kye

It is very important to know your place and understand your concept completely, in the pro world.
That is number one.
I recently did a documentary series with young directors (one director each 25minutes episodes), almost all of them did more than 5 hours interviews! that was too much for the project, the concept behind it, and the budget.
As of the technical stuff. When I was doing such work I always shot 50p (more is just too much) and used whatever technique I considered appropriate. A few timelapses and hyperlapses were good transition tricks also. Speedramp also. Whatever..

Oh, absolutely. I just want people to know that super hi res footage isn't a requirement for vfx. It's definitely good pixels over more pixels (Steve Yedlin's mantra, I guess). 4k+ is definitely becoming more popular with vfx shots, but I continue to see work in the region of 2k-3.5k on the most cg-heavy projects because otherwise the work is just too expensive unless it's for an IMAX sequence that can budget for it. Netflix is an outlier here.

Thinking about this a little further, this won't change much at all.
The problem with CGI people is that they're fake..........  but so are a vast number of influencers so no change there.
The other problem with AI-generated scripts is that AI tends to "hallucinate" and be factually incorrect as well as potentially getting into the realms of bigotry..........  but so are a vast number of influencers so no change there either.
TBH this is true of lots of traditional media too.  Keeping Up With the Real-Life Leave-It-To-Beavers of Beverly Hills Who Wants A Wife was actually more typical of TV rather than an exception.  
It was blogging and then vlogging that actually started the trend of being authentic - TV and film never did it.

Seems like it's the same reason that everyone else thinks more resolution is better...  We've been shooting moving images for over a century and most of that time it was genuinely below the optimum resolution/sharpness, and now we have achieved it, very few people are smart enough to realise that we've arrived and we need to move on and focus on something else.
Plus, you know, brands do marketing for a reason - it works.... and if your product doesn't fulfil an existing need then job #1 is to create the need.

Seems like it's the same reason that everyone else thinks more resolution is better...  We've been shooting moving images for over a century and most of that time it was genuinely below the optimum resolution/sharpness, and now we have achieved it, very few people are smart enough to realise that we've arrived and we need to move on and focus on something else.
Plus, you know, brands do marketing for a reason - it works.... and if your product doesn't fulfil an existing need then job #1 is to create the need.

Shot on Nikon Z6, Tamron 45mm 1.8, 8-bit neutral PP with contrast reduced in-camera. Graded in Resolve. BTS posted below. 

Love the colour. The lens interestingly hazes quiet vintage style in the strong backlight shot. You should do a breakdown of your findings regarding colourwork and exposure from the Sigma FP thread. I watched your Sirui Anamorphic 1.6 test. Looking lovely. What are your estimations on the set? @OleB
Lovely stuff you all. I already posted some of my semipro work on this forum. Was mostly doing colour work last year, last hurray so to say before all auto on the newest Davinci version will do the job.:) Anyway, here is my first paid music video, directing, producing, lighting, DPing, editing the thing. All shots inside filmed against a small wall in a small living room;) Shot on one day, shots and lighting done spontaneously on location. Had a friend as AC for 90% of the shots thanx gosh. Most inside was GH5 at ISO400 VLog, S1 as BCam for the golden pattern lit background shot inside and three handheld lowlight shots outside. Sorry for reposting, if some of you mind:)
 

Here we go. 🙂 

I sometimes use time lapses or hyper lapses to help tell the story. I mainly only use hyperlapses with drone work and occasionally timelapses to show a setup, or for dramatic effect such as to show the sky rolling across the horizon.
I have a dedicated Canon Rebel T6s that I use just for timelapses, it has incredible battery life with the dual grip handle (over 2,000 images in one timelapse once and it still had over 50% battery life remaining), plus I don't want that high shutter count on one of my more expensive cameras, additionally I like to set up my timelapse camera somewhere and leave it while I go shoot other content so there's the theft concern as well. Lastly, it is blazing hot here in the summer and it has never once overheated during a timelapse so its a great little timelapse camera.
Many times I have lugged the timelapse camera with me planning on setting up a quick 15min timelapse to use as the opening or closing for the video and many times it's just a not a good fit, either there's no place I feel is safe enough to leave it while I do other things, or the sky is completely cloudless so it would be a wasted effort, etc. 
As far as where in the edit I tend to find them the most useful, for me its usually the very beginning opening sequence or the closing i.e. a timelapsed sunset is a nice closing shot especially in places where I cannot use the drone. But without the right conditions (cloudy skies, progressive changes, etc.) timelapses aren't worth the time or effort to me.
When editing 60FPS on a 30FPS timeline I do occasionally only slow down say the last few seconds of a longer 5 or 10s clip, just enough to stretch it to the jump point which keeps the rest of the clip real time while getting it to the logical jump point, also sometimes I combine 60FPS with optical flow to drop all the way down to 25% to simulate 120FPS without actually shooting 120FPS if I want truly slow motion; this effect followed by a speedramp can be quite dramatic.  I know purists may say optical flow isn't "pure" enough slow motion, but in DR with the right settings it does a really good job depending on the content being slowed down.
 
