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Georgy Rerberg is the king of /vid/

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Say I have a camera rig (without xlr)
And I have something like a zoom f3 and a mic connected to it
can I just mount the zoom f3 on the rig and connect it to the camera (via 3.5mm jack) so the audio gets recorded together with the video? Or do I have to do it separately (with timecode)
As a run and gun all in one kind of setup

>>4383225
If you connect it to your camera via 3.5mm jack, your sound is still being interpreted by your camera's preamp which is assumedly shit.
It's a good idea for helping to sync sound in post but you'd still be better off using the zoom to record the main track you use.

Personally I never use timecodes. I just sync it by ear, listening for certain markers.

>>4383234
ah shame, syncing sound is the bane of my existence, even with timecode it seems not to work properly half the time
it's not an issue if you don't film a lot of footage over a lot of time, but if you do it's a huge pain in the ass

>>4383239
I've edited 2 entire feature films this way.
As long as you organise your files properly and clearly vocally announce what take is what at the start of the recording, it's very doable. And it's necessary when you're using more than one external recorder. The main one might have timecodes but my cheap zoom h1 doesn't as far as I'm aware.
Would it be nicer if everything auto-synced? Of course. But spending 20 seconds finding two sound markers to sync the clips isn't that big of an issue.

>>4383176

One of the few who dared to call out Tarkovsky on his shit

>>4383253
Tarkovsky was a fucking retard who ruined Stalker two times. Tarkovsky talked so much shit about artists who collaborated with him on his key projects. He was nothing without Konchalovsky and Rerberg. His last two film suck dick. Even Bergman took shots at him for those two films.

>>4383259
Nostalghia is his best film, but we can move this discussion over to /film/ if you’d like.
To keep it on topic- I’m constantly impressed and amazed with what the classic and foreign filmmakers were able to achieve with much smaller budgets, smaller crew, archaic (by todays standards) cameras/lenses/technology. Most crew today wouldn’t be able to pull off a typical working day like the greats used to. Is anyone here shooting on vintage film cameras, or using software to emulate more vintage film looks?

>>4383270

Tarkovsky is not the greatest example of this because most of his films had decent to great budgets ( though some were made on a shoestirng budget). The Soviet Union filmmaking program was also well funded because it was integral part of the state and how they wanted to push propaganda/communism ideals (depends who you ask if it is propaganda or not, I will not go into politics on an american image board). The soviet filmmakers also had good gear for the time, again because the state saw cinema as one of the most important art forms.

Also Tarkovsky got special treatment from the censorship officials, especially after he started getting international recognition and fame.

>>4383319
>propaganda/communism ideals
Hate this word. You probably don't use this word for Western cold war films.

>>4383319
I don't remember which historian I was listening to talking about the Soviet film program but they explained that someone told the party brass that aside from being handy in propaganda, film would be the next great artistic medium like the ballet, symphony, & the rest of the fine arts, and that the USSR really needed to fund a program to ensure that soviet films can get made and the USSR doesn't look like it's fallen totally behind in the modern arts world. So the party agreed, but didn't know shit about what made a film good or not, so they just left it up to the filmmakers to decide who was good and what got made and what didn't. So the shit talking was part of the system. ...which would make some sense, considering that's also kinda how they did their space programs, always making three separate programs and pitting them against each other until the best/most aggressive one won out in the end.

>>4383324
>other countries: propaganda
>usaland:
Um excuse me sir I think you mean patriotic.

>>4383324

I know, should not have even used it but it's mostly for the americans

>>4383319
>>4383324
>>4383340

oh and Tarkovsky's dad was a relatively famous poet, so he was a nepo baby as well

>>4383319
>Also Tarkovsky got special treatment from the censorship officials, especially after he started getting international recognition and fame
It was the exact opposite of this, leading to him having to leave the Soviet Union in order to make and distribute his films.

>>4383349

Later yes, but not for the bulk of his career

Anyone got any affordable suggestions of filming live music gigs to get clean audio?

Whenever I plug my audio recorder into the sound desk it always ends up sounding shite coz it's mixed for the space.

Ideally I would want a way to capture all the audio from diff things before it reaches the desk to be able to mix later... Would a Zoom H6 and a bunch of XLR splitters suffice or do I need more?

>>4383245
I did one with and one without and it's ass

>>4383460
but then again I should add I am a disorganised retard and even just finding the right clips to sync takes ages

>>4383349
What are you talking about? They allowed him Mirror. And Stalker was shot 3 three times, on Kodak film stock with Cooke lenses. They gave him new sets and best screenwriters and cinematographers. Before leaving USSR Tarkovsky destroyed the negatives of the film he was working on.

>>4383340
>that the USSR really needed to fund a program to ensure that soviet films can get made and the USSR doesn't look like it's fallen totally behind in the modern arts world.
Listen to what Frank Zappa said about 60s music revolution in US. Those cigar smoking fat mfers label owners were as clueless as Soviet Authorities so due to them being clueless they have opportunities to unusual people, "who knows, it might work out". Soviet Cinema and American rock music are crown jewels of both countries.

