Aapo Lettinen

could be used for special projects for sure! if you have for example a project which requires "old Super8" looking footage you could use that old stock and 16mm cameras for that :) (would need to clip test for sure. remjet may also sometimes stick and spot the emulsion if film is frozen and old)

yep, September 30th, 2019 ? sounds reasonable by BMD standards :lol: I used all the money for scuba equipment anyway so maybe will look for the Pocket next Autumn when it actually arrives to the shops near me B)

probably the OP has already transferred to Anamorphic and Large Format like people do every time the 3D tries to make comeback and fails :lol:

I recommend Silverstack software if you have more than couple of shooting days. better verifying options and much easier to manage larger amounts of cards in the library. you will want to check for having the right connectors in the laptop and the required amount of them. the newest macbook models will need adapters to work with the card readers and to get reasonable amount of connectors so you will need to take that into account. windows laptops are ok if you don't need Silverstack (shotput pro is pretty much the best you can do on Windows) and you will check very carefully that the connectors are right for you (they may for example have usb-c connectors without thunderbolt3 circuitry and so on) . on windows you will get more processing power on the same budget, especially GPU's will be much more powerful for the price, so if you do proxies at the same time on the same laptop it may be beneficial to have a Windows laptop, for example one made originally for heavier gaming use. you probably don't need Retina displays for simple offload and management tasks and the laptop displays are generally too small for quality control work anyway so they are no reason to purchase a mac, concentrate on other aspects instead. both Windows and Mac are a tad unreliable so you will need to know your system well and DON'T DO ANYTHING ELSE with it during the gig so that you know you/someone else did't update software X which made data management software Y nonworking in the middle of the shoot etc. . Or a trainee using it for shady personal business when offloading cards and downloading and installing all kind of crap to it :blink: Personally I like to not even have the DIT computer connected to the internet most of the time when on a shoot, only connect it if absolutely needing to upload dailies or something other dit related. the computers will be your worst nightmare on set, they never work correctly all the time so be prepared and don't trust ANY system no matter the brand ;)

I believe the Swedes use mainly 10A and 16A fuses like here in Finland? you will want to check the locations, it depends on the place and the age of the wiring how large fuses a house is allowed to use. 10A is safe to assume unless knowing for sure. Here some old houses may still have even 6A fuses... for chargers using separate detachable power cord (like v-lock chargers) you could just take the UK plug and Euro plug cords with you or buy them on location. could be more practical than using travel adapters if you have lots of gear with you. Dagsljus is one of the rental houses in Sweden. they can source gear from their partners as well (for example from Angel Films in Helsinki) if you need more gear or specialised gear not available in the country. A local gaffer could be very handy in both UK and Sweden. You will hire the G&E locally anyway so would probably be the most practical solution and they will help with the location electric issues as well... and help you get good rates from rental houses

I don't think talent is really mandatory in film business most of the time. It will help a lot on certain type of projects and make life easier but normally you are not making auteur films where you can really decide everything by yourself (the producers and investors and distributors will say NO all the time and may alter your work even so much that it is barely recognizable anymore) . it is an INDUSTRY anyway, the main goal is not to make high class art but to produce entertainment for the masses which mandates whole different skill set than just making good movies which don't sell. I don't think talent is even that rare. Nobody can do films without training and talent could only help with the basic storytelling part and maybe a little bit with the visuals and the rest needs to be learned... and one needs to train oneself with the visualization skills, editing etc. anyway like everybody else, talented or not. The "one in a million super talented extraordinary person" mentality is mostly an American thing I think (the society pushing people down and the enermous amount of competition in all fields, making it mandatory to differentiate yourself from others to get forward. people also love Cinderella stories) , it is just not a very realistic approach to film industry where it is more handy to be very persistent and absolutely fireproof and to never give up even if it takes 20 years to archive something (you will just try another route and explore and train yourself more and more in the process until you're somewhere you like to be. Finding your own style is of course mandatory but that is not "talent" , rather a SKILL which develops with enough time and training (talent being something people born with rather than something they can learn... talent is not their own achievement, just something they got in birth like three nipples or good hearing :lol: Remember Disney's Cinderella? she had some SKILLS (housecleaning, singing etc.) , her TALENT being that her own shoe fits her foot B) how mentally ill poor person talking to animals got married to a prince? good contacts, lots of help from others and pure luck ;) ) Social skills are really really important though and may make lots of difference. at least they will make progress much faster. Talent not important, SKILLS are ;)

you'll need lots of good contacts and even more pure luck I'd say :lol: being talented and having good projects will also help but that is mandatory anyway and there is millions of excellent directors out there who never get to do projects. so you have to be very good in what you're doing but that is absolutely not enough in any case. Being in right place at right time knowing the right people will make all the difference... and even a very mediocre untalented person could be successful if only having the needed support from producers and investors (sometimes they just like persons making s**tload of money for them even if the end product is otherwise garbage). and, of course, it doesn't harm if you have good physical and mental health to begin with, you will lose at least 90% of it in the process so better to start with more than 0 and prepare for psychotherapy if things go wrong :lol:

