From what I'm reading here it all depends on intent. For example if you're shooting in public and a huge "Coca Cola" wagon drives by in the background three blocks away and you actor isn't saying anything or doing anything that might suggest relating to "Coca Cola" then you should be OK. But if your film is literally about the Beatles and your actor is standing under a huge poster of the fab four, you could be in trouble. I'm only taking what was said here and making my own sense of it. Don't take this as solid advice.

Didn't see the 7" "Feelword 279" 4K in that list. All plastic but it's 2200 nits and has zebras, false colour, peaking, flip and flop, histogram, HDMI passthrough. Auto detect resolution, Audio speakers etc etc you can even load LUTs and have a choice of battery plates. £220 on eBay NEW!!!. I love mine. And you can get a version with SDI for an extra £50 or so. Should have been on the list without question. I would love Feelworld to bring out a 5" version for the same price.

What I'm also getting from this is that the software adds or detracts at the midway point of any two given ISO values. So it depends what your cameras base ISO is as to weather 100 is clean. For example I have an 80D and it's base ISO is 64 therefore at 100 it's add digital noise. However at 160 because its greater than 150 and therefore close to 200 which is a base ISO it is detracting and therefore looks cleaner. The next base ISO is 400 and as 320 is nearer to 400 than 200 it is detracting to get the 320 and so is much cleaner. In other words adding gain to a base ISO BAD detracting gain from a base ISO GOOD. The deciding factor being which BASE ISO your chosen ISO is closest to.

The GH4 can work in Gain or ISO and Canon could do the same. These cameras are all little computers with a lens stuck on the front. The sensor is an interface that gets its input from light as opposed to a keyboard. Which ever way you look at it the software is receiving information and converting that information to 0s and 1s and then interpreting that information the way the software developers have programed it to. Do not think these cameras are interpreting the light information the way a piece of actual analogue film does, it doesn't. Every digital image you've ever seen and ever will see is a digital reproduction that is attempting to simulate and analogue image as closely as the sensor and software will allow.

Hands down the WORST PC build video I have ever seen. He goes to the trouble of explaining basic stuff for those who are not necessarily familiar with any part of the process but when it gets to a part that many people may not be familiar with IE installing the M.2 drive which is a component I've never heard of upto today he completely skips it. What's the point of doing a video like this if you're going to just skip stuff. And I'm not talking he like he didn't cover it well I mean he actually skipped the whole thing. HAHA

Enjoyed that podcast. I noticed that magic number come up again for film length. I've heard on more than one occasion that 10mins is a good length to be considered for most festivals. Having said that it's interesting that most of the Oscar nominated shorts of 2017 were around the 20min mark. Nice to hear a programmer confirming my thoughts about equipment as well. I hear all the time people banging on about their great camera and other 'professional' equipment like it somehow gets them a free pass into some exclusive club and automatically qualifies them as 'players' on the movie making scene. Like Claudette said in the interview most people in the audience have no clue and probably don't give a shit what equipment you used, all they care about is was the film good.