>>4383473
nah the other anon is right, tark did not really enjoy special rights. Read his diaries and sculpting in time, he writes about how difficult it was to get anything made for him - why do you think his films were made years apart
And yes while he may have had access to good film stock and lenses and they built him sets (all of which was state owned though so it is not really as much of a luxury as it would be in the west), the other aspects of the production were pretty barebones, there was no luxury like in Hollywood productions. And one interesting caveat of the soviet system was, while films like Mirror were indeed eventually allowed to be made, they would have an extremely limited theatrical run or be shelved altogether. Sokurov's debut film for instance wasn't released until 20 years later.
More than about Tarkovsky I'm actually curious about Lopushansky and his post-apocalyptic trilogy - he was virtually unknown compared to tarkovsky in both east and west but his films seem much more high budget and high effort in terms of sets etc, so I'm curious what the deal was there

>>4383484
Budget for Mirror was in millions. Rerberg said that he had 5 of those big ass lights with which you can light up a fucking mountain. This is DOP's wet dream. Also their man power was high. Tarkovsky himself was a big cunt, his asistant said that he never compromised on anything with the authroities. I think less but quality production did Tarkovsky a huge favor. Every director make too many films. It's tedious. He never shat out any fillers like Western directors. All of his film are top-tier. Soviet censorship ended up becoming a plus for him.
>all of which was state owned though so it is not really as much of a luxury as it would be in the west)
Really? Rerberg and Tarkovsky visited the studio they offered for Stalker and straight up told them that its shit. So they REBUILD a new studio just for Saltker.

Le poor little Tarkovsky narrative push by cold war brained liberals is hilarious.

>>4383485
>REBUILD a new studio
*new set

>>4383485
All of which that you talk about is thanks to everything being state owned, not because of Tarks status. It may have had some weight, but it was not the main reason at all. There's a lot of curious soviet productions that are completely obscure but that enjoyed all these benefits. That's just the kind of system they had.
And yes I agree regarding quality over quantity, and I don't remember who it was now, maybe even tarkovsky, but some filmmaker I recall writing about preferring to work under limiting conditions because it forces you to think outside the box, be more creative, and do the best you can etc, rather than get complacent in infinite comfort

>>4383488
Tarkovsky had no money and he himself liked to live in an pseudo-ascetic way. In any other country an idealistic poet would have failed because knowing the "business" is as important for a director as his craft. I am just sick of YouTube videos essays by retards on Tarkovsky and other Soviet filmmakers. They keep repeating words like "Soviet censorship", "State Funded" and "Communism" like slurs words. Yes there were limitation but filmmakers knew how to exploit loopholes.

I live in a capitalist third world shithole. Theoretically I have "freedom" to do "whatever I want" and I have "infinite choice" but I have no fucking money and zero opportunists so practically I am totally fucked and trapped.

>>4383489
Yeah I agree and I mention things being state owned as a positive, not a negative

I think the kind of attitude you mention is a leftover of Cold War mentality that got drummed into western (but especially American) peoples collective psyche
Not to say that it was all sunshine and rainbows of course, and many of the current self proclaimed leftists/soviet adherents are as cringe and retarded as the ones who spout those aforementioned buzzwords

>>4383484

>Read his diaries and sculpting in time, he writes about how difficult it was to get anything made for him

He always complained about this, those diaries aren't exactly a representation of reality necessarily, they are his point of view

>>4383489

>Yes there were limitation but filmmakers knew how to exploit loopholes.

They did, but also some filmmakers got away with more shit than others.

>>4383460
>>4383461
A lot of filmmaking is finding the way of doing things that works for you.
I think my biggest mistake is that I've been working as a one-man-band/in a skeleton crew for so long that the idea of collaborating on the editing/mixing process is an incredibly scary idea to me now.

>>4383489
>an idealistic poet would have failed because knowing the "business" is as important for a director as his craft
I can’t stand this mentality/mindset. So many incredible works of art have been made either completely ignoring this or in direct defiance of this.
Wonder how much sweet business and loads of cash Sokurov made off of ‘Whispering Pages’? Most likely fucking nothing, yet it’s one of his best films and one of my favorite films.

>>4383706
I think you're both kind of saying the same thing though
Sokurov was quite a big guy by the 90s and probably knew his way around the system. The question is how it changed during perestroika from the soviet system to the new Russian system. Must've been something of a free for all because they made a ton of extremely 'wacky', albeit low budget, films in the 90s
Also based Whispering Pages enjoyer

>>4383826
> extremely wacky low budget films

Was “2 guys 1 hammer” one of those films?

>>4383826
>they made a ton of extremely 'wacky', albeit low budget, films in the 90s
Are you talking solely Sokurov or others? Any recs?

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>>4384011
I'm talking in general
>recs
quite a few of the ones in picrel for instance. Theyre kind of weird films that I can't imagine to have been made anywhere else except for 90s Russia and whatever funding system they had going on there

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>>4384025
Based, thanks

>>4384025
Khrustalyov, My Car! is such a mindfuck. Fucking hell

>tfw have a 90% chance to be accepted to Berlinale but almost impossible to make it even for the extended deadline

FUCK

>>4384437
>>tfw have a 90% chance to be accepted to Berlinale
holy shit really? but what's stopping you

>>4384437
How do you have such a high chance? Do you have inside contacts? Or are you just really confident in your film?

>>4384437
give free passes faggot. i for one will give you a 10mins standing ovation. and whistle the shitout of out of the those yuppie fucks in expensive suits.

