How about don't use a camera that throws away more than half the color information in your scenes? 8 bit 4:2:0 and 10 bit 4:2:2, just won't cut it. Subsampled color was developed specifically for TV broadcast, not for digital cinema acquisition. If you want to be able to color grade your images to yield a cinema aesthetic, 12bit 444 or 12bit raw recording are what's required. So that still image in this article of a DSLR.... nope.
BMPCC is a lovely little camera, but neither it, nor the GH4 would be good candidates for what Yedlin is discussing here. He proved that the quality of each pixel recorded matters more than the number of pixels once you get to the level of human vision, which hits somewhere just before HD. Supersampling at the sensor level still matters because of the Bayer pattern. On this count the BMPCC falls short because it has a 1920x1080 photosite sensor that delivers HD luma, but far less than HD chroma. The Alexa s35 sensor is not 4K, but it's ~3K sensor enough to yield HD chroma. The GH4 falls short because the codec is extremely compressed, and the color sampling is limited to 8bit 4:2:0. Yedlin's sources for the test are all at least 12bit 444 (or film scanned to 12bit 444), regardless of the resolution.
No, do not always shoot extra footage at 60 or 120. If shooting overcrank without a specific plan of how it will be used in the edit, its best to stick to multiples of the project frame rate so that those clips can be easily played at real time speed without any interpolation if needed. So, yes 60 and 120 for projects that will be released at 29.97p (or 30p), but for 24fps (or 23.976) projects shoot your over crank at 48, 72, 96, or 120. For 25fps projects, shoot over crank at 50, 75, or 100. You get the idea.
FYI SmallHD only works with the probe that has their branding on it, not just any x1
How often have you used a speed booster? With mechanical aperture lenses it’s fine, but the majority of EF glass has an electronically controlled aperture and this is what tends to be the problem with a speed booster adaptor. Frequently the aperture resets itself to a different f stop or it becomes completely uncontrollable requiring either resetting the speed booster or power cycling the camera, or both. I’ve tested multiple brands and it has always been a constant pain in the ass.
Glad to see people are testing other models of working. Completing a documentary in less than a year only works for certain stories and projects, as the article noted. Those short term projects are rarely the best stories or the best made films. Real life is slow and is rarely very compelling when jammed in and cranked out of a factory style production model. Finding great characters and gaining their trust can takes months if not years. And even the best editors may require 6-9 months or more to really get a film honed to its best form. Also worth noting is that if you watch the credits of any well made documentary there is always a long list of grant funders. Why? Because very few feature documentaries make back their budget, so grant funding is absolute necessity for filmmakers who intend to make more than a single credit card or home mortgage financed film in their career. I’d say it’s probably less than 1% that make a profit, but if anyone can find accurate numbers that say otherwise I’d love to see them. Documentary films rarely get financed to generate monetary returns. Instead, the organizations and individuals that fund them are doing it for social capital. This is why the film festivals matter so much. “Executive Producers” who did nothing more than sign a check get to walk down the red carpet and soak in the social esteem. Funders get to crow about the award winning films they’ve made. If the film is about a social justice issue, getting the film into use by teachers or advocacy organizations may be what motivates funding. Selling a potential documentary feature on the profit it will bring is a lot tougher than getting potential funders excited about a story and the impact a film about it could have in the world. I’d love to see that change, for documentary films to make back a net profit without grant funding, but it’s still pretty darn rare.