filmmakereu

Incredible piece!

Yesterday I watched on Sky TV the documentary Linx, a French-Swiss documentary released in January 2022, shot and directed by Laurent Geslin. It follows a lynx family in the Jura Mountains and reveals the hidden life of this elusive feline.
https://mulderville.net/en/news/5009/lynx-interview-with-director-laurent-geslin

Geslin is fascinated by all wildlife but was particularly drawn to the lynx due to its rarity and symbolism. Living near the Jura Mountains, he found it meaningful to focus on a local predator rather than traveling abroad. The lynx, reintroduced in the area to help control herbivore populations, represents successful coexistence between humans and nature.
While he has photographed many animals (including urban foxes), making a film was a new challenge. Film allows him to tell stories in ways still photography can't. The transition required adapting techniques, such as anticipating and building cinematic shots rather than capturing single moments. He already published a photographic book about the linx.
Finding and filming a wild lynx was incredibly difficult—he once spent eight months without a sighting. Lynxes are elusive and mostly nocturnal. He used lightweight gear for mobility in the mountains and learned to read animal behavior over time. All footage in Lynx features truly wild animals in their natural environment—no trained animals or artificial setups. Geslin emphasizes that the authenticity took years to achieve. Geslin hopes viewers understand the lynx’s vital ecological role. As a top predator, the lynx helps control herbivore populations, which in turn protects young forests. He sees the lynx as the “keystone” of forest health and aims to raise awareness about the importance of preserving such species.
The cinematography of the film is very beautiful. It is not cinematic in the strict sense. It has a very very natural look. The documentary has a distinctly European style that I prefer. There are no cumbersome hosts, no one is pretending to risk their lives to film the animals. No spectacularization. There is very sparse voice over and lots of natural sounds, ASMR style. I would have liked to see it in the cinema.
Geslin appears in Nikon magazines and I became curious about the equipment used. In all the interviews he tells about the enormous effort of following these animals for two years. I couldn't find direct references to the equipment used (I have great difficulty with the French language) then by chance I came across some short shorts on his YouTube channel and a Lumix appeared. I can't tell if in a photo it is a GH5S and the other one it's a Lumix FF.


If he really shot everything with Lumix cameras, I think yes yet another demonstration of what can be done with these cameras in a genre (wildlife) almost totally monopolized by Red.
Regardless of the camera used I absolutely recommend viewing.
 
 

i mean the fairly obvious answer to the question is quality of light. other than the second to last set just generally being too dark and contrasty, you can just tell by the highlights hitting the road and the sharp shadows that you're dealing with very hard light. during sunset, the sun becomes a way softer source, which is why everything suddenly looks way nicer. 
compare your references:
Perfect Days (which is btw set in Tokyo lol): the first still has fairly harsh sunlight, but that creates that fun tree shadow on the toilet. all of the other stills you chose from the movie are during overcast weather where the sun is  naturally diffused and gives you a more low con look. 
The last medium close still from Kill Bill is a great example tbh. Do you think it looks natural? Because to me that super harsh light hitting the background dunes and car certainly doesn't, if the light that's hitting the actor is modified to such a softened and bounced back degree.
the matrix: tiny bits of hard light as edge lights around the character, but everything else is lit super soft, and some intended contrast ratio. same thing with the killer. Super soft first still, the virtual paris background has some harshness but our character is in silhouette in the second, and the last one is mainly soft, but has a hard edge light on the side. 

i like this one, but i dont like how hot the highlights are on the right side. i would either try to power window the exposure down there, or use a diffusion filter for blowing these highlights out and making them feel a bit magical. you can see some great examples of that in wong kar wai's films. 
up the exposure and lower contrast slightly on that second to last set, try to power window whatever's distracting to curate the viewer, and they'll look pretty decent. this is what i can do with about 10 minutes of work by putting your thumbnails in resolve. basic fixes for legibility, but still going for contrast:


 

Well, I understand and even second such input (how to not praise such resistent standpoint BTW?), for some reason you don't find in the title up there "My fav" but only "Fav"... let alone the expression "out there" too -- followed by those three dots aka ellipsis ; ) however, I think these tools are just arriving to stay, I guess whether we like it or not. 
We have to admit this development (not exactly a synonym of creation or the word 'art' would have been added) is impressive, no matter how sensible we are to the presence of this controversial level of arsenal. 
Can it be a PITA? Oh, in all likelihood...
Better to see these implements as they are or can be, handy toolset for mere creative refinement when applied in good hands, no less (not everywhere and anywhere) and six hours of work for this sample, as due:
https://www.facebook.com/share/v/16HdVQ9Acj/?mibextid=wwXIfr
 
IMHO the more we can juxtapose -- the right word, the more we hit the home run...
 
I simply hate the current hollywood Marvel trend and alike, they actually are destroying the art of motion picture. The remaining part left is trying to get a better idea how make it at bright side. The more many-sided we can face it as multiple layers of instruments we're able to add to the orchestra. 
A bit like distribution windows when the streaming is placing people outside the big screen and the social/aesthetic experience of the movie theatre. At a certain point, can cinema (aka the art of) be considered dead or sorta like the painting when photography popped up? ;- )
 
- EAG

Here is an impressive series of snacks:
https://www.youtube.com/@CommonHub/videos
In this case, MidJourney, Runway ML e ElevenLabs have been used according to the sources found:
 
 
 

Enchanté! Good luck!

Enchanté! Good luck!