>>4384438
>>4384447
Several reasons. The film was in one of the Berlinale Talents workshops so we're already known by them, it is a coproduction of several countries including Germany so that increases its eligibility, and lastly our producer already had several films in Berlinale and has contacts there.
It's not gonna happen because we're not gonna finish it in time. The deadline was November 1st, and our producer got an extended deadline of end of November for us, but we won't make it for that either. Our editing got delayed by two months for various reasons and even if it hadn't it would be extremely tight
>>4384448
I would if I had some


Sucks, but that's how it is

>>4384457
Oh and forgot to add of course the film is very much a Berlinale/festival type film stylistically and thematically

>>4384457
>>4384463
I am happy to know that a /p/ee fag is making his feature and could have made it to Berlinale. That's crazy.

What about locarno, venice and cannes?

>>4384468
This is my second feature actually, the first one, which was self funded, played at a few respectable festivals and that's how I was able to make this second one the 'proper' way
I've been posting in /vid/ since around 2012 when I first started getting into the filmmaking stuff and getting my first gear, so I have you faggots to thank in part.
>What about Locarno, Venice and Cannes?
Havent even discussed Venice and Cannes, they are probably out of our reach. Locarno is a possibility though, we've already spoken to them and they seem keen. Currently our producer however is aiming for us to premiere at CPH:DOX, also with a special deadline. Not sure if we'll make it for it, and I'd prefer Locarno anyway.
I have to say though lads, having seen things from the inside, getting into one of these larger (not even talking about the big three) festivals without a (connected) producer is nigh impossible. Everyone knows everyone. There's actually a good article about this - https://filmindustrywatch.org/special-report-favouritism-nepotism-and-corruption-in-the-european-film-space/
It's a real shame actually because they're keeping good new talent out, and the festivals themselves have become a bit stagnant, as people have noticed. These days you're actually gonna see more interested and more daring and more genuine films at smaller festivals.

>>4384479
>I have to say though lads, having seen things from the inside, getting into one of these larger (not even talking about the big three) festivals without a (connected) producer is nigh impossible
Yeah, this has been apparent for a few years.
It sucks because it was the case ten years ago. And since then the problem's only gotten worse.
>These days you're actually gonna see more interested and more daring and more genuine films at smaller festivals.
From my experience, the smaller festivals can be divided into 3 categories
>scams who might give you a laurel in exchange for entry fee (but are often only curating their friends' shitty films)
>business types who only want to program films that have been successful in other festivals
>tiny festivals who genuinely want to find new and interesting films but quickly get overwhelmed and devolve into one of the above in subsequent years
Unfortunately there's nothing better in its place.
It's funny because I'm in a similar, but noticeably worse, situation to you. I'm editing my 2nd feature film. I edited my first badly and only got a few laurels, not enough to get anywhere. And now I'm editing my 2nd and I'm scared to finish because then I have to go through the process again.

>>4384484
ok I guess I was talking about medium size festivals then because those types don't apply. Maybe it's a regional difference, I'm in Europe and I think we have slightly less of those scummy/business types than in the US
>I edited my first badly and only got a few laurels
it'd. I didn't do great audio work on my first one and completely fudged the marketing/distribution, I think I could've gotten a lot more exposure for it and myself if those had been done properly

Hey, good on you for doing something though, and just have to be a bit cheeky with those submissions to get somewhere. I don't know how much money I spent on festival submissions for the first one, and in the end ironically enough I think it was only free festivals that took the film.
Is your 2nd self-funded and self-made?

>>4384491
>it'd
*iktf

>>4384479
>I've been posting in /vid/ since around 2012
So it took you 12 years to make it? Holy shit
>so I have you faggots to thank in part.
I am just starting after failing at photography. So I am a newfag for /vid/.

>I have to say though lads, having seen things from the inside, getting into one of these larger (not even talking about the big three) festivals without a (connected) producer is nigh impossible. Everyone knows everyone.
Fucking same as photography.

>>4384496
>So it took you 12 years to make it
No that was just the start in my involvement in any of this, I didn't get gear until 2014, made a short film in 2016, then first feature in 2018, and now this one should come out next year (though it got delayed by two years because of covid shenanigans). And I don't think I've 'made it' yet desu, far from it. I have to add though that I'm a lazy retard and a massive procrastinator, so somebody with more 'drive' could be where I am much much sooner probably. I kind of hate myself for that but it is what it is.
>same as photography
same as a lot of creative and non creative avenues unfortunately it seems

>>4384505
How do you support yourself is it from film related stuff or do you have a job?

>I have to add though that I'm a lazy retard and a massive procrastinator, so somebody with more 'drive' could be where I am much much sooner probably.
That's what we expect of other people but it's not true. You did great anon. I have been on /p/ for 10 years and still I have zero connections in the art world and I have never managed get my work published.

