Alt Shoo

It’s definitely been a tough stretch. Budgets are tighter and clients seem slower to move, even on things that would’ve been quick approvals not long ago. I’m seeing the same pattern where more content is being made but with less real investment behind it. The best move might be putting more time into personal projects that could eventually be licensed or streamed. Even if it only brings in small checks at first, it adds up over time and keeps your creativity active. I still think there’s room for people who know how to make something feel real. The tools are everywhere now, but the connection and emotion still come from experience.

@Snowfun This really hits home. Especially the part about sitting in front of Resolve for hours trying to fix something that might have lost its purpose before the grade even started. The gear cycle has become its own kind of trap. We keep upgrading tools that already do more than we need while forgetting what we were trying to say in the first place. What you’re describing feels less like disillusionment and more like realignment. It’s that moment when you start asking what actually matters and realize the art is in the process, not the specs. Whether it’s a Leica M11M or a P6K, the camera only matters if it helps you express what you feel. I’ve gone through something similar. I’ve realized that storytelling and emotion always outlast sharpness or dynamic range. A phone clip that feels alive will connect more than a perfect cinematic shot that says nothing. You summed it up best at the end. Art in both process and product. That’s the part that stays with me.

For me, the iPhone has been competent for filming since the 13 pro max. I’ve produced whole documentaries with it. Now with the 17 pro max out, with an iPhone and maybe an action camera, I can document high quality content while being extra nimble and incognito.

I definitely prefer to go to the movies when it’s empty. I don’t like the random noises and the constant moving about.

The effects in the movie looks good, but for this film and many recreated versions, it’s too overboard, which gives it a creepy feel. Also I prefer if they keep the characters the same instead of pandering to the masses. These remakes must be making some good ROI because Disney keeps churning them out despite what critics are saying. At this point the only retreat from this is supporting well made indie films.

Hoping they will continue pushing the franchise forward, but realizing the movies they’ve been involved with, the confidence level is low.

I prefer going to the theater when it’s empty. A packed house usually means dealing with loud personal conversations, whining kids, and other distractions. It takes away from actually enjoying the movie. That said, the last time I truly enjoyed a packed theater experience was True Lies. But to be fair, I was a little inebriated… and I was probably the one disturbing the movie. lol

Got it, I see what you’re saying about the DP shooting for the edit rather than fixing things in post. That’s a solid approach when you know exactly what you need, and I respect that. As for pros not talking about gear, I’m not saying they never do. Of course, people in the industry test and discuss new tech, but the difference is that those conversations usually focus on how the gear serves the work, not endless debates over minor details that don’t make or break a project. I don’t have an issue with people being passionate about cameras, I just think the discussion gets lost when it’s more about obsessing over specs than actually applying them to real world filmmaking.

I’m going to check this out. Thanks for sharing this.

I get where you’re coming from, and I understand that different workflows exist for different reasons. But at some point, you have to ask, are we pushing our tools to be better storytellers, or just finding ways to avoid tightening up our craft? There’s a difference between efficiency and just being lazy. If someone is taking multiple takes to get it right, that’s not always inexperience. It’s making sure the shot actually works without needing to “fix it in post.” On the other hand, the mindset of shooting carelessly and relying on post production isn’t efficiency, it’s a crutch. Regarding not using older gear, some people don’t use those older cameras simply because they want to make their job easier. Newer cameras offer better usability, faster workflows, etc. but still, as everyone allegedly already knows, you can still achieve a high quality look with older gear. It just comes down to experience and knowing how to work with what you have. At the end of the day, I don’t see top level professionals getting caught up in these debates. They pick their tools, use the features that matter, and get the job done. Ninpo33 mentioned a DP who didn’t realize a camera had a particular function…because that DP focused on what helped him execute, not on obsessing over every technical option. That’s the difference between using your gear and getting lost in it.

I tried numerous times to search for these shared experiences before posting this thread. Maybe a sub forum to find these ideas faster? Can you share a few that’s posted here?

There are moments here I enjoy but this forum feels more like a place to vent about gear than to actually discuss the craft of filmmaking. Where are the conversations on creative problem solving? How are people pulling off run and gun shooting in restricted areas without permits? What are some cost-effective practical effects techniques for horror films? Are certain shot compositions or camera movements more effective at evoking specific emotions in an audience? I know I can find some of this on YouTube, but part of the appeal of a forum like this is the ability to connect directly with professionals, exchange real world experiences, and even spark collaborations. Is anyone still having these kinds of discussions here?

This take is a bit much. Plenty of bad films were shot on film, and plenty of great ones were shot digitally. It’s not the format that makes a movie good or bad it’s how you use it. Preferring film is fine, but saying digital ruined cinema is extreme. That said, I’m interested in Fuji’s upcoming Eterna film camera. If it delivers high quality in camera color, it could push DPs to lock in the final look while shooting, which is an interesting approach.

I get that people love to dissect every little thing, but as someone working with some of the biggest media companies, I can tell you that a lot of these so called issues don’t even come up in real world professional work. The S1R II delivers solid image quality, stabilization, and dynamic range. More than enough to create high level content. I’m not saying don’t analyze your tools, but at some point, you have to ask, is this actually making you a better filmmaker, or just keeping you stuck in analysis paralysis? If your priority is making great content, you’ll be just fine.

Looks interesting. Will check it out. Thanks for sharing.