I decided years ago to stick to 30FPS and 60FPS for all of my work unless the client specified 24FPS, or PAL....for me it eliminates all of the conformance issues and reduces the problems with pans, eliminates the jittery look, etc. etc. I figured out long ago I will never be a Hollywood feature film videographer so the 30FPS delivery framerate looks the best with the least amount of work to me.

Well I used to shoot all my events at 50p so I had the option of real time at up to 50% slow motion and my productions were typically 1/5th real time and 4/5th slo mo.
That’s all changing from next week as I’m switching to shooting 30p + 60p despite being in a PAL region.
30 is my new go to after research and testing with 60 being my option and productions will now be approx:
1/5th in real time + 1/5th at 40% + 3/5ths at 80% + probably squeezing in a flowing timelapse or two + some slow shutter drag stuff from late on.
Throwing the kitchen sink at it?
Kind of, but in a considered storyboard cohesive manner as in it’s all pre-planned such as; couple exit ceremony with confetti? Well that’s shot in 60 to end up as a 40% speed closer and fade out from the chapter ‘Ceremony’. Shoot for the edit basically.
I’m setting up each of my cameras with 5 custom settings; indoor stills, outdoor stills, 30p indoor video, 30p outdoor video, 60p outdoor video.
Timelapse and shutter drag stuff, I will just manually set at the time.
I’ve spent too much time juggling kit in recent years intending to up my capture game but it’s been getting in the way of creativity/intent so some fundamental changes have been happening…

I used to be in love, and still am, with the mini dv cameras of the 90's. The practicality of it made me looking for that breeze of use in many newer cameras but have yet to find it.
I don't speak about mirrorless cameras or dslrs, but camcorders with great usability and image quality. One that probably come to mind is the hated Canon XC10/15.
Of course, I understand that a Sony Fx3 with a zoom lens could potentially be something similar, and better, but again, I'm talking about a camcorder with great image quality, small form factor, great usability.

In the same vein as the XC10, have a look at the Panasonic FZ2000/2500.
Its a stills camera style form factor but it can be considered a full on 4K/HD camcorder, complete with integral 4 step ND filter, V-LOG, 5 axis stabilisation, servo zoom (with LANC input to support external control), audio monitoring etc etc.
The 24-480mm zoom lens makes it ideal in the tourist camcorder role to get that broad range of coverage and shot sizes and here are some frame exports from footage that I shot with mine in that role, shot in v-Log using the 200mbps all-i HD codec.
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Panasonic made a camcorder style version of it (with additional high frame rate capability) but it obviously was significantly more expensive (at least double if I recall correctly) as these things tend to always be.
You can pick up a used FZ2000/2500 for around €700 or under which makes it a very decent option for a camcorder role.
As long as you ignore the fact that it doesn't actually look one 🙂 

Was the title of the thread a clue to the name of the artist?
If so, did the audio section of the contract say “And you may find yourself working with a shotgun mic” ?

Such an awesome discussion here. Thank you everyone!! Small update: the concert has happened. I ended up using only the 24-105mm f/4. Thanks to many of you I realized that changing lenses would have cost me shots, no matter how much I wanted the look from my primes. Light wasn't an issue as the FX6 is amazing at its second base ISO. 

Technically speaking the shoot went very well. I was on-site for 2 days capturing all sorts of BTS footage of load in and set up. There were a few pretty dramatic setbacks, though. As with many big name acts, there were some strict PR guidelines put in place that I could not control. So, I wasn't able to get many of the types of shots I'd originally scoped for this project. The video is being reviewed by the band's management now. So, hopefully another update coming soon.