>>4384511
I had to get a non film related office part time job to pay the bills while working on film stuff, in fact I made hardly any money from it until last year. I hope that once I complete this one I'll be able to move into film stuff full time, because regular work sucks ass
Thanks for the encouraging words anon, I hope we're all gonna make it in the end

>>4384491
>>4384493
What genre are you working in?
That's quite inspiring. I'm uk, not us. Maybe I'm just not looking at the right festivals. I probably spent between £200 and £400 on festival submissions (including wasting a lot submitting to Berlinale blind lol). I've always been too insecure to be as persistent as I probably need to be.
>Is your 2nd self-funded and self-made?
It is yeah. I don't want to give Tarantino too much credit but he's right when he said the best way to learn how to make a film is to make a film. I figured out how the first shoot could've gone a lot better and that I needed a script that was more marketable (first film was very edgy and very much inspired by eastern/european slow paced tense dramas). It was great finding a whole new host of problems that I didn't have the first time! I don't like it as much but I think pretty much everyone would agree that it's a much better film.
>>4384496
>So it took you 12 years to make it? Holy shit
To go from knowing nothing to making your first feature, fully independently, isn't a quick or easy task. It took me about 6 years, starting in 2014, and I rushed it. The more people you can convince of your "vision" and get to back you, the quicker and easier it becomes. But if you're like me, it's about learning everything you can as fast as possible and then finding people to enact your vision. It's basically work with talented people or settle for lots of trial and error.

>>4384528
>what genre
nonfiction
>im uk not us
I guess the UK is inbetween the US and EU for these sorts of things..
>it is yeah
I highly recommend you try to get a proper producer for your next one, it makes things a lot easier (financially), and they can connect you to other people so you can outsource things you're not good at, it'll make everything smoother, and they might have connections to get you into better festivals as well. So if your second one does decently well you might be able to score a producer. Have you been to any workshops by the way?

>>4383164
Why even spend the money on expensive gear when Breaking Bad has proven that you can create a mega hit using your dad's old camcorder?

>>4384542
I'm sorry what?

>>4384542
>Why even spend the money on expensive gear when Breaking Bad has proven that you can create a mega hit using your dad's old camcorder?
Why are you poor when the dark knight proved anyone with clown makeup can pull off a massive bank heist and escape with a 100% share to themselves?

You see any mentally ill billionaires in bat costumes running around? Chop chop poorfag get to it

>>4384539
>nonfiction
You know what I mean. Are they existential dramas? Coming of age films? Crime thrillers? Comedies?
>I highly recommend you try to get a proper producer for your next one
Yeah. I meant to that but connections versus money and all the rest. I don't think I'm prepared to self-produce another one any time soon.
>Have you been to any workshops by the way?
No. I'm guessing I should? There are so many "networking events" and the like under different names that only exist to separate naive wannabe filmmakers from their money. I'm not smart enough to figure out which ones are good and which will leave me feeling pissed off

>>4384555
No I mean nonfiction as in 'documentary' but I don't like that term because it makes me think of shitty tv docus, and mine are more in the direction of 'essay films' and art house than straight documentary
So non-narrative, nonfiction, etc.
Well so the workshop and producer thing is twofold. In theory, the workshops exist to develop your film and help you get connected. I've been to a few workshops for instance where participants basically just had a script and that's it, and were there to find a producer or other collaborators. So that's a good function. I didn't pay for any because in my country the fees are covered by the national film fund, and some were free iirc. The shitty part is that in some of these workshops the tutors are basically just failed filmmakers and they're hellbent to change your film to their will, and you have to do your utmost to resist and persist in your vision. Of course there's people who gladly fold or already share their (in my opinion shitty) vision. And it's because of this that I think these workshops, which weren't a thing before the 90s afaik and have become so widespread now, kind of contribute to films generally becoming shittier and more milquetoast, samey, and monotonous. With my current film I've been to 4 workshops, luckily unscathed, because my producer insisted, as it looks good for funds and festivals, and the workshops usually end in a pitching event at some festival where you get greater exposure etc etc etc. So I personally don't like them, but they're kind of a necessary evil in the current system. But they can genuinely be useful to find collaborators or get exposure, even if somebody hasn't made anything previously. And of course just like with festivals there's usually varying degrees of prestige to them.

>>4384555
>There are so many "networking events" and the like under different names that only exist to separate naive wannabe filmmakers from their money
This

>I've been to a few workshops for instance where participants basically just had a script and that's it, and were there to find a producer or other collaborators. So that's a good function
Have any you’d suggest looking into? Does there happen to be a list/resource/website for workshops like these?
I always thought you had to apply with a pitch deck and then get chosen/accepted in order to even attend the workshop. Maybe I’m confusing this with “film labs/grants/residency” and other shit

>>4384602
Second paragraph meant to quote >>4384560

>>4384560
Sorry, I saw "nonfiction" and read it as "fiction" for some reason. Can you share anything more or would that risk doxing yourself?
That's really interesting. The entire industry is such a labyrinth of trying to navigate. I'll probably give it a shot though after I finish this editing

>>4384602
Sorry don't have a list and can't recommend the ones I've been to because they're doc and region specific, except for Berlinale Talents, that's basically one of the biggest and the best, and applying there was either free or very cheap, but as you can imagine competition is huge, especially for the 3 or 4 specific workshops (for docs, scripts, and don't remember what else) that they have within Talents that take like 5 or so projects each, general Talents takes around 200 people I think but is also less useful, albeit still prestigious. I would imagine other large festivals probably also have something like that, so you'll need to do some research. There must be some site that collects this kind of info. And they have quite different formats, so for instance some just take place over a week during a festival, while others take place over a year in four sessions, each a week at a time, etc. And some are for specific stages of the process, so you could maybe find a postproduction one to help you with your editing.
>film labs/grants/residency
I mean for me labs and workshops are basically the same thing, grants are grants obviously, and residencies are a different beast altogether - I haven't personally been to any, but I know some people who have and they seem quite cool and chill, but of course competition to get in will be high again.
Can't really share anything more about the project unfortunately because the theme is very specific, but if you have any general questions I can answer them

