More info about the making of the film here: https://www.dominicjacksonfilms.com/polar

It is a drama comedy about substance abuse, mental health and not fitting in. If you enjoy it please share the link and please leave a review on IMDB and AMAZON we really need it as we hardly have any!

Thanks so much for your time if your get to watch it I hope you like it, it is available at higher resolution and without the stamp in the corner for a low cost, the money will be used to keep the film production moving forward and possibly making another feature!

It is on Reelhouse.org and Amazon UK and USA.

Thank so much hope you enjoy and please subscribe to us on youtube I will be making more videos about the making of Polar and other similar stuff.

Regards, Dom.

Filmmakers from across the world are challenged to write, shoot and edit a film no longer than 5 minutes in length in just 60 hours. The challenge is free to enter and teams can register online (www.60hourfilmchallenge.com) until the 31st August.

The challenge begins on Friday 1st September at 9pm (UK Time). Teams will receive an e-mail containing a title, line of dialogue and prop/action they must include in their films. Each team has to make their films over the weekend (1st-4th September) and upload their final films to our Vimeo group no later than Monday 4th 9am (UK Time). The shortlisted films will be screened and the winners announced at Colchester Film Festival on Saturday 4th November.

The challenge will be judged by our expert panel, directors Olly Blackburn (Donkey Punch), Tom Geens (Couple in a Hole), The Blaine Brothers (Nina Forever) and producer Jennifer Handorf (Prevenge).

Entering the challenge is a great way to get noticed, films from the challenge have gone on to feature at festivals around the world. Rob McLellan’s 2012 entry ‘Love and All That’ went onto inspire MGM’s feature film ‘Abe’, which is currently in pre-production.

Winning teams will receive over £10,000 worth of prizes which have kindly been donated from: Adobe, AKM Music, Beachtek, BlueStarProducts, Boris FX, Boxx TV Ltd, Cartoni, Cinedeck, Contour Design, Daz 3D, EditShare, FilmConvert, Filmstro, FXGuide, IndieFlix, Lenspen, Logickeyboard, Loopmasters, MindShift Gear, Musicbed, Peli, PowerProduction Software, ProMediaGear, RØDE Microphones, Snapperstuff, Spiffy Gear, Stan Winston School of Character Arts, Toon Boom Animation, Vid-Atlantic and Vocas Systems.

60hrFilm

Website: http://www.60hourfilmchallenge.com
Facebook Group: www.facebook.com/groups/60hrFilm
Facebook : @colchesterfilmfestival
Twitter: @ColFilmFestival
Instagram: @colfilmfest

Handheld 3-axis stabilizer is a revolutionary product to the film industry. It is so light-weighted and user-friendly to create more possibilities for photographers during filmmaking and at mean time providing smooth videos. However, designs of 3-axis stabilizer cannot address the very crucial part: the bounces caused by photographers’ step while making videos. To solve this problem, the cutting-edge Nebula 4200 5-axis stabilizer has arrived.

With two spring arms, Nebula 4200 can absorb any vibrations and bounces under payload acting on the vertical axis and with different spring tension, the two spring arms are also able to filter part of the vibrations on horizontal axis. They are just like the vehicle suspension system which isolates road noise, bumps, and vibrations. Nebula 4200 as the terminator of stabilizer presents you a most smooth experience under the severe environment of recording.

And here comes a brilliant accessory for Nebula 4200 to make it the most powerful combination: our new product, Nebula Remote. No more complicated operation to control both your gimbal and camera with Nebula Remote. It can be quickly installed on gimbal's handle without tools and can be simply used by thumb to control your gimbal accurately and intuitively. Only one key to stop or continue motor's working, convenient for balancing, fine-tuning and power saving. OLED screen clearly shows the current status, including modes of gimbal, current voltage, battery power, angle of pitch axis and yaw axis and other information. By using the memory function, now it’s free to capture shots that are difficult or impossible. Every design makes filmmaking smoother and easier.

Nebula Remote is compatible with Nebula 4200/4100/4000/5200/6000. The video below is Nebula REMOTE function introduction.

The video below is the method of Nebula REMOTE.

Hope these can help you to understand the product.

This goal was achieved in 1973, by inventing the simple but innovative machine – Brown stabilizer (later renamed: Steadicam).

At that time, Steadicam attracted a large number of users for its low cost and simple structure.

Buy as the rapid developing of science and technology, emerged the shortcoming of Steadicam.

Although Steadicam has made great differences, there are many restrictions to the detriment of current photography needs. Such as Steadicam is too big to be used for narrow scene, and too heavy for long shot. And the fatal weakness is the difficulties for beginners to start in a short time trial, users must take a long time of training to familiar with Steadicam and use it well. With wrong posture, it is counter-productive to keep stable. Still, usually we need to spend a long time on Steadicam for adjustment and balancing.

Now, the cutting-edge Nebula 4200 5-axis stabilizer has arrived to end the 50-year history of Steadicam. You have to admit that the lightweight and compact stabilizer more suits our needs for its user-friendly and excellent stability.

