Max Field

If you'd like someone to skype/screenshare about it, you can PM me and I'll give you my 2 cents. Have color graded a couple small award winning shorts.

Tuning things up so stuff like this doesn't happen for categories, this was for the Animation selections of 2014: There's opinions and then there's laziness

Not have it ran on a broken system

Just saw Creed, def snubbed for either best director or screenplay

What do you recommend for scanning the film to work in digital?

Do you recommend waiting for USB3.1? I heard USB3 is still a bit too slow in contrast to thunderbolt.

Do you have any narrative samples of your work?

Call me an "audiophile" (even though people constantly misuse that term) but never concern yourself with a camera's audio quality. Buy a Zoom H6 and you're good to go.

The 4K version was a dud. Worse than DSLR in low light. The 4.6k remains to be seen since they said a new sensor will be in it.

I'm guessing you didn't grasp the sarcasm. The Oscars were started in a time of very scarce political correctness, the actor/actress separation that exists today is purely out of tradition, not necessity. As in, using "separate gender awards" doesn't work as an argument in this scenario.

Because those award distinctions weren't established back when slavery still existed in rural parts of the south or anything.

Dope got snubbed.

A7sii is cool for the price but I'm personally not a fan of it's size/weight and feel it could break in an instant if not careful. I will say it's the most impressive still camera out there as far as video is concerned. BMPC4K's touchscreen controls had me hesitant when I was looking to upgrade from DSLR. When shooting video, I want a camcorder, not an iPad. It sounds like for what you're doing, no one will be demanding 4K, and with that I'd recommend either a C100 or Sony F3. Both similar in form factor, the F3's S-Log output, when turning off the sharpness enhancements, has a very nice look to it. End of the day though, If you're primarily starting as a hobby, a Canon DSLR will work just fine. What Canon do you currently have?

Yeah I considered the C100 out of a fear that I wouldn't know what the hell I was doing with a more complex body, but looked at the image and shooting specs and wasn't feeling it either. And yes eBay is the only way I go for anything, but if you have personal marketplace connections don't listen to me on that. I'm not so sure about the RED One, but the RED Scarlett allows you to entirely replace the front mount with 4 screws and put in another one.

I would recommend the C100 if you're concerned with buying extra gear to accommodate a new body, It'll be good to go with all the EF lenses you currently have (assuming you aren't already adapting the 5d to work with PL lenses), toted as a solid camera for run and gun documentary. If you're just going off of best image for the price, skip the RED Epic and Raven and look to the RED One MX. RED's first release will be price dropping to to low $2k this summer. Not as "future proof" as the raven, but if 4k and 120p shooting sounds like it'll help your needs for a while, go with it. Drawbacks to the RED from a DSLR shooter's perspective would be the stuff (external recorder or CF reader, monitor, lens adapter) you need to make it work. Even with that stuff, still under $5k. I would also agree with LaVoie's comment on skipping the FS5 for the FS7 if you choose to go with Sony. Has better shooting options. ARRI is WAY out of my price range so I cannot comment.

beefy boy brawl in this thread

Just bought a Sony F3, plan on doing either Prores422 or Prores4444 at 1080p. Later on, after the Raven's release causes price drops, I plan on upgrading to a RED One MX, recording in the same Prores formats but trying my hand at 4k footage. Would like to work with all of this footage in Sony Vegas.

The visual the lens provides is sharp enough for a 4k sensor to make a difference in recorded image quality. For example, an old camcorder lens for a Canon XL1 has elements that are sharp enough for 480p, but if you were to adapt it to a 1080p sensor, the image would come off a bit blurry.

I want one where Jack Nicky's cutting a large pepperoni pizza in the bathtub.

Only have the money for 1 650 as of right now. If you'd be willing to just part with one we could talk something out.

I know a RAID drive with fast data transfer will do a lot of the heavy lifting, but does the graphics card have any affect as well? I'm currently using a GTX 660ti, would upgrading that be necessary for 4k or 4:4:4 footage?

Have 1 or 2 in my "to buy" list but I was wondering if any other tungstens compete with these lights at a cheaper price? Most probable use is either commercial shoots or small scale cinema sets.

My mom's flip phone

I'm gonna come out and say I love using Sony Vegas. I don't aim to exclusively do post-production, and if someone did, I would recommend AVID cause it's what the majority of studios use. My personal gripe with AVID is navigating the timeline takes an eternity in contrast to Vegas which allows full mobility with the scroll wheel. Someone said you can change that in AVID's settings but I haven't seen that anywhere in the program. A straight answer to what makes Vegas fall short in comparison to AVID from a workflow angle has never been given to me. The most common answer is "people don't use it" but I want to know how it technically falls short from someone who has legitimate experience with both Vegas and AVID.

Unfortunately I'm not sure, just bought the camera online, was looking for lenses to compliment it.