Though I got to use my Bmmcc to film two buddies of mine last year, which turned out to be an awesome display of colour prowess and though I got to do some test footage for an upcoming project and some cool BTS from a friends project, I still have nothing from this beauty to post here due to the nature of the material. But I got to test my OG Pocket which I couldnt resist to buy about three months or so ago when the price temptingly low.:)
So I went with the tiny Panny 14mm F2.5 pancake, 800iso of course, Prores 422- not HQ, 360 shutter. Fstop up to 22. Lol. This camera is a dream in daylight. I had a test under tungsten and i found it to be just okay. But natural light or 5600K light fixtures are this cameras beautiful friends. So finally some rough n ready footage, collected over the course of a late afternoon to evening, shaky, clumsy but not withouth charme imho. Display and batteries were a challenge but workable for me. Sometimes sihouettes on the screen are enough when your eyes can see the real thing beyond the screen. Focussing was mostly prefocus and via AF button, so was the aperture adjustment with a bit of sneaking the histogram.
Anyway, here it goes, my almost Bmmcc footage. 🙂
 
 

https://www.kickstarter.com/projects/make-believers/mystery-romance-short-the-orange-of-daydreams
 
From the director of MAKE-BELIEVERS:
 
Any helpful hand is welcome, thanks for watching! :- )

A very cool feature I'd missed that came with the 3.0 Z9 FW is this "Hi-Res Zoom" which is basically what I assume is the equivalent to Sony's clear image zoom tech but with oversampled 8K to work with and zoom control can be set to lens control/focus ring. This is really sweet for prime lens shooters like myself, effectively doubling the focal range. Great way to make use of that extra resolution.

Well dang.  I just ordered a 17-35 2.8 F-mount lens...but maybe I should cancel and go with this and a cheap samyang ultrawide...this adapter is very affordable.

Seems a really good camera, probably the best hybrid at the moment.

It makes A1, Z9 and R3 look overpriced compared to this. Really good that Nikon is aggressive with the price/features pushing Canon and Sony. 

Only odd thing that apparently it cannot record video on both cards...and personally I don't like the screen as is a pita on gimbals...

The MC-N10 remote grip allows operation of the zoom (and a host of other functions) to be controlled off camera too.
Its not cheap but it adds a lot for video shooters, particularly for gimbal use.
 

Hope not much confirmed further later on because...
 
...that's really such 'da' release TBH : )
Extra info here.
https://cameradecision.com/top-cameras-with-Stacked-Sensor

Still on overheating issues, looks like they recommend an external battery for long period recordings:
I wonder on that performance versus R5C though...

I guess you've added the answer into your own post ; ) For some reason 8K50/60p either on R5C or now with Nikon's is something to not ignore : ) You cannot call it a hybrid unless you have finally a hybrid, isn't it? ;- )

Interesting full article from those usual guys... with endless customary technical stuff about the new coming kid on the block:
https://www.newsshooter.com/2023/05/10/nikon-z8-announced/

More overheating tests (this time versus Z9).

I've actually been wondering on how much we can workaround and circumvent the overheating hassle with something like this:
https://www.zitay.net/ZITAY-CS-305-CFexpress-Type-B-to-SSD-Convertor-Card-Reader-Adapter-XQD-CFE-CFX-Replacer-Substitute-Nikon-Z6-Z7-D5-D6-D850-D500-PANASONIC-DC-S1-S1R-Canon-EOS-1DX-MarkIII-R5-C500-MarkII-p779221.html
Let alone set it with a more convenient temperature cutout from (auto) standard to high:

source

Gerald just posted a thorough Z8 review with a lot of overheat results among other things.
He reveals some mega aggressive NR and very strange artefacts using the h265 codec in 4K.
Apparently there is a new V2 LUT for N-log with a smoother curve.
This camera does tick many boxes for me and there is something about the IQ I find lovely.
But its true that considering you can now find Z9's for maybe 300€ more, that take care of the battery life and overheat issues.. I don't see much of a reason to go for the Z8 if I was going down that path!

Indeed : )  Loved that part you're prone to change your mind "another five or six times", I guess I've already made such part so far in this portion of the road yet! LOL : D
Looks promising anyway.
The 2nd part of the other tests above-posted is just going online here:

I'd still look for more tests exploring all the possible combinations though.
Z8 is a completely different beast than the older sister IMO from its intrinsic modular form factor. Apples to oranges :- )

Yeah, I thought that camera may have appeared by now to throw a bit more doubt into things but I'm now having intrusive thoughts about the Sony a1.
This will be me outside the shop.

From the brief hands on experience that I had with @Andrew Reid's Z9 and Megadap E mount adapter, I was impressed enough to consider it a bit of a turning point in finally purchasing the Z9 (or Z8 or Z9 or Z8).
This review is with a broader range of lenses and setups.
There are a couple of EF adapters out there and the one I'm looking at is the Meike with the drop in VND system. 
This is their own test video but it looks usable enough.
 
For M mount (and everything else like M42, C/Y, Manual focus F mount etc that you can adapt to M) I have the original version of the TechArt Pro for E mount and it works well for what it is but has some restrictions.
Their version for the Z mount looks to made a lot of steps forward and for the miracle it is performing in terms of bringing AF to manual focus lenses I'd be fine with the performance judging by videos such as this.
With regard to the FTZ, I've only seen positive things really other than some slight slow down with TCs but thats par for the course a lot of the time with my experience on some lenses on TCs on the native F mount.
I'm not sure there is any performance difference between the FTZ and FTZii but the latter is the one for the Z9 as it doesn't have the protruding foot.
 

Any takers?
https://www.zsystemuser.com/z-mount-lenses/nikkor-lenses/nikon-z-mount-lens-reviews/
Let's also not forget whether 3rd party lenses or those coming from F, Canon and E mount adapters.