>>4383164
I can't fucking stand docs & journo anymore. Fucking disposable trash lost in a sea of disposable trash just like it. What is the fucking point anymore, I mean shyyyyet its as bad as every retard with a 5th grade education starting a fuckin podcast so they won't have to go get a real job. You take the art completely out of film and you have a bunch of gibbering that makes people who can't fucking read feel like they're educated on a subject bc they DiD ThEiR OwN ReSaRcH, whoopee thats goin juuust great for everybody. No. You're wasting everybody's time and just adding noise to the bulk that way. Film is a visual medium. If you can't put an ounce of motherfucking effort into some semblence of your own unique goddamn visual design language, then put your camera down and record an audiobook, bc your viz is not be interestink and you shoul stick to story, bc you are a pleb not a damn artiste.

>>4384745
Completely agree
Don't know why docs get a pass being like that
Ok the other hand if you do put more effort into your visuals and forego the classic do way, people suck you off big time, like you just reinvented the wheel
It's really weird though, at these workshops the only thing ever being discussed was always just muh story story story story, never the form. Same at Q&As as well, it's like it's completely irrelevant to them

>>4384746
>only thing ever being discussed was always just muh story story story story, never the form.
What do you means by form? Like Lynch had a 21 page script for Eraserhead?

>>4384747
the form of the film, the visuals, the style, the presentation, call it what you want

>>4384772
OOO I get it. You can't expect from plebs to care about style. Art without aesthetics is nothing.

I have seen Faya Dayi. Although it was "woke" but the style of that film was really hypnotic so I liked it even if I don't care about their ideology.

>>4384774
You can't teach artistic inspiration

>>4384745
Agreed. I have always disliked docs/nonfiction. When compared to fiction, I have never been as scared, never laughed as much, never cried as much, never been inspired as much, never been thrilled as much, never been entertained as much, never been philosophically provoked as much. The art form is at its peak with fiction.
Maybe I learn a new fact or two from a doc. That’s it.

>>4384746
There is a massive obsession with “THE RULES” and “STORY!! CHARACTER DEVELOPMENT!!!” in the recent generations that has grown to an alarming size. The art form has certainly been suffering because of it. When normies binge CinemaSins or start talking about character development, there is a sickness that needs to be cured.
I don’t know if this also has to do with the amount of failed filmmakers turned teachers who don’t know how to teach anything other than rules and structure? Or if it’s a case of “imposter syndrome” and fear of not being taken seriously as an artist- if you can point to hard rules and objective facts to follow, your art has a base to stand on that can’t be subjectively ridiculed in the very least?
I don’t know why so many have forgotten that the rules are indeed made to be broken.

>>4384772
Even this suffers as well- all you get are people obsessing over how to “properly” light and expose a scene, how to “properly” block, how to “properly” get coverage, how to “properly” edit the scene.
And then you get people having breakfast in the dark while everyone obsesses over HOW CINEMATIC THIS LOOKS!!!

>>4384913
>I don’t know if this also has to do with the amount of failed filmmakers turned teachers who don’t know how to teach anything other than rules and structure? Or if it’s a case of “imposter syndrome” and fear of not being taken seriously as an artist- if you can point to hard rules and objective facts to follow, your art has a base to stand on that can’t be subjectively ridiculed in the very least?
>I don’t know why so many have forgotten that the rules are indeed made to be broken.
I'm pretty sure that, like most things, it's a result of nepotism and boomers kicking the ladder behind them
Retards get given opportunities due to connections and have to justify why they're there. They give safe, recognisable answers and everyone nods along and it creates a feedback loop.
To get anywhere, you have to impress the retard boomers at the helm. They don't care about innovation, they care about safe investments. So you have to speak to them in that language. Everything gets sanitised and watered down. If someone like Scorsese was trying to become a filmmaker now, he'd be stuck going broke making low-budget thrillers with meme actors until he relented and signed on to direct some tv episodes of the latest capeshit where he had zero artistic control.

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>>4384913
watch more/better docs/nonfiction, because there's a whole category of them that are better than fiction
I agree however that mainstream docs are mostly trash
I wholeheartedly recommend all in picrel, some absolutely fantastic films there

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>>4384934
I’ve seen either the ones listed there or docs from Grandrieux, Bing, Tsai, Castaing-Taylor, Basinski, Sokurov, Benning, Akerman, Marker, and Vertov docs.
While you’re indeed listing some good films, I stand by my statement. It’s interesting- from the filmmakers listed who have also done fiction, their fiction films far surpass their non-fiction.

>>4384948
Then there is no hope for you I'm afraid

>>4384949
Great. Im completely fine with continuing to spend my time with fiction over nonfiction.

