http://vimeo.com/nomofilms/strangetimes

As a DoP I see 4K as falling solidly into the "nice to have" camp, but also being very non-essential (at least for now, this will change with time). So I really don't mind hugely either way, to have 4K or not. There is other more important considerations to take care of first.

But maybe there is an extra point to 4K that I'm missing when viewing it solely through my DoP eyes.... and that is marketing!

Might it make it easier for the producer/director to sell afterwards if it is a "shot in 4K" film? I thought I read somewhere that there are content providers (for instance Amazon who announced they'll be filming all their created content in 4K) who have a lack of 4K content and thus could pick up indie 4K films simply as "4K fillers"? It is after all very common to read consumer articles about the lack of 4K content out there.

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.

If you're interested, you can have a look at my work on gear video reviews here: YouTube: https://www.youtube.com/playlist?list=PLxnu1WwoCPfdwE2lQvNCNSJ3WvuW6fArX

Vimeo: https://vimeo.com/album/3828347

You can browse my profiles, I've also uploaded some short films that I made in the last years. Most of them (up to 2012) were made for a contest hosted on the now dead, hv20.com forum. I've done two short films for a contest on a facebook page, the first I shot never made it on time, but I finished it a couple months later. The last, a short film I won the first place, gave me a Kovacam Stabilizer as a prize. Not bad! I purchased the vest and arms to complete the kit, and eventually made my first video review!

Thanks for your time!

Im an old member, and have seen much in this forum. That makes me think there is a possibility here to find the person we are looking for. We have a film production company called Sirius Fims, we have 3 years on the market of publicity in Peru. We are company with lot of potential, and here in Peru we have good demand for foreign directors.

We make videos for Mcdonalds, KIA, pepsi, Movistar, Pro Football teams, nike, retail stores, music videos, and other important brans in Peru.

We are searching for new directors/cinematographers, with the ability to express themselves with a true character on its image, controlling light and esthetics. We receive newcomers that are up to a profesional level, or its reel says enough.

We have 2 vacancies, this is serious business as work and is completely paid included trip and taxes.

Sirius Films is on an expansion process and we are happy to receive reels preferably with publicity work, if not is ok if is on pair with profesional requirements.

Our Page: Siriusfilms.pe

Our Reel https://vimeo.com/user683215/videos

Our movie:

search us on facebook.

Paid work aprox: from : $1500-3500 per labor day (14-16 hours in real life).

if selected, you will be contacted and will come days before for a formal presentation, and scouting, then roll on and editing. Room and need expect food outside the catering are covered.

This is an excellent opportunity to make a career, or improve your frontiers.

Form: (Please do not exes 5 lines per answer)

Name: Age: country: Occupation: Time making videos: Why can you direct?: you are more experienced in: what is the strongest characteristic of your work: Descibre yourself: Link to your reel:

You can post information here or send me and email to jonas@siriusfilms.pe or fiore@siriusfilms.pe or message me here to personal view.

Thank for your time and we hope we can find some good talents over here.

Cheers

Jonathan Briceno De Luise. Director

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

Need to start somewhere and for breaking the ice I did pick one which I battle with for years.
It's the only film I started to watch 3 times (so obviously not in cinema) and for first two times I voluntarily stopped before 5 minutes.
I'm glad after almost a decade of fighting I managed to watch it

Avalon 2001 • Japan | Poland

 
Why this Mamoru Oshii's (Ghost in the Shell, among others) crossbreed hasn't had more exposure it's a bit of a mystery to me. If the Wachowski, Goddard, Ohtomo, Cronemberg, Tarkowsky, Marc Caro and Jean-Pierre Jeunet were smoking opium together, this could be the mix of their dreams.

Sure the film has some inconsistencies:

• like very slow camera movements amid action scenes
• a tendency for slowing down the pace - this vinyl deceleration I actually like
• some characters underdevelopment and bad acting (i.e. murphy)
• atrocious location, the concert hall is just an ugly tumor, which pervades almost all shots and spoils final momemtum
• and other minor raccord and lighting stuff.

