It has a lot of nothing moments, but it captures ordinariness in a way few films do. When he's driving down the country road in the stolen Oldsmobile and discovers a pistol in the glove compartment, the moment comes off completely uncontrived. He's simply surprised and delighted to bump in to this new toy. He knocks off the motorcycle cop just for the fun of it, and unlike countless gangster movies where a cop killer snarls and laughs menacingly, he treats it as just another minor obstacle disposed of. One of my prime objectives for my narrative work is to present scenes that have that ordinariness in them without boring the audience
A refreshing look at a hard subject.
About the computer - you can probably make it work for straight editing by replacing the hard drive with an SSD, increasing the RAM to 16GB, and creating a proxy when you bring in the footage. This is how I handle 4K footage on a Mac Mini i7 with 3000 graphics, which is weaker than what you have. This machine handles final render running FCPX with no problem. If the film requires substantial effects work, you will need to send the work out, or get a more powerful computer.
If the problem is morning sky, you need only wait until the sky is bright enough, which is determined by the readings of the spot meter. Will the shot contain critical action? If so, budget three mornings. I have learned from bitter experience that shooting before shadows appear provides a very narrow time window.
I am completing post production on a very ambitious first narrative short on which I did everything. Here are some things I got right and wrong.
For sound, use a directional lavalier and pocket recorder for each actor, eliminating the need for a sound person and boom operator. Early on, I used a Zoom H5 tucked inside the actors' belts. Later, I acquired a Juice Link Little Darlin, which is much easier for the actors. But its UI is from 1955 - make sure you have the DAR's operation down cold. Ideally, an off-camera actor can check the sound with headphones after an otherwise good take.
If you communicate what you're trying to do with an experienced cast, they can be a big help handling the slate and watching for continuity issues. Most actors are high in agreeableness. Once they buy in to what you're trying to do, they can be a big help. It works much better if you pay them.
Use only manual-focus primes. If you depend on autofocus, especially on a zoom, you're setting yourself up for unpleasant surprises in post. This one bit me three times. Twice I was able to work around it, but in one case I was forced to eliminate the shot completely.
I have never before seen a post whose conclusion I agree with that otherwise gets everything wrong. Hollywood has gone off the rails because they can't or won't make a film that a general audience will watch. If you compare the outcome of Exodus:Gods and Kings to that of The Ten Commandments 60 years ago, you kind of get the idea. Even with bad acting and not very good compositing by today's standards, the Ten Commandments still plays because the people who made it shared the religious paradigm that prevailed in 1957, and the sets, costumes and thousands of extras were extravagantly good. The people who made it believed in the film. EG&K was just another dark-themed CGI property peddled by cynical producers who were only in it for the money and it deserved what it got. You can't fool the audience, and RT now makes it obvious much sooner than before.
Now if I could just figure out a way to match the GoPro's color to that of my Panasonic G6. Even with Protune flat, the GoPro's color looks yellowish-green and is very difficult to get right.