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FCP 11 got "Magnetic Mask"... AI based masking tool. Can someone compare it to Resolve's Person Mask?
https://www.youtube.com/watch?v=4a2dIouFr70

>>4385002
no i don't have resolve pro sorry

Lads I've been toying around with the idea of making an ultra portable rig to complement my regular rig for travel and difficult to reach locations that would minimise size and maximise quality. I'm thinking of the Lumix S9 (my main is an S1H) as the camera, but not sure what to pair with it for audio? Any suggestions? Sony FX-3 would be a good fit as well but too expensive unfortunately, or something really tiny like an RX100VIII but the IQ isn't quite there.

>>4385117
Sony and panasony are garbage

>>4385149
Not useful

>>4385117
>but not sure what to pair with it for audio?
I've been using a zoom m3 lately and it's been fantastic. A decent quality shotgun mic that has 32bit float internal recording. If you can find a good way to sync it to your footage then you're pretty much set

>>4385154
>zoom m3
That looks pretty good actually
I couldn't just connect it to the mic jack on the camera? Would the audio quality suffer from that?

>>4385192
You can connect. But yes, the audio quality would suffer (you'd lose the 32bit float among other things).
You can feed it into the camera's mic port and record both internally and through the camera though. This will let you sync the audio in post really easily.

>>4385197
>You can feed it into the camera's mic port and record both internally and through the camera though. This will let you sync the audio in post really easily.
Oh nice that sounds like a good solution

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Why the fuck did these get discontinued
Theyre much better than Atomos' crap

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>>4385200
I don't know, but the company, I guess, decided to only focus on audio. That was probably a better financial strategy for them.

One of the best threads we’ve had in awhile, let’s keep it up

>>4385239
Is that sarcasm or do you really believe so?

>>4385154
Is the m3 good for atmos?

>>4385246
>filmmaker discussion
>filmmaking discussion
>film industry discussion
>little bit of gear talk
seems pretty good to me

>>4385246
Truly believe so, wish they were all like this

>>4385249
>>filmmaker discussion
I'd rather have a slow thread than two autists discussing which cinematographer had the best influence on Tarkovsky. Take that shit to /film. /vid/ is about the process of making shit, not jerking off to your favourite filmmakers from 60 years ago.

>>4385316
Fair enough

>>4385316
I'll take that over the gearfagging that goes on here any day

>>4385321
If you want that, why do not just go to /film/? That's literally all they do (and the threads are unbearable circlejerks surprisingly enough)

>>4385325
>threads are unbearable circlejerks
I wish. It’s mostly spam/trolling/shitposting. Haven’t had a discussion there even close to what happened in this thread for a very long time.

What do you guys use/recommend for video editing and especially color grading? I don't want to be an Adobe cuck because of the retarded prices and Davinci Resolve doesn't allow 10bit files and the color banding on 8bit looks horrendous when I try to color grade anything. Davinci Studio is pretty pricey and I considered Premier Elements, but apparently the latter doesn't have color grading and isn't really meant for LOG stuff.

>>4385351
>Davinci Resolve doesn't allow 10bit files
The fuck?

>Davinci Studio is pretty pricey
The fuck?

>>4385361
>The fuck?
Correct, the free version does not. You end up with just the audio.

>Davinci Studio is pretty pricey
Correct.

>>4385351
my gh5 10bit files won't work on my windows pc but they will on my m1 air.
both using the free resolve, pretty weird hey

if you do buy resolve, buy something that includes a key, then you get something for $500 off or "free"

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>>4385371
This. I bought one of these when they came out and it was pretty much the same price as Davinci studio and came with a key, so essentially got it for free.
And the Speed Editor is actually pretty cool, it seems dumb but once you use it you get pretty damn fast with it and it just feels tactile and really nice to manipulate footage physically like that.

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>>4385371
The free version will do 10 bit on mac for some reason, I have studio on my windows desktop but downloaded resolve free onto my m1 air a few days ago just to see if it would work and I was surprised it did.

>>4385374
I've seen a couple of these pop up on marketplace and was mildly curious. I guess if I were to actually pay for resolve that sounds like the route to go instead of just outright buying it, that way you'll at least have a new toy to play around with.

Just pirate davinci studio lmao

>>4385371
>>4385381
>10bit works on Mac but not Windows
What the fuck

>>4385381
Interesting. I've got a Mac Air but it's a base model, so I'm not sure it would be strong enough for editing 4K without using swap memory at an extreme rate.

>>4385391
With proxy files why does any of that matter anymore?

>>4385374
I've used a dial on an old VHS system designed for editing. I was a natural with it in about 2 minutes. Always wanted a digital version of it, and with how fast Resolve is, I might just try this.

>>4385392
Honestly I've never messed with proxies. I've only ever done photo editing, things like proxies and LOG is where I'm really new when it comes to video editing. Do proxy files still use 10bit for the editing process?

>>4385394
You have the option to convert them to 10 bit but most people will just do 8 bit at 1080p and then the program will apply all the changes to the 10 bit file and export at full quality.

>>4385397
And the color grade won't look all fucked up on the final render if I edit with 8bit proxies?

>>4385391
my m1 air was better than my x58 6 core xeon at editing 4k30, didn't grade or do anything fancy but it worked like a champ,

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S9 vs FX3?

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>>4385409
out of those i'd get the sony, but it was the s1h im 50/50

>>4385411
I already have an S1H though

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Ok how about this instead, a bit closer in price
S9 vs FX30

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>>4385399
It should look fine when you do the final render you do it at 10bit it’s only 8bit when you are editing it.

