kye

Now there's a terrifying combination of words I've never heard before!!
In other news, I just managed to score a good deal on a Lomo T-43 40mm f4 lens.  At ~$5 including shipping you really can't complain that it doesn't have focus controls or even a mount that you can buy adapters for, so you have to make your own.
On my GH5 it'll be 80mm equivalent, and will be competing with my much more expensive 55mm 1.8 Super Takumar and 0.7x focal reducer combination, but in a sense this might be more fun.  My plan is to do some free-lens tests and then if it's worth investing in I'll adapt it with the ~$25 for the helicoid adapter, mount adapter, and glue that you need
It might be useful to have such a small lens for 80mm - in situations where you want to keep the setup light-weight or compact.

Yeah, I know!
Some criticisms just need to answered by telling the people to get a grip ???

we need a border wall to keep out these fookin robots

Actually, that is base task for compositor's seat in studio, being it with Nuke or Fusion - extracting and playing with plans, paralax projections and z-plates in 3D space
But, of course, filming and moving on fresh air, dancing with camera instead of sitting in twilight-zone of vfx room, is much better and natural solution!

Cropping in and panning / tilting / Ken Burns-ing is a digital simulation of a fixed position camera movement, like a fluid-head on a tripod.  The difference is that you don't get the depth effects of the foreground moving differently to the background.  If there's a movement towards or away from the subject then you also get a change in how out-of-focus the background is.
Nice work!  Those movements are complex and really interesting.
I don't know your style or what you're trying to achieve creatively but this could really add to the right project.  The key is to practice and get to terms with the feel it creates and then use it on the right projects.  It reminds me of this video that was posted recently about hand-holding and camera movements, especially the combining of multiple shots into a single moving shot.
Also, films with "one take" like Russian Ark where the film includes all the normal shots of a film like close-ups, mid-shots, wides, etc but does so in a single fluid movement.
Obviously this isn't as extreme with your setup, but that is a whole aesthetic and would really contribute to the right projects.

I picked a copy of this magazine up at the airport when I was back on the Island this week, primarily because it featured an interesting piece with Jihua Zheng, the co-owner of Kinefinity.
As a gentleman of a certain age (and increasingly uncertain age due to my expiring memory) I have to say its very reassuring to pick up an actual paper publication to read equipment reviews and editorial content.
Its also reassuring after all the "are they or aren't they being paid for this?" doubts about YouTube reviews in particular to see real unambiguous adverts on a page so you know exactly where the money is coming from.
Ditto that what little advertorial content there is in it being clearly labelled across the page as being so.
Also, because it isn't created on the hoof on the back of press junkets or off re-cycled press releases it has a bit more diverse content too rather than just feeding the hype of whatever is the flavour of the month. Or flavour of the second in a lot of cases.
For me at least, it provides if not a complete alternative then certainly an interesting addition to the deluge of online stuff.
And its a far easier medium to consume when you are on a plane and don't have wifi as well
Hopefully it will get the support it needs to grow further 
https://www.promoviemaker.net/index.php/current-issues
 

I know..  think about how all the forums are full of angry people demanding 8K cameras!
Once you understand that this progression is mainly driven by the tech companies constantly trying to find ways to make you keep buying things, then the rationale becomes clearer

Shooting ratios are highly personal and I think related to the personality of the director as well as the other factors.  
When my sister was in film school I helped on a number of sets and some directors loved horror and paid more attention to the fake blood than they did to the actors delivering dialog - I even saw a set where the actors messed up a take by saying their lines kind of wrong and wanted to go again but the director over-ruled them!  When my sister directed we often went to take 20, and there was one scene where a guy was delivering a 20s monologue and although we got a usable take around take 4, it was something like take 17 when he delivered the performance that ended up taking pride of place on his showreel.
My sister was interested in authentic and powerful drama through the quality of acting, and IIRC she'd rehearsed the script with the actors beforehand and changed awkward lines and optimised it before production, so although I think she was physically capable of making a film with 3:1 ratio, there was no way it was ever going to happen.
@Dan Wake if you're set on making a feature and don't want to make short films beforehand, then consider making a single scene from the film as a trial run.  That way you can trial the cast, crew, all the tech, and the entire workflow before you're betting the whole budget on it.  If all goes well then you can take the opportunity to optimise your setup and processes etc and can use the footage in the final film.  If it doesn't go well then you can make the required changes before going into production again.  It does mean that you have to plan two productions instead of one, but in all likelihood the lessons from the first shoot will help you so much when you're doing the second that they will more than pay for themselves.  
Also, if by making the short you discover that your budget for the feature was inadequate then you can use the short to raise funding for the feature as you'll have shown you are capable of completing something and the investors will be able to have a taste of what they'll get at the end, which is more than most films are able to show potential investors.

this thread is great
this is what the internet and message boards are all about
i would like to think that we're all friends here, and that we should be able to have a spirited discussion about anything from cameras to global politics without devolving to personal attacks, and being mean spirited
cheers, guys ??

