greenscreen

Just posted my latest Video with the EOS M & 2.8K Raw. Truly remarkable what this camera still can do. Tried to emulate the Super 16 look although I mainly used Canon L Glass.
https://youtu.be/ohDS3ErANOs
- - Gear Used- - 
*Camera - EOS M (Original w/ ML)
 *Lens - Canon 17-40 F/4 | Canon 24-70 f/4 | Canon 35 F/1.4
 *Tripod
- - Settings - -
 *2.8K RAW 2800x1190 [2.35:1]
 * 23.98 FPS, 1/48, WB 5200, ISO 100
- - Editing - -
 *All graded in MLV App (ALEXA LOG C Profile w/ Creative Adjustments enabled, Exported Prores 4444
 * Finishing touch in FCPX 8K Timeline & Export (LOL), added little saturation and exposure adjusted, No sharpening at all.

Yeah, the colours are always gorgeous with ML thanks to the bit depth and colour science. 
I get a cropped real-time display in Live View, then I press the 'info' button to show me a grey scaled live view (low fps) of the actual raw framing. Then I go back to real-time and click record. I'm so used to it these days haha 🤣🎥

Another astonishing film editor I can never forget the fortune I had of a personal contact with and I could make part of my own learning from, is La double vie de Véronique and Trois couleurs: Bleu & Rouge's editor, the French Jacques Witta...
Where editing is not a matter of space but much of time... Bazin and Deleuze are there ; )
https://www.criterionchannel.com/three-colors-red/videos/jacques-witta-on-red

Yeah, uncredited, sorta cameo à la Hitch : D with whom he started his career BTW with The Wrong Man, on which he worked as assistant editor.
Here's more stuff from Bobbie O'Steen and her husband's life dedicated to the movies, already in a period where the modern cinema comes up to the silver screen; brings a contribution of his own to the motion pictures within the mainstream -- interesting the fact he collaborated with them for decades:
https://www.bobbieosteen.com/blog/
Many videos on topic right there in this channel to prove YT is not only shills, money and garbage ;- )
 

3/4 years ago I almost bite this one here: https://nikonrumors.com/2018/06/30/this-camera-and-lens-collection-contains-1750-pieces-and-can-be-yours-for-65000.aspx/

Sam O'Steen was a great collaborator of Roman Polanski. Mike Nichols too. A curious note, he is the man on bus in The Graduate.

You can have both. 

In the last 8 years
Streaming resolution has gone up. I remember when YouTube maxed at 720p and they called it HD! Streaming bitrates have gone up. Better codecs are being used. TV manufactures and streaming services are working on a true "cinema" display standard for viewing. Storage $/GB have continued to decline. Camera media is getting larger and more inexpensive (You can get a 512GB CFExpress card from Angelbird that can handle 8K for $179). Cameras are universally adding 10-bit color in camera. Some cameras are offering 12-bit internal RAW at fairly reasonable bitrates. Camera resolutions are going up Color science is improving in multiple brands Professional grading and editing software is more available and cheaper than ever You can learn how to professional grade your footage FREE to maximize the 10-bit / 12-bit color coming out of your camera. And that is perfectly valid way to shoot. And so you buy the camera that works best for you and gives you the best SOOC result. As things evolve you switch up your gear to get better results and an easier workflow. This is how technology works. Now you can get cameras that shoot seasoned SOOC colors that look decent in 10-bit. Many of your clients will probably own or WILL own a 10-bit HDR TV / monitor where the footage will shine and look good.
 
Then take your 5K/6K/8K oversampling camera and put it in a 2K/4K mode with as high as a bit depth as you can get. Color your footage however you want.
Hell, if you camera shoots 12-bit+ RAW. Then shoot that and then conform it to ARRI LOG-C and grade it just like an ARRI camera minus a few stops of dynamic range. You can do that now! So until ARRI releases a mirrorless camera with IBIS you won't be happy. I would say the other brands are coming up faster to reaching that point than you think. You just might have to accept that your 2-4K 10-bit plus footage will be oversampled from 8K or more.

Oh shit! Did they digitally crop for an artistic intent? Amateurs!

