Nathanael McKinley Myton

Ok I liked the vid and as a fairly uninformed viewer the video effects (grading/noise/digital artifacts/etc) gave me a nostalgic feeling that fit the theme. But I really don't know anything about cameras and would be interested to hear a more informed opinion. What camera(s) do you think were used? Does the end result do it for you or is it distracting? etc

ah indeed you are correct. I did read a good part of the article, but ended up skipping around a bit as I was got a little bogged down in some of the minutiae of crop factors and comparable cameras. And notably didn't see a 50mm in any of the pictures (I like pictures)

Venice looked nice. Curious what lens is producing all that chromatic aberration though.. it was pretty horrendous in a lot of those shots. Like if I was trying to teach someone what chromatic aberrations look like, I'd probably just have them watch the first minute of your video.
like damn if that's not pretty distracting 

@Jon Jacobs Auto-ISO in M mode is a frequently requested feature among still photographers, and many other camera manufacturers have had it for a long time. It has a number of useful applications. For example, when shooting sports on a field with some variation in light (shadows in an area of the field), you could set your shutter speed to capture the action without motion blur, aperture to ensure enough DOF, and allow the camera to adjust ISO for a proper exposure.
And if you can accept that auto exposure (P, S, or A mode) is ever acceptable for videography, then surely you could think of a use for it in video. Set shutter speed at 1/50, aperture for whatever DOF you're looking for, and then allow the camera to moderate ISO to keep a proper exposure. But it seems like you're of the mind that any time someone is shooting video with a DSLR they can NEVER use any form of auto exposure in any circumstance. I think that's a bit short sighted, but I guess you feel pretty strongly about it.

@Jon Jacobs Auto-ISO in M mode is a frequently requested feature among still photographers, and many other camera manufacturers have had it for a long time. It has a number of useful applications. For example, when shooting sports on a field with some variation in light (shadows in an area of the field), you could set your shutter speed to capture the action without motion blur, aperture to ensure enough DOF, and allow the camera to adjust ISO for a proper exposure.
And if you can accept that auto exposure (P, S, or A mode) is ever acceptable for videography, then surely you could think of a use for it in video. Set shutter speed at 1/50, aperture for whatever DOF you're looking for, and then allow the camera to moderate ISO to keep a proper exposure. But it seems like you're of the mind that any time someone is shooting video with a DSLR they can NEVER use any form of auto exposure in any circumstance. I think that's a bit short sighted, but I guess you feel pretty strongly about it.

Dont quit. I have red your writings with great interest. I will buy a HDR TV sooner or later and I want to make HDR videos and photos. We can together think what is the best and reasonable workflow for us consumers. I think it needs a better camera than current consumer models. 10bit HEVC is also kind of tricky with current editors and computers. We need also a new 10bit or better photo standard. 16bit TIF is an overkill.

I apologize for any perceived attitude. I'm a camera enthusiast who still shoots as a hobby (I used to shoot tv professionally), but now that I'm working in post I get to work on some even higher end projects with the most cutting edge camera systems and lenses. And I wanted to share some of the latest news that I was incredibly excited about as well as my experiences with different camera systems. Every day I' working with Alexa footage with the highest end lenses or Varicam footage and with the highest end lenses, which is especially fun for me since I'd shot with almost every camera system previously, but I get an even better impression working with the files in post and interfacing with people on the cutting edge and learning their preferences and prognostication. And I never got to the level on set where I could shoot Ultra Primes next to Aluras one day and then C Series anamorphic the next, but I do get to work with that footage now on a daily basis. But I get that with this (and my confidence in the people around me and what they say–not in my own opinions, which I try not to mix in and apologize for my misunderstanding regarding the rec2020 color space*) isn't welcome here because of the perceived arrogance, and I won't be posting here anymore.
*That said, Canon's white papers do indicate a camera that fills most of the gamut (which naturally includes imaginary colors the eye can't see and so arguably needn't be filled) and we've seen before that a camera needn't resolve a full "4k" to be 4k compliant and yet Netflix does exclude some cameras from common use that claim a 4k spec. So there is a middle ground, and I believe this is where the divide falls. The advice I'm hearing from the top brass at top labs is that 15 stops and support for high bit depth high bit rate rec2020 will be what producers ask for from a camera when shooting HDR. Canon had HDR in mind specifically when developing the C300 Mk II and C700. That said, I will have to trust you that the GH4 can also fill almost the entire rec2020 gamut as I have not read the white papers and my only experience with that camera is without an external recorder or VLOG, where it still performs well for the price. As regards the 12 stop spec in HDR10 for acquisition, that is news to me, and interesting to consider given that Dolby (where I consulted for free simply due to my enthusiasm for the product; I have friends with financial interests, but I don't have one) is looking toward much higher numbers.

Venice looked nice. Curious what lens is producing all that chromatic aberration though.. it was pretty horrendous in a lot of those shots. Like if I was trying to teach someone what chromatic aberrations look like, I'd probably just have them watch the first minute of your video.
like damn if that's not pretty distracting 

Venice looked nice. Curious what lens is producing all that chromatic aberration though.. it was pretty horrendous in a lot of those shots. Like if I was trying to teach someone what chromatic aberrations look like, I'd probably just have them watch the first minute of your video.
like damn if that's not pretty distracting 

ah indeed you are correct. I did read a good part of the article, but ended up skipping around a bit as I was got a little bogged down in some of the minutiae of crop factors and comparable cameras. And notably didn't see a 50mm in any of the pictures (I like pictures)