However, designs of 3-axis stabilizer cannot address the very crucial part: the bounces caused by photographers’ step while making videos. To solve this problem, Nebula 4200 5-axis greatly integrated the traditional advantages of Steadicam and the latest technologies of gyroscope stabilizer.

Turned the standard notion of 50-year Steadicam’s structure, 5-axis spring arm is Nebula’s original design, inspired by the damping system of F1 racing cars. Nebula 4200 is known as the only mould-casting gyroscope stabilizer in the world. All parts of this innovative product are made of metal.

The effect of double spring arm in contraposition is both rebound and absorbing. But the mass of stabilizer and camera appropriately maintains inertial. Except the intentional tremor, the two spring arms of 4200 can absorb any vibrations and bounces under payload acting on the vertical axis. With this kind of buffer, Nebula 4200 reduces vibration, retards speed, makes shooting more smooth even facing hard bumps.

They are just like the vehicle suspension system, on the one hand isolates road noise, bumps, and vibrations, on the other hand provides enough sustenance for stabilizing car body while making a turn. Besides vertical axis, with different spring tension, the two spring arms are also able to filter part of the vibrations on horizontal axis. That’s why we call as 5-axis.

Two dovetails are added on spring arm, to show the flexibility of combinations. The standard 1/4 screw hole also makes it easy to carry most of the photography accessories. Every detail we designed is for filmmakers in search of 2 “P”s: professional and possibilities.

Double spring arm in contraposition turns the standard notion of spring arms in line, in order to spread bounces caused by photographers’ step while moving over two handles. Thus perfectly reduces the jitter and jerking and improves users’ manipulation of stabilizers.

Turned the standard notion of 50-year Steadicam’s structure, 5-axis spring arm is Nebula’s original design, inspired by the damping system of F1 racing cars.

The effect of double spring arm in contraposition is both rebound and absorbing. But the mass of stabilizer and camera appropriately maintains inertial. Except the intentional tremor, the two spring arms can absorb any vibrations and bounces under payload acting on the vertical axis. With this kind of buffer, reduces vibration, retards speed, makes shooting more smooth even facing hard bumps.

They are just like the vehicle suspension system, on the one hand isolates road noise, bumps, and vibrations, on the other hand provides enough sustenance for stabilizing car body while making a turn. Besides vertical axis, with different spring tension, the two spring arms are also able to filter part of the vibrations on horizontal axis.

Two dovetails are added on spring arm, to show the flexibility of combinations. The standard 1/4 screw hole also makes it easy to carry most of the photography accessories. Every detail we designed is for filmmakers in search of 2 “P”s: professional and possibilities. Double spring arm in contraposition turns the standard notion of spring arms in line, in order to spread bounces caused by photographers’ step while moving over two handles. Thus perfectly reduces the jitter and jerking and improves users’ manipulation of stabilizers.

I work in projection and when I received the trailers for Tomorrowland I found it interesting that it did not fill the scope frame, instead being shown cropped to 2.20:1.

I just received the film itself and I find out that it must be shown like this. The first modern film to be shown in this format, which is the same ratio that 2001 was originally displayed. Not only that setting it up you can enter a contest as a projectionist if you set it up properly. Very interested to see if this is a new trend, as I cannot see Regal being exact in their projection of this film, instead they will just run it in flat. Jurassic world is supposed to be in an even weirder 2:1 ratio.

What do you think of the new format? Personally I feel it is the perfect framing, not to wide or tall, about perfect for my eyes. However there is no natural way to capture this aspect ratio besides cropping the final image for most cameras so it's a bit of an acquisition nightmare.

All in all, I was the "Jack of All Trades" for the film, and due to the fact that I'm an avid procrastinator, it was a very tedious process. By far any attention or advice I've gotten has been from the personal-view forums, so of course this film was shot entirely with the GH2, aside from about 2 scenes, and I wanted to update the people who I spoke with consistently on the site about the project. The project is now finished and we released it on IndieReign.com alongside a brand new trailer for the film! Though I'm terrible at taking constructive criticism (all filmmakers are), I wanted to share the trailer with everyone on the personal-view site regardless, I mean after all we all don't just get crew and actors together just to film a personal home movie to lock in a vault!

I'm currently back to writing a new project but I plan on putting together a few youtube tutorial videos focusing mainly on how I scored the film, went about color grading the film itself, and how I went about with the pre-production of the film (casting calls, paperwork, shot lists, scheduling). I hope you guys enjoy the trailer for the film and thank you for the ones who read all of this before actually watching the trailer!

http://www.bifest.it/en/

This is my latest short film. Shot on a GH3 with Canon EF L Primes (from my 60D days) and a manual aperture adapter (wish the new speedbooster was out earlier, and wish the GH3 had the focus peaking feature like the GH4 does).

I like the Vivid setting in the GH3, the blacks look good after grading. This wasn't aimed as a cinema production, instead TV with a slight filmic quality!

Few things I would of changed, would have lost the massive DOF to one of my interviews. Broke my lens hood on the Canon 100mm f2.8 IS lens and found I had some casting/refraction on certain shots without it.