In a sense I think this is a mostly useless conversation.
The value in the conversation is people learning about how other people shoot and the technical aspects of the situation, but I doubt that anything we say here will influence what we're actually given.  In a sense, there are only two markets.  
There is the cinema market who want things like high bitrate codecs / prores capture / RAW, and consumers who want resolution and manageable file sizes.  As more and more people are making video professionally and the tech advances there are a few manufacturers who concentrate on providing higher quality capture to non-cinema market segments.  Mostly this is Panasonic with the GH line, BlackMagic with the Pocket 4k, and now Atomos as a bolt-on solution.
Even if you want higher quality 4K, and for some reason you're not willing to get it via the Pocket 4K or external recording, 8K consumer codecs are actually a good way to get it.
8K is good because:
Compressed 4K is lower quality than compressed 8K given the same bitrate (I have done tests and encoding the same material at the same bitrate and 1080 > 720 > SD) 4K displays are true 4K but 4K cameras are only true 1080 after debayering..  to get true 4K after debayering requires an 8K sensor Even if the bitrate for your 8K camera is low, for scenes where things don't move much (eg, people sitting and talking) the IQ will be quite good Even if we're talking 8K on a small sensor, if you use enough light then at base ISO your 8K image will be very nice.  This might mean spending more on lighting, but it's not that great an investment and having more lighting is probably a useful thing to have anyway.  If you're shooting in natural light then it'll be free.  We use ND filters all the time because we have too much light! Downscaling 8K to 4K is a great noise-reduction technique and will be completely free, and won't have any of the strange effects of "smart" NR algorithms 8K will mean you need a more powerful computer, but if you're shooting 4K at higher bitrates and/or doing much grading in post you already need to use proxies to edit and grade anyway, so it might take a bit longer to render proxies and export but that's perhaps the only price you'll pay.

In a sense I think this is a mostly useless conversation.
The value in the conversation is people learning about how other people shoot and the technical aspects of the situation, but I doubt that anything we say here will influence what we're actually given.  In a sense, there are only two markets.  
There is the cinema market who want things like high bitrate codecs / prores capture / RAW, and consumers who want resolution and manageable file sizes.  As more and more people are making video professionally and the tech advances there are a few manufacturers who concentrate on providing higher quality capture to non-cinema market segments.  Mostly this is Panasonic with the GH line, BlackMagic with the Pocket 4k, and now Atomos as a bolt-on solution.
Even if you want higher quality 4K, and for some reason you're not willing to get it via the Pocket 4K or external recording, 8K consumer codecs are actually a good way to get it.
8K is good because:
Compressed 4K is lower quality than compressed 8K given the same bitrate (I have done tests and encoding the same material at the same bitrate and 1080 > 720 > SD) 4K displays are true 4K but 4K cameras are only true 1080 after debayering..  to get true 4K after debayering requires an 8K sensor Even if the bitrate for your 8K camera is low, for scenes where things don't move much (eg, people sitting and talking) the IQ will be quite good Even if we're talking 8K on a small sensor, if you use enough light then at base ISO your 8K image will be very nice.  This might mean spending more on lighting, but it's not that great an investment and having more lighting is probably a useful thing to have anyway.  If you're shooting in natural light then it'll be free.  We use ND filters all the time because we have too much light! Downscaling 8K to 4K is a great noise-reduction technique and will be completely free, and won't have any of the strange effects of "smart" NR algorithms 8K will mean you need a more powerful computer, but if you're shooting 4K at higher bitrates and/or doing much grading in post you already need to use proxies to edit and grade anyway, so it might take a bit longer to render proxies and export but that's perhaps the only price you'll pay.

