awpixfilms
Junior Member

bob that was well said (about using what we have an make the most out of it). Now we're talking. Still you have to understand that you are talking to other filmmakers... the "thing" is not really about the sharpness of a face in full composition (the two cameras are about the same in that regard): it's about processing motion. See the pans of the pocket4k? see...

they share (out of the box) the same time limit -30minutes fixed and UN-removable of the Fuji and the 35 minutes of the pocket4k (but removable with a better battery). Somebody posted this remark about fujifilm as of why they had to impose that "oligopoly" marketing intentional time limitation if they don't sell camcorders?". I agree..it's a mystery to me too. (...

AJ lets get one thing clear: this is NOT a run&gun camera. You'll hold it with two hands and use the screen to operate (so you have to take one hand away with obvious consequences) but you are still in mid air, no continuous focus, at the moment needs a brick to power and therefore a rig , possibly a stabilizer or scream for a third point of contact....

yes I agree. Because of the price the BMPCC4K is indeed the thing of the moment. Internal RAW 4K 60P looks impressive DR in particular. That said there are few things to know that could save us a lot of time and frustrations when using this "slightly" in-progress camera on a real shoot. I stand by the batteries warning that I said before but since I don't like...

how you see it fit and what you think will help the sale of your script: micro-budget friendly? I would mention it but then it's up to you. Now about the insurance thing: don't mention anything. Besides.... productions are not stupid and they know how to deal with THAT (sub contractors and sub-sub contractors ad libitum just to name one thing). Not your...

and what the insurance has to do with anything?

hmmmm ok it's a 2-part reply: for marketing (selling a script) I would mention that you also target micro-budget productions . it's not a laws breaking thing at all. But there are risks in marketing ideas like that and here's the second part: if you read mara's post again ... between the lines.... it's all in there. lemme give an example that's really happening...

I am soooo far away from even starting the process of beginning to remotely consider a project like that: I'm not good enough. That said I believe that for once the budget comes second: talent first, then budget. It takes talent and full dedication: from the photography to the make-up end effects and ending with a talented direction. Takes can fly to break into...

after establishing a chain of command and understanding the need of publishing and diffusing to everybody that there is no democracy in a set (like there is no democracy in OR for example) I personally have no doubt that a firing is a failure of the entire system and of the top in particular. Almost always if not always the signs were ignored and the signs...

GH5 for video and a medium format for stills. Those are the alternatives after I brought a GH5 to a friend's studio to ask if the GH5 could produce stills (commercially). They do advertising and lots of products: she said that the GH5 (for stills) needs more light (they do use a lighting setup pre-set) and here's what she said at the end : full frame cameras...

a fluid head to buy? or rent? under what camera? a dslr? to buy the cheapest (and fairly good for a dslr) is the weifeng 717.

yeah, I second mara's post : for credits just use D.I. Colorist (s) . Usually goes right after the Post Production section.

good movement, good lighting, good acting , ok script the story is fluid. Nicely done. Now about the technical stuff: the thirds on her (at the first closeups) are wrong and don't match with his thirds (some of his shots were even centered). The rule of a dialog : right camera thirds on the left, left camera thirds on the right). The thirds were all over and...