Shot by: Kirk Gaydon Panasonic GH3 Canon EF L 24mm Canon EF L 50mm Canon EF L 100mm (IS not usable)

Panasonic GH3 Settings: MOV 72Mbps Vivid -5, -5, -3, -3 1080p50 PAL Shutter 1/100 (on track) 1080p25 PAL Shutter 1/50 (interviews)

Audio: Rode VideoMic Pro

Any thoughs or questions, just ask.

I'm a film student in my last year and I am doing my senior projects. I have a GH2 that I hacked with the Moon Trail 5 settings after asking some classmates and doing some research. And I am very happy with how my projects are coming out with Moon, but I have this nagging feeling that I didn't do the right thing. Now I've done some more research and a lot of people have been using Flow Motion v2. There doesn't seem to be anything out there directly comparing the two. And because of my ignorance of the terminology used when talking about the hacks, I can't figure it out for myself.

So now I am asking for some opinions about the two hacks compared to one-another. What are they good at? What are they bad at? Which one is the best bet if you want to make films and not do a ton of color grading?

Thanks for reading all that.

HILL 235 from Stuart Howe on Vimeo.

It's still undergoing some grading tweaks, but thought I would start creating some buzz.

• Adams. 2002. The Negative. The Ansel Adams Photography Series 2.
• Adelman. 2004. The Ultimate Filmmaker’s Guide To Short Films.
• Bernard. 2004. Documentary Storytelling for Video and Filmmakers.
• Block. 2001. The Visual Story: Seeing the Structure of Film, TV, and New Media.
• Cartier-Bresson. 2005. Henri Cartier-Bresson: A Biography.
• Cowgill. 2005. Writing Short Films. 2nd Edition.
• Frost. 1998. The A-Z of Creative Photography. Over 70 Techniques Explained in Full.
• Garis. 2004. The Films of Orson Welles.
• Goodell. 1998. Independent Feature Film Production. A Complete Guide from Concept through Distribution (fully revised and updated).
• Harrington, Carman and Greenberg. 2011. An Editor’s Guide to Adobe Premiere Pro.
• Johnson. 2000. Crafting Short Screenplays that Connect.
• Jolliffe and Jones. 2004. The Guerilla Film Makers Handbook.
• Katz. 1996. Film Directing: Shot by Shot. Visualizing from Concept to Screen.
• Katz. 2004. Film Directing: Cinematic Motion. 2nd Edition.
• Kurosawa. 1982. Akira Kurosawa. Something Like an Autobiography.
• London, Upton, Stone, Kobré and Brill. 2005. Photography Eighth Edition.
• Malkiewicz.1992. Cinematography.
• Osder and Carman. 2008. Final Cut Pro Workflows.
• Prince. 1991. The Warrior’s Camera - The Cinema of Akira Kurosawa. Revised and expanded edition.
• Rabiger. 2004. Directing the Documentary. Fourth Edition.
• Rodriguez. 1995. Rebel Without a Crew.
• Stafford, Hillebrand and Hauschild. 2003. The new Nikon Compendium.
• Tarantino. Pulp Fiction Screen Play.
• Zoellner. 2007. Homade Biography: How to collect, record, and tell the life story of someone you love.

If you need some books or all, please PM me so we can see if we can work something out.

GH2 (handheld) Vibrant mode 44mbit hack

Panny 20mm f/1.7 Panny 14-140 kit Nikon AI-S 50mm f/1.4

All feedback welcome. Details of the kit on my blog:

http://rungunshoot.com/my-one-bag-gh2-docu-filmmaking-kit-in-explicit-detail/

http://www.filmmakermagazine.com/news/2012/02/abel-ferrara-ten-lessons-on-filmmaking/

So between looking at a film called Musgo, which was filmed entirely on GH2 with Tokina (I can't afford) and Nikon 28mm and 50mm lenses, I decided I would purchase a couple. I like the look of the film. I found a Nikkor 50mm 1.4 AIS on Ebay for $158 and a Nikon 28mm f2.8 AIS for $135...I have only $300 to spend, so I thought this might be a good set. I haven't purchased them yet. I saw cheaper non-AIS lenses, but not sure if that matters.

On the other hand, I recently saw a video I liked that had a Vivitar 28-90mm f2.8 lens and a Konica Hexanon 40mm f1.8 lens that I liked. I found them for $139 and $70 on Ebay....and another fixed lens Vivitar 28mm AIS f2.8 for $80.

Much of where I will be shooting is right here in the city, lots of shaded streets, under bridges, subway, in vehicles, as well as indoor and bright outdoor settings, etc..so I want lenses that can cover a wide variety of light situations. I love the look of rich contrast and I didn't think the Canon 50mm samples showed much of that. I don't want to be spending money on a focal length that I already have covered with the 14-140 unless it gives me a lot more options as far as light goes.

I would love some input from people who have more experience with any of these lenses. I'm trying to make the most out of my limited $$$. Thanks a lot!

-Mike