Max Field

For simplification and longer explanation, I have made a video all about the blackmagic pocket camera. It dives into all the questions you asked and then some.

This is a great educational piece, production on point. With that said, I need to buy you some new sneakers.

The downsides are the mechanics and the Academy 35 coverage. The front rotates and telescopes and the marks are not great. So it's really a documentary run-and-gun style lens, not really a cinema lens.

Thanks for the heads up

Needed to get any opinions at all on this vintage zoom lens, been shopping around. To anyone who's even used it just once, how does it handle and how did you like the image it produced? Thank you.

pic for context:

 

My gosh Mark please don't try and explain the British sense of humour to the Americans. The colonists here in Canada barely understand it, unless the joke is punctuated with a reference to hockey or donuts.

 

R,

This was the most British thing I've ever read.

I love the future. $5500 will be killing the current competition.

- Ablutophobia (fear of washing or bathing)

Great comedy potential there. Especially if you've met enough freaks on the internet for the proper inspiration. Just went over to a friends house who had a half-full jar of peanut butter on his carpet for 3 months.

So far I've done looping with an MKH-416, AT4050, and a TLM-103.

Other than the U87ai, anyone have a mic they always rely on for ADR for its native sound?

Please don't say your H4n.

Are you speaking in terms of foley sounds or sci-fi/explosion stuff? I've accumulated thousands and thousands of sounds via recording and meeting sound engineers with their own sources. If you want I could add you on Skype and give you some via file transfer.

They need that Quidditch textbook she wrote adapted into a sports movie with a He Got Game/Invincible vibe.

Learning from others and the 'net is fine if it's a credible source. People with years of experience can and still do things the wrong or unsafe way. Last thing you want, especially if you want to go union is learn from some hack, claiming to be an expert.

Agreed. A community where this is a gigantic problem would be the voice over community.

To your last point, if you have the innate X-factor director's talent or have a gift for learning, working under people better than you is the absolute best way to improve. You gotta know which questions to ask and be strategic on finding a setting where you'll get answers. I've had a few guys here and there work under myself in exchange for the "intern education experience" when it comes to things like screenwriting or scene composition.

While I am in the middle of working on a project, I rarely get questions, which is depressing because the greatest thing you can get out of an internship is answers. Now if it's super quick run-and-gun type productions, yeah probably not a good time for questions, but if you are offering your time and talent for free, the least you are entitled to is some knowledge during a slow moment.

I've probably already gone on too long without knowing whether you're primarily videography or filmmaking, but on a "higher creative level" or whatever people want to call it, you need to not only work under people who know more than you. Make day to day friends who know more than you about literally anything that could go back into the production of a movie. Don't limit yourself to just what's in KC, get all over the internet. Try to get a sociable network on Skype, find an underground Youtube channel with impressive technique you'd like to know more about. Forums like these are incredible for objective answers (what's this do, how does this work), but when you get into looking for talk on technique, it's a matter of the work culture you've surrounded yourself with.

If you haven't been able to tell by now, I've never been a fan on relying on books/courses for education (not saying they don't help, just not for me most of the time).

The information's out there and you need to treat it like the results of a cancer biopsy.

Yeah Sony FZ is Sony FZ. Just like an EF mount is the same on every Canon body (unless It's mirrorless or an EF-S). Do you need the electronics to still communicate with your camera? If not, you can get something just as good for a fraction of the price from Fotodiox

Tis a shame it's not film... but since it's probably going to be finished in 2k like most movies are today and projected with your local theaters out of calibration digital cinema projector... who really cares what it's shot with.

Wouldn't it be 4K because of the magnitude of the project? IPs this big usually get IMAX releases like the last Harry Potters.

Alright. Thanks for the info!

A Super 35 sensor (18x24mm-ish) is about 1/2 the size of a 35mm full frame sensor (24x36mm) like the 5D. So you'll typically use wider lenses to compensate for the reduced field of view. This results in more depth-of-field if you're using the same f-stop. To get the same effect on a full frame sensor, simply stop down the aperture by an extra two stops.

Not sure about the motion. Less rolling shutter maybe?

Rolling shutter just improves the more sophisticated the CMOS sensor is, right? Also if the crop is what's giving me the depth I like, would you recommend whatever cropped counterpart there is of the a7s?

So I've raised myself on Canon DSLR video for years. A few months ago, I got a hold of my first video camera with a Super35 CMOS sensor (F3) rather than one originally designed for stills. When I started taking shots with the same lights, lenses, and techniques, the F3 had a totally different visual feel to it. The frame exploded with depth in contrast to my DSLRs which now feel flat. Also motion registered with a lot more silk than before.

I guess what I'm wondering is, is that just the natural property of a Super35 sensor over a full frame still sensor? Or was it just because I was so used to cameras much cheaper, meaning the sensor's form factor isn't as important?

Was considering an A7s, but don't want another static image like the DSLR I already have.

Thanks for your input, whatever it may be.

Another fun thread.

By some unlikely encounter, you're given 10 million to produce a feature and the rights to one album to score it.

What is that album?

Any genre, any popularity.

Tons of green usually gives me a horror movie vibe, like The Ring. But usually slightly de-saturated with hints of blue, so yeah yellow in the mix is a slight throw-off. I could see the look really working in a forest set horror movie or something. Maybe an urban setting during a disease outbreak, yellow-green seems to give a nauseous feeling. Have not seen this, but I'd assume the boat rocks around quite a bit, could be going for a sea-sickness vibe.

Hopefully Joe K doesn't treat the dialogue like a novel. Flick's got potential to top anything from the original series.

To build on your original concept, maybe try a Slumdog Millionaire type thing, where your protagonist is going about a challenge/challenging day, they accomplish something unique with some prior knowledge, and the camera leads towards a scar on them, thus opening up a flashback to how they got that scar and what they learned from it. A "learn from your mistakes" type theme.

Random suggestion:

Had an idea for a dark comedy for a while about a pretty girl who's nihilistic as hell and thinks killing herself is funny. She dips into sociopathic tendencies with her group of friends and any guy they try to set her up with. Usually ugly people have well meditated ugly views on life, so the polarizing hook comes from a pretty person doing it. Maybe she has like a suicide attempt that screws up half her face, and through now looking imperfect, she has a prettier view on life. Would require a great joke-writer so the idea might be limited in that.

Or you could literally kill her off in the end, I'm tired of dudes saying they're unique writers when they don't even have the nerve to kill off a character in a one off film.

Let me know if you want more I got a hundred.

Does this need to have somewhat of an art house feeling? Or can we literally submit just any suggestions?

WOW what a limited vision of filmmaking.

I agree. That sort of thinking prevents the experimental sector from reinventing the mainstream.

Are you just asking the difference between t-stop and f-stop? The wording confuses me slightly.

But couldn't song lyrics create a narrative? In turn if the video played out to the song lyrics it would create narrative video. Just to clarify I don't believe every song has narrative lyrics and that every video follows them.

If by RCA you mean composite video (because a lot of things use RCA connectors), good grief, are you still using that?

Yes. And you never know when the Nintendo needs to be hooked up in the same room you work. Is any kind of screen decent for grading or do you need to get one with a natively flat response? (like headphones or speakers)