AI video just keeps on getting better and better:
 
The video to video feature is especially interesting, I could imagine a very rough video being made cheaply, then being heavily stylized to create a much more polished output for use in an advert.  
A longer look at AI tools for video: 
 

I seem to be spending a lot of time thinking and posting about the Z series cameras considering that I don't actually own one.
Well, not yet at least.
What is solidifying what now seems like an inevitable purchase of the Z8/Z9 (more likely the latter) is the mount but not necessarily the native lenses themselves.
Not that there is anything wrong with the native lenses from what I have seen more that I have a some may say addiction level collection of lenses and I don't fancy the expense of adding to it with a collection of native Z mount lenses.
Not least because, of course, I won't get any utility from them with any of my other some may say addiction level collection of cameras.
The supreme adaptability of the Z mount means that it is unsurpassed in terms of allowing me to use the, erm,  "carefully curated " collection of lenses of various mounts that I have in no way impulsively purchased over the years, particularly when it comes to providing AF translation too.
There are four adapters that I will be buying when I eventually cave in and buy the Z9.
Nikon FTZii - Absolute no brainer for most users of course but particularly for me as I do have a legitimately large collection of actually carefully curated high end F mount lenses from when I was a working pro. Meike EF>Z With Drop In Filter Adapter - EF lenses feature second largest in my shame and this lets me use them with full ND control built in. Meike/Megadap E>Z - This one has really pushed my decision to commit to Z mount as I have a few E mount lenses already but the bigger interest is in using it as a pathway to get cost effective mirrorless lenses in the form of the Sigma E mount contemporary range. TechArt Pro TZM02 - The secret weapon for the rest of the groaning draws of glass and metal as it provides AF for manual lenses on Z mount. Predominantly for M mounts (of which I have "a few") but with cheap adapters can also perform the same miracle for my Contax/Zeiss etc and, of course, the old Nikon F mount collection. The only gap is for PL mount lenses but only because I don't want to buy a basic PL>Z adapter when I suspect that Meike will produce a Z mount version of their PL adapter with drop in filter that they already produce for RF, E and L mount.
These adapters definitely cement the Z9 as my forever* camera as it fulfils the notion of bridging the requirements of what I need now and the future with a modicum of mitigation for the profligacy of the past.
Having said all that, one Z mount lens that I wasn't aware of that looks quite interesting is the 24-200mm. Not fast but very versatile and decent performance.
 
 
forever* - AKA this week at least.

Yes you are right, the same goes for here, certain churches don't allow flashes during weddings, many events/venues don't let you bring anything even resembling a professional camera on their property or in their venue unless you get approval first which of course is nearly impossible to get. For places that are that bad, I just tell my client that I refuse to film there. These days I don't really do the tourist thing anymore but if I did even the R7 would probably be too big for venues like that. 
I didn't even think about the smaller size of the venues there. I have been to Europe a few times and each time, the smaller size of everything was the first thing I had to get used to. By comparison most things in America seem large to the point of being wastefully excessive. Events are the same way, most events are in huge venues with large crowds and the zoom lenses really help close those gaps. I think with smaller venues I would be more likely to consider primes or something like the 24-70 F2.8. I guess that's why it was hard for me to even imagine some of the lens choices that people were making here when I was thinking about the amount of space I need to cover in my typical event. I have even used the 70-200 on occasion because things were just so far away or so high up that the 105 wasn't long enough for me to capture the level of detail that I wanted. BTW the 70-200 RF F2.8 is incredibly stable handheld even at 200mm way more so than the EF version ever was.
Its funny, I don't look at them as compromises at all as long as you deliver something the client is willing to pay for. At the end of the day it is just photos and video footage, to me it's only a compromise if you compare it to something else you could have done or some other equipment you could have used, but if the client is pleased with the final product then I consider that as having picked the right equipment for the job even if that client happens to be yourself.
Sure you could have picked a sharper lens, shot with a higher resolution camera, used a gimbal instead of handheld, etc. etc. but none of those things mattered in the end so I don't consider not using those things to be a compromise.

You're certainly not the only one - isn't that what makes it an interesting challenge? 🙂
But on the other side on the coin, it's everyone's different choice of compromises that gives their productions a personal 'look' - the world of the 'moving image' would be a very boring place if everyone used the same 'look' and style...

