Adrian Sierkowski

I'm really worried about missing out on it or anything; it'll eventually be in stock when I go to buy it and I'm not about to plop down and lock up any cash until some more information comes out. Not to mention the bad taste I have last time I've pre-ordered from BH and Adorama only to have cancelled, but still getting charged and the item shipped and then costing me more to ship it back to them.

I just hope you can "hot swap" external bricks with the camera defaulting to the internal battery via a plate, like the pocket and the cinema and production. If i pick this up for my birthday (also september) i'd be using a battery plate for it, but chances are i'lll give it a month or two to see how it plays out.

Sorry, Phil, we can only tell those secrets to other pros and sound grips.

That's what I'd consider doing-- Or using an 8 by of lite-grid up high with the Jem-Ball behind it just out of frame.

I'd look into getting a 6500 honda with 60a bates and then running as much LED as you can as it'll be the most efficient. A bunch of Aperatures bounced into a 12x ultra bounce or something for the "ambience" and some strong kickers and atmosphere.

Sure you will; as a B cam/rigged cam, and wireless would be nice. And even for an EVF you have. already on other cameras and want to bring this out. Seriously, it's not like it's a major ask to have given an sdi or mini sdi port. What would it have really added cost wise? It would just help differentiate it more from the GH series.

SDI is kinda a requirement to fit it into most workflows.. Yeah you can do a converter, but eh? And yeah an SDI Monitor may be expensive, unless, you know, you buy the black-magic recorders with SDI on them. Actually I wonder if those cross-convert. HDMI is really a crap connector, and I think most people would've happily paid a few hundred more for a better connector which would probably cost pennies to implement.

Yes, they do.

So far my big complaint is 4/3rds sensor and looks rather pain to get a HDMI locked cable in there.

I think the biggest issue of having it at home are the private companies providing the pipping to distribute, i don't know anyone who could afford a private data-line with enough throughput to handle running a media server at home. Lord knows I have enough trouble even watching Netflix in 1080p sometimes.

God help us all. It's like this all over again: If you're in the valley sometime looking for a beer/coffee/etc, drop me a message. And please drive on the appropriate side of the road! And god help you if you try to pull one of these on the 101 or 405:

I really doubt Russia or China would ever do something sans-censorship. Your best bet might be New Zealand which is where, I believe, the "Mega" servers had to relocate to in the whole "kim dot come" thing. https://en.wikipedia.org/wiki/Kim_Dotcom

I do think youtube is the primary monetize-er, though, not that i actually follow those type things.

I think a lot of that depends on the particulars of the project at hand and all the other people there as well as the budget. If we have what we need, then there's a lot less worry then if we need to figure out how to cover a scene without the right lighting or ability to light. A lot also comes down to the producers and directors you're working with and how well you seem to get along, it can sometimes be adversarial and there is no getting around the politics of filmmaking. Personally, Sometimes. It's not a restless sleeplessness, more that I'll get an idea and then a chain of ides which'll keep me up thinking them through. I tend not to look at movies for inspiration, and I tend not to like "reference films," personally, but of course there are many times when that's the form of communication with the director, and so you do have to watch them all. I never stop thinking about the film(s) I have in varying stages, but I tend to focus most on the one next at hand. It's not an all day everday kind of thing as life on the whole throws things which distract you but I'll be the most "in tune" with whatever film is next, until and unless something more pressing appears which requires more immediate attention. Generally I'm much more concerned with speaking with the director on the script, story and their ideas of how they want to convey it. Giving them my own ideas which might be better (or worse!) and figuring out the over-all plan for the movie and what the movie is trying to say. I'm concerned about the budget, how much we have to play with, and then I'll start thinking about the locations, and what challenges they'll bring. They'll be testing, if need be, especially if doing something new, or something you haven't done in awhile, to make sure it fits into the whole pipeline through post, lots of conversations with production design, wardrobe, makeup, gaffers, camera ops if needed, and the key grip and the ad and everyone else as we get closer to shooting, what issues the locations will bring up etc. Even when I'm not 'officially prepping,' e..g off of the clock, (ha!) i'm looking into things which have been brought up which I don't have as good a handle on as I should, or new things. Examples recently were Rat-Packs / DMX as I had a few shows which used them, and I didn't really understand them, so I went deep into reading all I could about them in my off time.. Just now I finished reading a script for a project I haven't even been hired on yet, and I'm starting to think about how I would approach some of the car stuff at night, where might we use a cool drone (and can we do a day for night on a drone? and VFX in car head-lights?) I might make some doodles of my thoughts and the printed copy of my script is covered in green ink all over with notes, ideas, lights we might need, lenses I'd like, diffusion filters I think would work, aspect ratios, as well as my own inner dialogues-- writing out with arrows my thought processes. And I haven't been officially hired! and may not be. Tomorrow I go to a prep meeting for a short I'm working the end of the month. We've done over-heads and shot lists already, had the talk on budget and things we'll need, but tomorrow we'll talk scheduling (as there's a conflict) so tomorrow I'll be going over everything we're doing end of the month with the AD, director, producer, trying to figure that all out-- but I'm sure i'll also be thinking about what I want to make for dinner. Is my Fiance ok, I hope she's not mad I'm taking longer than I said I would (she won't be), oh my god I need to get gas in the car and I'm on the west-side and it costs too much here etc.

