Here's a video from somebody else who's trying to fight it. Is there a class action lawsuit or something?

June 28, 2015 | “Funny How? Am I a clown? Here to fucking amuse you?” Yes. At least when it comes to Joe Pesci. Apparently the necessity for good, seasoned Hollywood actors is drying up: Pesci and De Niro have been spotted moonlighting as clowns at children’s parties in Los Angeles. The report was originally picked up by the AP when Pesci allegedly began yelling at a particularly insolent kid, “What the fuck are you doing? You’re hanging around my fuckin’ neck like a vulture, [...]

Let's have a topic about it!

• Zeiss Ultra Primes
• Kowa Anamorphics
• Kowa Prominar Spericals
• Zeiss Mark II Super Speeds
• Cooke S2 Speed Panchros
• Lomo T2.3 Sphericals
• Zeiss Rollei/Jena

My planned kit is:

• EM5 MKii
• 25mm Olympus lens. I like try small form factor and don't want to rely on zooms
• Giant Squid lavalier mic
• A small onboard mic (sometimes) Seinheser mke400
• Zoom H1

My strategy is environmental sounds the onboard mic can manage. if I need extra foley I can gather some with the H1. Sat down interviews either Giant Squid directly into camera or into H1. If I have people interacting then maybe I would switch to the mke400.

Any advice, have I missed anything?

First question is, what do the contributors expect to receive. Second, has anyone here used crowd funding. Thanks in advance.

Posted: June 22, 2015 by filmmusicreporter in Film Music News

James Horner died this morning in a plane crash about 60 miles north of Santa Barbara, CA. The composer who was a recreational pilot was reportedly the only person on board. Horner was one of Hollywood’s most in demand film composers and has composed the music for the two highest-grossing films in history, Titanic and Avatar. He received two Academy Awards for his work on James Cameron’s Titanic and earned eight more Oscar nominations for such movies as Aliens, An American Tail, Field of Dreams, Braveheart, Apollo 13, A Beautiful Mind, House of Sand and Fog and Avatar. He already completed scores for the upcoming dramas Southpaw and The 33 and recently also composed his first music for the concert hall in several decades.

Technology today is approaching or even at the limits of resolution, film speed, and image size imposed by the laws of physics for cameras in the 35mm format or smaller. Further significant improvements in speed or resolution will require the use of larger sensors and cameras.

Thus today’s equipment is sufficiently powerful to allow a physicist to see directly—without the need for instruments and calculation/interpretations beyond the camera itself and a computer monitor-- the effects of both the photon nature of light and the wave nature of light. A single picture taken at f/22 and ISO 3200 will display uniform unsharpness unrelated to motion blur or focus error and the noise patterns of each primary color as well as overall brightness that reflect the statistical nature of photon detection.

Currently available products are pushing the limits of what is physically possible in terms of resolution and low-light performance. Therefore a photographer must relearn how to make choices about what size of camera to use for what assignment, and what tradeoffs to make when shooting concerning aperture and depth of field and concerning film speed versus image quality. Past experience and rules of thumb developed in the film age will give results that are qualitatively and quantitatively different than what digital experience is teaching us.

http://www.northlight-images.co.uk/article_pages/guest/physical_limits_long.html

Happily, thanks to Vitaly's hack, I can use my GH2 to shoot PAL natively. And since I'm thinking of buying a GH4, I rented one for the weekend, and will bring it along as a backup/second unit camera. Thing is, the GH4 can only shoot NTSC.

So I figure, I'll convert my GH2 footage to Quicktime fairly easily, but I'd like to know what the best Quicktime export settings would be for Premier Pro CC. That's question #1.

The GH4 footage will be converted to PAL 25fps Quicktime, so I'd like to know what framerate would offer me any advantages in the conversion. Would it be better to shoot 24fps, or would shooting at 60fps enable a cleaner conversion to 25fps?

(I won't be shooting 4K, though. I want to experiment with that, maybe tomorrow.)

smaller sensor low light performance aside, the rx10ii and rx100iv could be huge game changers for run and gun documentary shooters.

My main camera will be the LX100/GX7 or maybe a Olympus EM5-II for the IBIS when running around.

Thank you!

How'd the dude get the lens?

What I am today? = A technical expert inside a cave. Good skill about equipement/gear, and GAS addiction dreaming without money to buy anything = suffering...

What I would like to be? = Just a little more happy life, at this moment I have three ideas for it:

First thing: stop the G.A.S. dreaming, and use what I have.

Second thing: to think, to feel, to live like an artist and try to create/produce something.

Third thing: to think, to feel, to live as business/marketing person to try to find ways to finance my ideas.

I am a technical mind, I do not know if I have skill for these things, but it is time to try...

Most probably SPOILERS ahead

 
Does Ava pass the Turing test? Does it matter?
What's your take at it?
 

I will potentially be shooting a 'documentary-style' like shoot for a client that wants his house to be documented over the period of one year. As of now it is still a building site and the house's outer structure is almost done. The client wants the show to be stylised in the style of 'Grand Designs'.

I currently have a Lumix GH4 with 14-35 F2.8 lens.

I also still have a Sony HDR-FX1E from past projects.

( http://www.bhphotovideo.com/c/product/356387-REG/Sony_HDRFX1E_HDR_FX1E_PAL_HDV_1080i.html )

The client does not care about 4K option and would want the final product be in 1080 anyway.

Might be a silly question but what camera should I use from those two? I don't want to shoot 1080 on the GH4 and the 4K transcoding and editing in 1080 would be painful especially for a project this long (and the size of the footage and backups would be exponentially bigger)

There is also a budget for a possibility to buy a new camera just for this project - any recommendations?

Thanks!

If I can remember, it was the first cheap 24p shallow dof camera, and it started the revolution in digital cinema together with the 5D Mark II.

And it started all the hack revolution also... Tester13

GH1: how many people are using it these days?

Is the GH1 woth the effort to improve the Hack/Patch for it in the GH4/G7 4K world?

I work in projection and when I received the trailers for Tomorrowland I found it interesting that it did not fill the scope frame, instead being shown cropped to 2.20:1.

I just received the film itself and I find out that it must be shown like this. The first modern film to be shown in this format, which is the same ratio that 2001 was originally displayed. Not only that setting it up you can enter a contest as a projectionist if you set it up properly. Very interested to see if this is a new trend, as I cannot see Regal being exact in their projection of this film, instead they will just run it in flat. Jurassic world is supposed to be in an even weirder 2:1 ratio.

What do you think of the new format? Personally I feel it is the perfect framing, not to wide or tall, about perfect for my eyes. However there is no natural way to capture this aspect ratio besides cropping the final image for most cameras so it's a bit of an acquisition nightmare.