- and Alex Delfont's incredibly good Siam Rehab (HLG and Cine-D with Linear 33x):
(be sure to watch in anything but Firefox, ideally Chrome with the dev fix)

Yeah, this is honestly one of my problems with Micro 4/3... it’s neither here nor there if you need/want to use vintage or fast lenses. 
Sigma makes a 20mm 1.8 (the older one) that isn’t too expensive and that will get you around 30mm with the Fuji crop or the Micro 4/3 with speedbooster. If you look for the Nikon version you’ll also have an aperture ring.
Tokina (also as Vivitar) made a 17mm f/3.5 that sells for between $100-$150. It is a great vintage lens with loads of character. That would get you the 24mm on the Fuji and around that speedboosted on Micro 4/3.
Canon FD has a 17mm f/4 that is really good as well. 
Hope that helps @thephoenix

I know..  think about how all the forums are full of angry people demanding 8K cameras!
Once you understand that this progression is mainly driven by the tech companies constantly trying to find ways to make you keep buying things, then the rationale becomes clearer

I think it's getting more and more difficult these days to get clarity on what people deserve.  You're right about the people that didn't vote, but for the people that did, the amount of misleading information around topics like this makes it pretty hard to understand what your choices really are, even if you actually care and put in time to understand the issues.
The impact of the media constantly trying to trigger your emotions also doesn't help in keeping perspective.

I know..  think about how all the forums are full of angry people demanding 8K cameras!
Once you understand that this progression is mainly driven by the tech companies constantly trying to find ways to make you keep buying things, then the rationale becomes clearer

I think there's too many people concerned with defending themselves against the people with big problems and not enough concern for actually fixing those problems in the first place.
Then again I live in a country so full of socialist communist lefty hippies that the conservative government used a massacre as an excuse to take away all our guns, and now as a forty-something I live in complete repression with only the fact that neither I, nor anyone else I know well, has been directly impacted by gun violence.  Naturally, I'd rather be packing serious heat and going to funerals like all the free countries out there.  But maybe that's just me?

I had a look through a few of the categories on the Pentax vintage lens site (linked in a previous post) and also did a search on eBay and nothing looked suitable.  Vintage lenses seem to be common in 28/35/40/50/80/135mm and everything else is rarer, especially at the wide end.

The crux of it is that people were given an opportunity to give a simpllistic answer to a very complex question.
Irrespective of the flat out lies, they were asked if they wanted to sit on a chair without being told it was an electric one.
For such an enormous change to have been actioned, the threshold should have been set at a much higher level than 50.1%
For anyone outside the UK, the impact of this vote might not seem as seismic as they are being portrayed but the underlying factors that caused it should scare the shit out of you.
The targeting and manipulation of voters through social and traditional media sounds like something out of a conspiracy thriller but was frighteningly real and comparitively frighteningly cheap.
Anyway, time for a break for me.

I know..  think about how all the forums are full of angry people demanding 8K cameras!
Once you understand that this progression is mainly driven by the tech companies constantly trying to find ways to make you keep buying things, then the rationale becomes clearer

I have no problems with assessing people for entry into a country, especially if they are claiming refugee status.  No-one wants to let criminals into their country, regardless of what motivates them to break the law.  
Unfortunately, at least here in Australia, these facilities are now being used as a deterrent to stop people from trying to seek asylum, where people are held indefinitely, refused basic medical care, and are never evaluated for entry into the country.  We also distinguish people arriving by boat vs by plane.  Boat people (whom Australians are terrified of) are taken to these offshore centres, but those who arrive by plane aren't.  
Our stance on boat people is so strong that we even got the US to take them from us...
That's from the UN (link).
It is the modern equivalent of putting heads on spikes at the border.

I never agreed more with you than your latest posts!

In a battle between the people with 100 million guns and the government, my money is on the side with the predator drones, not with the side who can't even talk about photography equipment online without getting into an argument.

I buy whatever is cheapest and just make sure it's fully backed up.  Also, keep your backup drive disconnected from your computer in case you get one of those viruses that lock up your data.  You should also keep your backup in a different location to keep it safe from fire or theft.
In having said that though, what was cheapest tends to remain cheapest and so as I've needed more space I've bought similar drives in anticipation of creating a RAID at some point in the future.

I don't know those lenses, but I'd suggest searching YouTube and Vimeo for example video footage and reviews - there are many people who are buying vintage lenses these days so there's lots of information around.
Also, google will turn up lots of good information, and remember that photographers often post images from these old lenses and so these photos give a way to see how sharp the resolution of the lens is (4K video is a series of highly highly compressed 8MP images, but 24MP high quality still images are common).  
I've recently found sites like https://www.pentaxforums.com/userreviews/ very useful as they aggregate reviews, give ratings, and also give price history.