today, you might hate tomorrow. It just doesn't matter, and everyone here is worth more than the sum of their preferences.

Many many people have discovered a sure fire way to kill their passion is to try and turn it into an income/career!

Trust me, it's bewildering to many Americans as well. I won't get into political conversations here, so if anyone has a retort you will not get a follow up from me.
But we definitely need a good overall of our public policies in my country. Webrunner's story is not unlike many, many Americans. Statistics show that many Americans are roughly a paycheck away from total poverty and many go bankrupt with medical bills, even with having insurance.
I recently had a talk with my 13-year old son about what to do if some crazed individual comes to his school with a weapon. Not a conversation I ever imaged I'd have to have with my children. It's surreal. 

I'll try to rig it up and send photos and an example video this weekend. 

I can't speculate on real estate, but I will always air on the side of properly setting up a shot in narrative work, even as a one man band. Take the time and effort. When you're sitting in the editor's chair you won't be kicking yourself constantly and this is where coverage and proper set up matters greatly.
Of course a lot of clients are laymen and they have the misconception that filming is a pointed camera and some lights, they don't have any spacial awareness of what makes up a good shot/scene, and why would they? All they ever see is the finished product.
I'm constantly pushing back on those misconceptions. It comes down to approach. You have to be willing to educate people about the craft and justify your position in a respectful/tactful way. It's not an easy thing, almost everyone is going to come at it skeptically, because time is money, but you have to have a good pitch and explain value, or what they're getting for their buck. You have to read the language of each client.
There will always be some adversarial clients that are not worth that battle. If they insist on shit, just give them the shit they asked for. Yeah, your standards are challenged, but money is one shade of green at the end of the day.

I attach my Z Crane v1 gimbal to a shock-absorbed boom arm mounted to a vest. Two things happen here. The fourth axis is shock-absorbed, where these 3-axis gimbals totally fall apart the most, and I'm also not wearing out my arms holding up a metal pistol grip all day. Spent muscles are shaky muscles. 

At the end of the day, its about how you sell yourself (and that has every bit to do with how much you value yourself too).
If I was in either the Real Estate biz or even the wedding biz, I would create a tiered pricing approach - along with a demo reel to help the client see what the difference is between what you offer in terms of service (for each price point). 
For example for real estate:
Bronze package: 2 hour shoot - 1 day editing - $500 - Demo reel showing what is included in this price range.
Silver package: 4 hour shoot - 1-3 day - $1200 - Demo reel showing what is included in this price range (if the customer is not able to see that much of a difference here, then explain).
Gold/Platinum package: 8+ hour shoot - Multi-day editing - $3000 - Demo reel showing what is included in this price range.
This is not newbie (I know it all) pricing.... this is.... I've been here for a while, you obviously heard of me and/or seen my work pricing.
Obviously, you try to do your best on every single package - don't skimp, because you want to retain a customer, you want repeat customers. At the same time, figure out what you are capable of doing within the set parameters, don't apply nd filters on the window if you only have 2 hours. Nonetheless, you go the extra mile for the Gold/Platinum package - use your own creative facilities for this.... I can't teach you vision and/or creativeness... that's all you. But here is a tip, people have a hard time envisioning themselves in a space and how to fill a space, this is why they have staging (they put rental furniture) to fill a space. Go the extra mile by... I don't know... hire actors (they are a dime a dozen willing to work for cheap - try mandy.com... audition first, Rolodex the good ones for repeat performances, just don't do the same crap in every video), here is an example: get a couple that are engaged in a conversation with a mug of coffee - laughing it up. You don't have to have a real dialogue going on, mute them out and have your choice of music overlayed. Have children running around, or a teen browsing on the ipad nestled on the couch... This is how you sell yourself... BTW, for the gold/platinum package only (actually the best videos in this category), stamp your name and/or company logo on it. Because, if its a good video, people will associate the video with the person creating it not the real estate agent selling the home, thereafter - depending on the demand - you adjust the price.
Editted to add: If you are new to this.... I would throw in some stuff for free the first few times.... its like how drug dealers throw it in till you are hooked on it approach  
 

@Matthew Hartman So true! "Education" is a big part of our job, especially if you care for a lasting relationship with a customer.
That goes with directors as well, being firstly, and mostly, a sound man, puts me in the place to have to constantly inform them about sound, and try to educate them on the fly, so to make my life easier, my job worthier, and save them some money in the process!

I can't speculate on real estate, but I will always air on the side of properly setting up a shot in narrative work, even as a one man band. Take the time and effort. When you're sitting in the editor's chair you won't be kicking yourself constantly and this is where coverage and proper set up matters greatly.
Of course a lot of clients are laymen and they have the misconception that filming is a pointed camera and some lights, they don't have any spacial awareness of what makes up a good shot/scene, and why would they? All they ever see is the finished product.
I'm constantly pushing back on those misconceptions. It comes down to approach. You have to be willing to educate people about the craft and justify your position in a respectful/tactful way. It's not an easy thing, almost everyone is going to come at it skeptically, because time is money, but you have to have a good pitch and explain value, or what they're getting for their buck. You have to read the language of each client.
There will always be some adversarial clients that are not worth that battle. If they insist on shit, just give them the shit they asked for. Yeah, your standards are challenged, but money is one shade of green at the end of the day.

I can't speculate on real estate, but I will always air on the side of properly setting up a shot in narrative work, even as a one man band. Take the time and effort. When you're sitting in the editor's chair you won't be kicking yourself constantly and this is where coverage and proper set up matters greatly.
Of course a lot of clients are laymen and they have the misconception that filming is a pointed camera and some lights, they don't have any spacial awareness of what makes up a good shot/scene, and why would they? All they ever see is the finished product.
I'm constantly pushing back on those misconceptions. It comes down to approach. You have to be willing to educate people about the craft and justify your position in a respectful/tactful way. It's not an easy thing, almost everyone is going to come at it skeptically, because time is money, but you have to have a good pitch and explain value, or what they're getting for their buck. You have to read the language of each client.
There will always be some adversarial clients that are not worth that battle. If they insist on shit, just give them the shit they asked for. Yeah, your standards are challenged, but money is one shade of green at the end of the day.

Trust me, it's bewildering to many Americans as well. I won't get into political conversations here, so if anyone has a retort you will not get a follow up from me.
But we definitely need a good overall of our public policies in my country. Webrunner's story is not unlike many, many Americans. Statistics show that many Americans are roughly a paycheck away from total poverty and many go bankrupt with medical bills, even with having insurance.
I recently had a talk with my 13-year old son about what to do if some crazed individual comes to his school with a weapon. Not a conversation I ever imaged I'd have to have with my children. It's surreal.