There're around. I don't recall the names/models off of the top of my head, but a quick google search produces these: https://www.amazon.com/Full-Spectrum-Fluorescent-Lamps-PHILIPS-950/dp/B0009INXIO granted, those are T8 and not T12 (normal Kino) but still, seemingly nice and high CRI lights. As these are all 90+ CRI you could use them for film: https://www.bulbs.com/90+/Fluorescent_Bulbs/results.aspx You really won't get super high Lumen for a typical tube w/o over-driving it as you do with a Kino.

They (and a few others) just use a better chemistry for the coatings on the inside which is what actually fluoresces. GE and Phillips also make high CRI tubes (or at least used to) which were comparable to Kino quality without the price. Also Kino tubes are designed to be run in "overdrive" e.g. they overpower them a bit for output and color fidelity (hence why a Kino won't look as good in a non-kino ballasted situation, such as my kitchen where I have K32 tubes). Almost all non-tungsten light has a green spike, including HMI and LED, it all just depends on how broad, strong, and where in the green color spectrum the spike is as to how it'll read on a camera/film.

I would actually hedge someone just stole your badge after murdering you. This is America after all! Wish I could've made it to NAB let us know what we miss.

If you're going to buy a new one, get the 858 which is cheaper than the 758 and just all around better. Sadly that video doesn't really go into too much as to why you need the things on the meter, just "this one looks cool" and "feels good in my hand." There's also the Studio Deluxe II from Sekonic, which it all analog and great to carry as a back-up as well (i have it in my bag). I've never needed to work in Lux, ever, and those meters both have foot-candles which are probably a bit more useful as the photometrics in the US on lights is generally listed in FC. The biggest, best, difference on the 858 -v- the 758 is the normal batteries as opposed to the C123 (or might've been CR123) the 758 took which always seemed to die out right when you needed it.

Ahh that's right, the VF, been awhile. It was my first meter in the 90s and the KFM-1100 looks just like it.

Save up your money and go for a Sekonic 858 or 458 ( i think it's a 458, might be 408). Spectra Meters are nice as well Used Minolta IV F are nice (and they actually are still made just under a new brand). But a good tool once and not quite a few crap tools.

Well, you could hire me (www.adriansierkowski.com) or any of the very very very talented people here on the forum. I've had the joy of shooting film many times in my career and still enjoy shooting it when comes around. Be warned, though, that shooting on film takes a level of discipline which is often absent from digital productions, so you really need the whole cast and crew to understand the sound of the camera rolling is the sound of money.

I actually will throw bars up on my TV via an HDMI input and try to set it as closely as possible (and i used to even use a blue-screen filter for a poor-mans "blue only" mode). And for other such things on this new TV (e.g. Netflix and Amazon which are built in apps,) i used my older TV which I threw bars on (netflix and amazon came in via a hdmi roku) and "eye balled it" as close as I could. It's still not "right" 100% but it's a solid 90ish % there and my Fiance got tired of hearing me complain so I keep quiet. Plus the TV was a gift, so I have to live with it either in the living room or bedroom.

Truth be told, it doesn't really matter if you register or copyright or anything if you haven't got the funds to defend those claims. In my mind though, in the event you do get ripped of, the press alone you'd get from it might be more valuable than any financial gain. Not legal advice, your mileage may vary, certain restrictions apply, no purchase necessary and all that.

I had HDR on my new 4K TV on for an Amazon show (Electric Sheep), after spending about 20 minutes wondering why the show looked like crap, I figured out how to turn it off (it already was off on other inputs and apps on the tv, but apparently each app/input has it's own settings which is nice, and also awful). In any case, I did see some very nice HDR footage at a camera event, where their tvs (just 4K tvs) were properly set up; which is to say, the only real way to know how the director (or camera manufacturer) intend it to look 100% is to be in the color suite or at a camera event (if it's just about how a camera could/should look). We haven't even really solved the gamma issues between TV, PC, and MAC yet for SD/HD, let alone standards which are "2020" (slight pun)

I also don't necessarily trust how bright it looks to how bright it was on the day based off of an animated gif. It does look tungsten, though in the gif, but daylight in the poster and nearly a little de-focused leko-like to me. I haven't seen the movie; but yes, an 800 or 1600 JoLeko is Very bright, especially if you are using a 26 degree lens.