Yes, this can be an absolute killer...
I filmed a friends birthday party on a GoPro once, which was in a nightclub, and edited it up as a sort of birthday present for her.  I put it on a handle and in it's waterproof case (it was an older one that wasn't water resistant when naked) and let them pass it around and sort of crowd-source shots.  The footage I got back was great from the perspective of angles and content, and the noise was obviously an issue being that it was an older GoPro and the nightclub was almost pitch black in-between the light pulses/flashes, but the colour rendering from the various "white" light sources was spectacular, and not in a good way.  This combined with the GoPros 709 colour science was an incredibly difficult challenge to colour grade, because so many shots were close-enough to neutral to need to be balanced but were so far from proper that it was a real challenge.
I see similar things in street markets etc where every vendor has their own brand of 70 CRI LED lights that are all different colours to each other, with some vendors even having a mixture of several different colours just in their own booth.  Or even string lights where you can tell which bulbs they're replaced and not matched the existing ones.
It's like stepping into an alternative universe where you can see all sorts of colours, but not in a good way.
I think this is potentially the most significant factor that defines what focal lengths you need.  For my own videos of my family I worked out that what I wanted was environmental portraits, and I wanted to shoot them from where I was standing, which was generally at a comfortable distance from them (here in Australia the personal space distance is on the larger side) but without having other people in-between us.
I settled on 35mm equivalent, as I felt that the 28mm that smartphones used at the time was too generic a look, but on my last trip I used the 14mm on the GX85, which works out to be a 31mm in 4K mode and I didn't mind or even notice that it was much wider, so I think I might have gotten over my phobia of the 28mm look.  Certainly there are situations where it's too crowded for the 35, and in some situations (for example in a crowded local market in India where you were pressed up against at least two other people at all times) I had to film by using my phones wide angle and do it from above, as if I held my phone at eye height it might have been touching both my head and also my wife's at the same time!
For my work I like to get the perspective that the video is from my own individual perspective, so I shoot the things I see from where I am when I'm seeing them, but within the confines of what lenses I have.  Obviously this is counter to @mercers point about zooming with your feet, but I find that human vision can easily be "zoomed" in that you can easily narrow your attention when looking at a far away object, so I think there's some flexibility if you're trying for the perspective a human might have rather than just watching events and not being in them (as you are in most narrative work).  Yes, your eyes are still a wide-angle lens and light from the table you're sitting at and from the people sitting next to you is still hitting your retina but because you're staring at the sailboat out on the water you're no longer aware of the people and the table, you've kind of zoomed in cognitively.
Absolutely.  My experience has mostly been that I'm experiencing all of them at all times!

The problem I have always had with zooms is that I was either compromising the shot for the luxury of not moving my setup, or I kept moving to get the sweet spot (pop) of the specific focal length I was zoomed in/out to... so the old saying about primes... Zoom with your feet... was still necessary to hit the sweet spot.
Of course, time was still saved because I didn't have to change lenses, but I also found that I was mostly using a small portion of the zoom range... usually between 40-65mm. At that point it's easier to split the difference and swap out the heavier zoom for a 50mm, and use my feet to zoom.
But then I was losing IS, so I needed a monopod or I wasn't able to hit that lens' sweet spot, so I started going a little wider, but then I'm compromising my specific style for the mechanics of the shot...
Point being... there are always compromises with run and gun. 

That's my point. You get stuck at the back of a cathedral with permission to shoot from there and only there and your only lens is a 28mm...
A word beginning with F and rhyming with duck comes to mind 🤪

Shit I just pissed in my mouth made me LOL

There isn't one reason for the decline in websites like DPR and IR, but clearly the ad money has shifted to TikTok and YouTube social media influencers, and away from written articles so that is a big reason. The jazz media company that bought the magazine company that Dave sold IR to back in 2019, saw no worthwhile profit in IR's books.
Not only are these sites predominantly about written articles, they are about a subject that is fast turning into a niche.
Smartphone cameras are mainstream as we all know, and that means proper cameras are now about as mainstream as cassette tapes.
I think AI will accelerate this retreat even further.
The other general trend is that both DPR and IR were not ideal from a content point of view, it was often like reading advertising copy, as is the case with so much in the camera world in 2023. There is a lack of drama, a lack of true insight, it has all become a bit dry.
The camera companies should be really worried about these two canaries in a coal mine and they won't be the last to die. It points to the fact that the camera industry should probably do something to stop the rot and support the remaining sites.
Sadly they won't.

You've clearly never run a site or a business!
If you've never run a site then you'll have no idea how much effort goes into running it and maintaining it in the background.
Sites require constant maintenance as they are constantly under siege from spammers, hackers, new user requests etc.  Even if you disable comments and logins and all the Web 2.0 functionality you still need to update the software regularly or hackers will pWn your site and turn it into an ad for viagra or to support Putin.
That's the site, but to keep paying for it you need to have an active bank account and need to keep putting money in it.  That bank account was probably under a business name, and to keep that active you need to keep the business name active, which means filing tax returns and dealing with whatever other accounting and government tasks are required.
Did your business have anything else associated with it?  Offices, parking, permits?  You'll need to manage those things too.
The list is truly endless.  There's a good reason that social media sites like Medium or Wordpress or Facebook or YouTube are so popular - because maintaining your own platform is literally a full-time job.