There's no cinema without competent editing and that's not an easy task... People tend to forget it when focus too much on camera specs ; )
Thanks for this thread : ) and heads up to everyone coming here ;- )
- EAG

Indeed, Walter Murch is a monument : ) Something I could immediately extract from his testimony, is the cut over the characters' movement -- I think it's one of his finest contributions, obviously, too little to define it:
https://www.premiumbeat.com/blog/when-and-where-to-make-the-cut-inspired-by-walter-murchs-in-the-blink-of-an-eye/
https://www.studiobinder.com/blog/walter-murch-rule-of-six/
https://musicbed.com/blog/filmmaking/editing/editing-secrets-from-legendary-editor-walter-murch
From a conversation with him:
https://www.provideocoalition.com/aotc-murch-bcpc/
More around from:
https://blog.filmsupply.com/articles/5-editing-lessons-from-walter-murch/47/
https://www.yoair.com/blog/editing-on-film-how-a-good-cut-creates-an-impactful-message/
And an interesting recent degree thesis about his famous rule of six.
 
Some other important individual I got the chance to have her as one of my instructors at film school but personally in her case along his nice husband the legend John Bailey, is the Lawrence Kasdan and Spielberg's E.T. editor, Carol Littleton. Here's an interview and a free audiobook with her to whom loves her showpieces and cutting work:
https://cinemontage.org/silent-revolutionary-carol-littleton/
https://www.audible.com/pd/An-Evening-with-Film-Editor-Carol-Littleton-Audiobook/B002V01IR6
 
Finally, a last contemporary bibliography reference, another woman and wife of Sam O'Steen (The Graduate, Rosemary's Baby, Chinatown and many others), also available at the Manhattan Edit Workshop BTW as much as the above-mentioned audiobook:
https://www.bobbieosteen.com/2020/12/watch-my-panel-inside-the-cutting-room-of-sam-osteen/
 
 

Roger, it is even more complex, for example see this CML discussion about perceived discussion, different DPs, different opinions: https://www.cinematography.net/edited-pages/percieved-sharpness.htm
 

Great hard work there! Sounds B&W deserves much more talents to only make B&W films today. Good bet!

There isn't any confusion at all involved because math isn't applied. Perception doesn't need to be less scientific than math.

Great hard work there! Sounds B&W deserves much more talents to only make B&W films today. Good bet!

Great hard work there! Sounds B&W deserves much more talents to only make B&W films today. Good bet!

As for instance, have anyone noticed the work of this old good fellow here other than a few of us?
Take a look on such well done BTS and tell me then that's nothing new to see there... ; ) LOL
https://www.youtube.com/channel/UCTXrI3UZLw5e8u66Dv_pnoQ
 
Here's another one:
 

W
Why thank you.

here's the full version. PW: festival
 
 

Decided to pick up a Nikon AIS 28mm f/2.8 for $160

Love your reflections, mate! < 3 Art is all about that, in a word: perception :- )

These guys are right. No math involved logic and perception are the cinema.

3/4 years ago I almost bite this one here: https://nikonrumors.com/2018/06/30/this-camera-and-lens-collection-contains-1750-pieces-and-can-be-yours-for-65000.aspx/

3/4 years ago I almost bite this one here: https://nikonrumors.com/2018/06/30/this-camera-and-lens-collection-contains-1750-pieces-and-can-be-yours-for-65000.aspx/

Seems like most people don't visit the sub forums, you might get more responses in the main forum. Without having used either camera, and assuming you're sure it doesn't have anything wrong with it at that price, here's my two cents.
It would all come down to how controlled a setting you typically shoot in, and how big your crew is. That's a large camera, meaning support equipment also needs to be sturdier--tripod, gimbal, crane, car mounts, etc. It'll go through more batteries and storage. If in a studio, it may not be a problem, but on a 10 hour location shoot that's a lot of extra stuff to bring, compared to a BMMCC. Those 4.6k sensors aren't known for being great in low light, so you'll also perhaps need more/bigger lights.
So if it already matches your production style, than that's a great deal to jump on. However, if you're one-man-banding it on location, consider how it might affect your workflow.

In fact. Wide angle related.