I love most aspects of filmmaking, especially cinematography and photography.
That was awesome. Interesting, I had heard that Burgess didn't care for the film but in this interview he seemed to appreciate it. I wonder if his opinion changed later or if he was being polite in the presence of McDowell.
Man... I'm sure this information is useful but I seriously cannot get through this style of video. I can't concentrate at all on what he's saying because it's so manic. What is up with the trend of A.D.H.D. editing in tutorials? Am I alone in thinking this?
I will point out though that I really REALLY appreciate how No Film School always breaks down posted videos in text form. Makes digesting the content way more convenient when watching a video isn't possible (in public, at work etc.).
Thanks for doing that!
I used the c100 mk1 every day for a few months at my job last year, and I was blown away by how horribly brittle the compression was.
As directed by many, I shot in one of the c-log picture styles for super flat color profiling. What was crazy to me was that the avchd codec has such low flexibility that when adding even enough contrast and saturation to the c-log footage to get a normal looking image, it would introduce noticeably noisy, blocky artifacts.
The footage looked really nice, but it was always really frustrating that even at a low iso in daylight, that terrible codec made working with the final look pretty difficult. We immediately wanted to get the nijna for prores. I strongly believe that with the high flexibility prores offers, the picture quality of the c100 would be really great.
Unless I misunderstood though, I thought I read that the mkll shoots internal prores as an option, in which case that would be amazing and work getting the mkll over the mk1.