>>4385413
As a panatranny, fx30 is simply better choice

>>4385399
you can render short clips to see how things are looking

>>4385432
As a fellow panatranny, how so?

>>4385351
If you're editing 10bit files you should be prepared to invest 300 bucks into an nle.
If you aren't prepared to do that, you should stick to 8bit. The free video editing software that comes with windows (clipchamp) also lets you edit 10 bit files but it's not great.

Hewwo /vid/, this will be a blogpost, please keep scrolling if that bothers you.
I wanna make a montage, or probably more like a bunch of short videos/music videos of my next 8 months or so just for myself and my brother to look back on when we're old. We travel a lot for work and we're always in a different place each day, so it would just be about the country scenery, random funny signs, nice looking gardens, cool cars, interesting moments at work, etc., so mostly handheld shots, some out of the car window, no real control over lighting or even time to set it up, mostly focused at infinity, that sort of thing.
I've just been using my phone which honestly has really good ibis and good enough detail, even at 70-120mm equivalent crop, but I want to shoot some footage that will hopefully look more like a movie rather than random phone videos you'd post on social media or whatever. Obviously not looking to get it published or played back on a big projector or something though.
Is it worth getting an fx30 or a pana s5ii for this, or would something like an rx100 mark whatever or an a6400 with the basic kit lens accomplish what I'm looking for?
Also post home video inspo, I'm sure there's a word for like summer vibes roadtrip handheld short movies with no dialogue or story, I've got it in my head I just can't think of any examples rn.

>>4385418
>>4385433
Hmm, maybe I can try doing proxy edits on my Windows PC (which has a shitload better specs) and then just render the project with the Mac.

I might upgrade my Mac in the future since 8GB really isn't enough for my needs. Is 16GB enough and just 512GB for the SSD? Is there a reason to pick a Pro over the Air if they both have the same 16GB RAM and 512GB SSD? I'll probably edit off an external SSD rather than do it from the internal drive, which is what I do for most things as it is anyway.

>creating proxy videos and disabling the bullshit offloading of files when you alt-tab solved all sony vegas crashes and freezes
I wish someone told me sooner

Hey, I've got one of these Sony camcorders with a bunch of 8mm tapes of family memories that I can attempting to digitize.
Is there some automatic way to detect the end of the tape? I want to make sure I don't unknowingly forget to playback and capture sections of the tape that might be separated from the beginning. Also any tips for this endeavor? I just bought a cheap little 20 dollar composite to usb converter, its not even in yet, I can't say if it will even work
Do you think the camcorder playback is a limiting factor? Its only mono audio and video plugs (the yellow and white plugs) I would be willing to buy a dedicated 8mm player if it will significantly improve the quality

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fucking forgot picture

Anon who just purchased BMCC 6K FF here-
I noticed it had an issue with being unable to change the date/time. Couldn’t update it automatically through Ethernet, PC connection. Couldn’t update it manually. Searched online, didn’t see anyone else reporting a problem like that.
Called support, walked me through trying everything, updated firmware to newest version, rolled back to first version- still couldn’t update date/time.
Had to fucking mail it in, they replaced the entire PCB main board. I was hoping for an entire camera replacement, but they just swapped that out and sent it back.
I’ve just received it and confirm it works. Was told by support that they “had never experienced an issue like this before, this is a first”. Of course, my fucking luck…
Took 5 days to repair, 2 days to ship back. If anyone else encounters this, hope my post helps. Thanks for reading my blog, excited to have my camera back and get back to filming dumb shit.

>>4385371
Try installing the HEVC Video Extension from Microsoft.

You can buy it from the Microsoft store for a dollar or so. Or be cheap and spin the wheel on a free download somewhere from the internet and you'll either be able to edit, or brick your computer.

>>4385453
The best camera on Earth is the one you have at the time. Set a budget, buy something and film. If you're aiming to watch it in 30 years even an Alexa Mini will look dated then.

>>4384479
Congrats and keep working despite the crap. I was finding a similar problem with a doco I wanted to make. I had a good producer who had some productions under their belt. But the majority of funding in my country comes from government agencies and they were not looking for our kind of film.

I was recommended to call a 'producer' who is well, the kind of person government likes funding. The offer was that they would put their name on the application, we would get the funding because the department could tick some boxes. Then they take a cut of the budget and let us do what we wanted with the rest. It's a pile of rot and I turned it down.

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>>4386181
>HEVC
yeah did that for my gopro footage(right), gh5 left) still won't work

I used these to not pay the msft tax, worked for me
https://www.codecguide.com/media_foundation_codecs.htmhttps://www.howtogeek.com/285410/how-to-install-appx-or-appxbundle-software-on-windows-10/

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>>4386181
>Then they take a cut of the budget and let us do what we wanted with the rest.
I would've gone for it probably

>>4385880
>detect the end of the tape
adobe premiere 3 with firewire, pretty sure it did this, but it was ages ago in high school

>>4386181
It sounds like some type of scam. They probably lied to to people giving the grant about what it was going to be used for and when the shit hit the fan later on you’d take the blame and they’d get the money.