maybe he/she meant the detachable pressure plate's cam mechanism which is rotated in place to secure the pressure plate? this can be found on certain cameras with for example Mitchell style movement (that cam-like thingy holding the pressure plate in place. just above the reg pins)

output to multiple platforms may be relatively easy as long as you can: -use the same grade version (no need to tweak colours and contrast) -you can use the same audio track (and no need to find new music for separate versions which is very time consuming) -there is no need to change the graphics (it is always a freaking nightmare to find the correct font and placement etc for them, may very well take 30% of the edit time) -the aspect ratio is the same (no creative cropping decisions needed, they may want for example making a vertical screen version of the horizontal aspect project which will need additional work) you just need to ask beforehand which platforms and aspect ratios etc. they want to do and put that in the contract, as well as how many versions can be made. and everything else will be extra. it would be wise to make a "full frame" uhd version of the grade, though, even if they would not ask for it, because if they want to do versioning later you can reframe if to some point and do different aspect ratios out of it. (if they would as only for scope 2.39 aspect and then want to do something else later as well (always happens) then it may be difficult to arrange another grading session compared to just having the full height graded clean version and just reframing it in edit as needed) I would ask the customer to deliver the graphics and music and put that in the contract as well. will save incredible amount of your work ;)

by my drone material experience, one really needs the prores or raw option. the h264 /h265 is simply not good enough quality even if the camera itself is very high quality. the BMD micro and pocket would otherwise be ok but would need separate gimbal and possibly remote focus depending on the shot and also video link. And they are HD cameras which COULD be used for high budget but is not ideal for bigger movies. DJI's products are a bit unreliable at times but the Inspire2+X7+raw combo is otherwise very good even for bigger budget for replacing some of the shots which would otherwise have been made with at least Red Scarlet level cameras. We used one on the nature adventure film shot last Autumn and Spring and are now beginning shooting a nature doc with similar setup for 4k cinema release. It is not that cheap system but it is so much easier to use than bigger drones and so much higher image quality than any smaller system that it makes lots of sense for us, especially because there will be lots of landscape shots where you need every sharpness and dynamic range you can get and the logistics is quite challenging at least

as far as I know the DJI Inspire2 with X7 camera and either RAW or Prores recording would be pretty much the only option at the moment if you don't want to use bigger drone and separate gimbal and separate Red/Alexa camera. most smaller drones have bad recording codecs, even if the camera would be ok those about 100Mbps codecs are not usable for cinema release in most cases and they restrict subject matter and camera moves too much

The current version of the Insta360 PremiereCC plugin seems to cause so much latency/delay to the user interface of Premiere that it is next to impossible to edit with it. The latency may be over 4 seconds :blink: this happens with ALL the projects you try to edit with the Premiere setup, not just the VR projects but all the normal projects as well. the plugin is quite easy to remove so if someone is experiencing unusable Premiere2018 and has installed this plugin recently it may resolve the problems completely to just remove the Insta-plugin and wait for them to fix it :mellow:

to me it looks like 2R film, perfs on both sides. To me it looks like the pressure plate or either roller's guide plates are not correctly locked in place but very difficult to see from that video. Does the movement advance the film correctly with similar type of sound than with the older camera?

I don't know about U.S laws but featuring the headstones with names and all without having permission would be illegal in pretty much every part of the world I think. here where I live the cemetery itself is "publicly accessible private property" but normally they are legally pretty similar to public park areas EXCEPT the actual graves and headstones which are considered private property (the small marked land area rented from the cemetery owner by the relatives for the actual grave of the individual buried there, that is considered private property separate of the "public" cemetery area as far as I know" ) and the headstone is sole property of the relatives of the deceased buried there. Basically one could shoot on a cemetery here without permission but it would be legally very difficult to feature the actual graves and headstones. with shooting permission one could show the general cemetery area but not show any identifiable names etc. on the headstones (if one would want to show them one would need to ask for a permission from the living relatives of that person buried there, the cemetery owner can't give permission for that)

the lens's mount barrels are rotating inside the camera mount when one is focusing and normally the lens mount is lubricated somehow to enable smooth rotating of the mount and therefore smooth focusing. this can be done with for example small amount of vaseline on the lens mount before attaching the lens to the camera. probably the vaseline/another stuff they have used has just gotten old and very stiff and acting like a glue between the lens and the camera? you would need something to get the vaseline smooth again I think or something that dissolves it. oxidising is also possible but I believe the old vaseline would be more probable cause

the correct way would have been to told the guy "we need to test all of them on both a camera and a lens projector first to ensure they are in good shape before we can buy them, we can do this right away if you can wait for a moment" , then secretly call the police when the guy waits the lenses to be tested. would catch both the lenses and the person at the same time ;) if this would not been possible, they could just have taken the lens case behind the counter and say that the guy can either wait for the police or run B)

