You’ve obviously never been on a true set of any large caliber. Whether it be narrative or commercial.

Filmmaking on any degree takes immense time not only to nail the creative beat and flow, but to do it safely. Film is inherently extremely dangerous, and on bigger things the risk only becomes that much more.

Long hours are risky, but at the same time necessary for the creativity to succeed safely and effectively.

The amount of artistry we have and create in Film, would simply not be here period at the volume of output we have if we worked 8/7 hour days including a lunch break.

I agree, the submissions should have been specifically for this not retrofitted into a submission for this that the original production was not meant for.

The budget and time-constraint alone skew the results. Along with corrupting the spirit of competition.

I’m honestly confused by some of these selections, and as humbly as possible believe wholeheartedly my short should’ve made this list. I’m still incredibly happy for these finalist, but my opinion in my own art submission is still steadfast.

Regardless I hope someone can enjoy it, and learn from how I used color contrast, ratios, and a wide variety of strength to my lighting in terms of story telling in my shorts link below.

“Small Victories”

https://m.youtube.com/watch?v=i57UKJUDDnI

Yeah, only sold in the set. Hopefully some day they'll make them available separately, or make a Classic Cine Zoom 18-35 & 50-100

I think the main thing to be brought out here (which was my first thought when seeing this release, and what Charles might be alluding to) is with the Pocket 4k, because it is MFT you can adapt it (ultra .64x) to full-frame glass.

Honestly, I think that makes it a slightly better camera if you want the largest image size possible.

A lot of cine lenses even though they're EF mount are typically being made for a FF Sensors. You're losing image size, lens effect, and DoF by slightly cropping the edges of that glass.

Haha, I thought the same exact thing!