>get email inviting me to submit to film festival - 50% off
>get them all the time but still investigate to see if it's any good
>festival looks good on paper - US based, a number of days devoted to screenings, relatively cheap entry but not too cheap to raise suspicions
>only red flag is that there are no reviews but they're never helpful anyway (I swear 90% of the time they're bots)
>look for website
>can't find on google, log into filmfreeway to get it
>looks okay, look up past films
>only shows winners, fair selection of about 15 awards, still looking good
>look up one of the winners on google
>zero results or indication that the film exists
>weird but it can happen especially if it's a short film or they just haven't released it publicly yet
>look up another
>same thing - no evidence that the film exists
>try it several more times, each time getting zero relevant results
They almost had me. For reference, even the shittiest festivals have programs with films that you can easily look up. Normally you get a shitty trailer on youtube that looks like it was filmed on a camcorder from 20 years ago but the point is that the film clearly exists. Here, not one had any digital footprint.
This is the reality when trying to navigate being an indie filmmaker. Figuring out which festivals are genuine and which are scams is getting harder and harder.

>>4386255
don't you have a targeted festival in your region you are trying to get into?

>>4386256
I live in the middle of nowhere on the outskirts of london. The london festivals are mostly all scams or overpriced, or overpriced scams. The other festivals in the area are largely shit but I'm looking into them yeah.

>>4386258
that makes a lot of sense, i bet the density is wild. i don't have that issue in my region because i've been to pretty much all the festivals in a 500 mile radius to watch films

>>4386258
Yeah UK is strangely shit for festivals
They only good legit one basically is Sheffield docfest, but they're cunts unless you're big

>>4386256
>targeted festival in your region
Got any suggestions for experimental/narrative hybrid concerning dark subject matter with harsh noise soundtracks?
Cause I can’t find any.

>>4386258
NW7 represent

>>4386278
i bet you just need to build a social network. have you tried connecting with people at art or film schools, art museums, theatre groups? are there venues that show films at special events? there's pretty much nothing too weird that it isn't being shown somewhere as long as it's not a snuff film.

>>4386308
>i bet you just need to build a social network
I completely agree and acknowledge it’s pretty much destroying any chance at a serious “career”. I can’t stand networking (in person and online), going out to stupid shit, putting on a smiling friendly face, whoring myself and my projects out, etc etc.
I just want to make art and have it be recognized for what it is, but I know that naive worldview has been dead since capitalism took over.

>>4386312
I think this is a problem for a surprisingly high number of aspiring filmmakers (myself included, but I've come across several filmmakers saying the same thing). There's not really a solution either. You've either got to somehow just lose all sense of shame and humility, or else be so fucking great that they can't ignore you.

>>4386314
>be so fucking great that they can't ignore you
Pretty easy to ignore when it’s all about connections/money. They don’t give a fuck what “great” is- can it sell? Can it make me money? Can it get me more attention, in the room with a star?

>>4386324
You're not wrong.
But it was the case before that amongst the people who judged the films were enough of a minority of people who cared about quality that you at least had a chance of getting somewhere just based on merit.
I refuse to believe that none of those judges are still around. Maybe I'm deluded. But what else is there? We're chasing an impossible dream without the unspoken necessary tools in the form of normie arrogance, making it ever more impossible.

>>4386325
Agreed. All I see/read/hear is that every aspect of every area is getting harder and harder and impossibly difficult, and that’s even for the life of the party assholes making straightforward mainstream trash.

>>4386312
here's my pov, i worked on staff for a small local festival that was showing films at 6-7 venues. there were probably 800 submissions in addition to the films that were paid for as main events. no one has the time to watch even half of that, so the known indie directors with work get priorities, then a few locals, then they skim to fill the rest.

if you had been working for a local indie crew and then got support to push your film you'd have a better shot at getting in. another example, i worked with a person that filled the slots for the film showcases at the local modern art museum and they did a survey day of local shorts, that's the kind of opening you can fit your stuff in. another example would be an event i remember that had art displays, local bands and a few film showings in the interrim.

without the connections it's way too hard to break through, and that's just piddly local-regional stuff, who even knows it works higher up.

so I'm primarily a photographer but I'm looking to set a new camera because the autofocus on my s5 is atrocious but I'm wondering, if I'm shooting primarily vlog stuff or tutorials do you think I could get away with an a7rv? it's fairly irregular that I shoot video. just wondering if maybe there's something else I should consider

>>4386348
the phone you have and a good mic with some lights

>>4386348
It doesn’t really matter unless you’re an indie filmmaker or doing weddings/commercials/MVs commercially. In that case you’d have a dedicated video camera married to the gimbal and audio junk.

>>4386365
>>4386359
true, I've got a decent mic but I guess I need to up my lighting game

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>>4385880
Hey anon, I'm interested in this response too, please report back on testing.
I'm waiting on a TRV camera right now and going the same route as you (tape playback to RCA to USB).
I'm also interested in pic related, I think you can shoot directly to the mini SD in it, or you can playback into the mini SD.

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How do I learn framing and subject selection and "visual storytelling" and symbolism and and *sobs*

>>4386868
Simply watch all the movies.

Also there's a very decent learning portion on this thread's OP.

>>4386868
Can’t. You either got it or you don’t.

>>4386868
look at some fucking art you pleb

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>>4386868
You gotta make a lot of shitty videos to learn, thinking about making them won't be the same