I suspect dynamic range and moire may be bad, some fixed pattern noise present and maybe some colour shifts. anything a low-grade sensor with cheap filtration would do compared to a better one. battery life may be another issue but generally you wouldn't expect a battery to last long on any blackmagic camera anyway :mellow: software errors are more than likely I think but reliability has not normally been the key point for the shooters using Blackmagic gear and BM will correct these with firmware updates in a year or two after camera's release :rolleyes: the main problem with their camera products has been that the actual release (shipping dates) are almost always delayed so much that the technology gets a little bit outdated before the camera even reaches the end users :ph34r: Personally I am waiting until someone makes a very good underwater housing for it and then will decide if it's worth purchasing or not. Underwater housings seem to be released about a year or so after a new camera model is actually shipping to the customers so it may take from 1.5 to 2 years til I would get my hands on that BMPCC4k :ph34r:

you can pick up pl adapters for this lens easily from eBay (it looks like having the original intermediate mount), will cost less than 100usd

...so that if there is wind the haze is continuously moving out of the shot and is replaced with new haze and the haze texture is minimised so that even if the haze is moving no one notices it because it is so evenly dispersed in the air. You need to experiment beforehand with the haze tube to find the right settings for the shot. good starting point would be lots of excess air in the tube (powerful blower compared to the smoke output) and lots of small holes in the tube. and some distance between the tube and the set. depending on the conditions you may need to run another tubes parallel to the first one but on different heights (the haze layer will stay closer to the tube's height if you are using smaller holes, but smaller holes help make the haze more even )

you need to see the texture of the smoke staying stationary when there is wind? there is no much you can do other than doing the smoke with vfx. if shooting the whole scene in studio you could have zero wind... another possibility would be to make a "outdoor studio" by surrounding the outdoor woods set with black scrim or similar fabric which would kill the wind close to the ground so that you could have couple of meters of no-wind zone above the ground. very time consuming though :blink: if you would only need continuous haze you can smooth out the haze texture by adjusting the smoke tube airflow/smoke ratio and hole size + hole spacing

the golden ratio rules work best for still photography, paintings, architecture where the images are self-contained and not in relation with the adjacent scenes and shots. it is the "safe" option but not necessarily the best working one for narrative depending on what you want to shoot and how it will be edited. for talking head interviews it is working well for that exact reason: the image is self-contained and thus needs to work alone without the help of other shots from the same scene

no problem :) I use this type on inline blower to feed the tube: https://www.ebay.com/p/SEAFLO-Boat-Inline-Bilge-Blower-Fan-12v-270-CFM-Marine-Galley-Engine-Ventilation/1893307943?iid=131968020196&_trkparms=aid%3D222007%26algo%3DSIM.MBE%26ao%3D2%26asc%3D53209%26meid%3D76759ff55e1d45568334447f69eb2a5a%26pid%3D100623%26rk%3D3%26rkt%3D6%26mehot%3Dag%26sd%3D123172426273%26itm%3D131968020196&_trksid=p2047675.c100623.m-1 layflat tube type, I have 4" and 5" 250gauge in use: https://www.ebay.com/itm/Layflat-polythene-poly-tubing-tube-ALL-SIZES-QTYS-clear-250-GAUGE-336M-roll/262028210987?hash=item3d0219332b%3Am%3AmIaGX8_U0aGEU0F4szYZFkQ&var=560817393903&_sacat=0&_nkw=layflat+tube+250gauge& _from=R40&rt=nc&LH_TitleDesc=0 my hazer is about 800w but you may want to use larger if you have any wind there. you can made a temporary "tube" to feed the smoke from hazer outlet to the blower by using cinefoil or cardboard box etc. If needed you can also use larger blower and distribute the smoke from it to multiple layflat tubes going to different directions. The layflat tube easily catches mold after use and you may need to throw it away after use (may not be good idea to store it for long after use) , you need to take this into account when calculating how much tube you need to order

One method is to use a long layflat tube and blower to disperse continuous hazer smoke from upwind. You may have for example 100meters of 4" .250 gauge layflat tube with a small perforation every 1 meter or so. With proper hazer and large canister of fliid you can get continuous smoke for many hours with only minor adjustments

golf tees with some bright color tape on top?

if you know editors and prod companies who do documentaries you can ask for assistant editor work/internship. if I understood correctly you would like to be the main editor on documentary films and the assistant editor work is exactly what would help you to get there. Post houses generally do online and mastering related work which does not help with learning the actual EDITING work, you will need to get involved in the actual editing process early on in the project... you can get good contacts for this from the post house so it will help that way. if you can find a way for it to be beneficial for the post house as well they could even arrange some opportunities for you, it might be useful for them if they'd have good editor in house :) making your own docs at the same time would help a lot as well as others said