BUT the overall trip it's fantastic. And, after overcome the initial shock (for me at least) of aggressive sepia duotone grade, those cons wouldn't bother you much... sometimes they may even help if we manage to understand the choice in context and establish further connections between Oshii's previous work and also the incredible vast anime world.

It's something much more subtle than say The Matrix or Sin City and far more richer (not about details, about space left for our brain and senses to integrate and complete the loop), as we're placed in a time between times... or in no time at all. Set design it's simple and beautifully dirty, Kafka went working for Cronemberg in a Zen monastery... and something I highly value, it's very sober in details, if something is there it has it's reasons and breathing room... which roots a prop into something fundamental

The retro future look is pursued but never steals our attention from story, sound design and pace help. I love those lengthy shots where Ash gazes people in reality and nobody moves, that and how it's implemented it's just such a simple genius concept. From my POV, also very important for the whole experience (Bresson knew this very well) is that the characters have not this overwhelming charisma, presence, they are mundane (i.e. craving for food), yet at the same time (seem to be tuning) a bit like ghosts. So we are not intimidated, we feel them closer to us and thus the story unfolds involving us in the flesh. I humbly think there is here a very important lesson for anyone doing sci-fi... or anything fictional :-)

Lastly want to mention a very very nice OST, quite a bit different from "techno by the meter", don't get me wrong, sometimes works wonders; my surf friend would say epic dude, epic!!!
It doesn't seem important to go into dissecting VFX, editing style, etc. mostly because it's very coherent with this flick's soul.

Now 2 advices, get ahold of blue ray version... then sepia would be your friend. Don't get drown in Malgorzata (Ash) eyes. Enjoy

Do you have something to share?
1 at the time, please and some quality content, not just making a synopsis, would be very nice =)

Recently me and my associates made a short documentary film about a typical Brazilian fruit. We shot it with two GH2 and a Gopro Hero 3. I love the image quality produced by the GH2, and there were no need to use a lot of color correction for the end result. I love the look of the film, and I hope you guys enjoy it.

This is the website of my film production company in brazil: http://www.cataventofilmes.com/#!home-eng/c1bpk

And that link for the documentary:

Let me know what you guys think. Any helpful advice/tips are encouraged. Thanks!

To be honest, I have yet to see a digitally projected image in a gallery setting that I've been pleased with aesthetically, which leads me to the question of this topic . . .

What are my options for transferring my 2.5K ProRes files to film, and how best would I project this in a gallery setting?

I have done some preliminary looking, and transfer services are available. 35mm transfer is more expensive, of course, and I do not know enough about 35mm projectors to know if "home use" projectors even exist. How high of quality is 16mm film? Will it do my GH2 footage justice in terms of resolution? It seems the easier route, as transfers are cheaper and good quality "home use" models are cheap too, even with sound.

I will continue to research and post what I find on this topic for the benefit of others, but I just thought I'd ask some preliminary questions in case there is a P-Ver with more first-hand film experience.

otherwise, just pass it on. It's too good not to!

This is a test I made today. Taking two scenes shot by my Panasonic GH2, and graded them as cool as I could in Smoke 2012. Pretty happy with the result! This is also a competition where you can download the ungraded files and make your own grade. Read more here about the competition here: http://davidhjlindberg.blogspot.se/2012/11/2-scenes-million-colors.html

Specs when shooting: 1080p, Apo. Boom (Smooth, -2-2-2-2) Zeiss 50mm 1.8

• Munnabhai M.B.B.S.
• Lage Raho Munna Bhai
• 3 Idiots

I already referenced song from 3 Idiots, btw :-)

• 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.

We filmed this one on a gh2 with Driftwood's Terraquake hack. I used the kit 14-140mm lens on the opening tunnel shot, the staircase shot and driving shots...a Vivitar Series one 28-90mm lens on the sewer tunnel shot (out of focus because I was the cinematographer and the only guy who would go into that tunnel) and a 40mm Hexanon lens on the interior prison shots.

Imagine a future where one government controls the entire Earth and human beings are reduced to numbers. One citizen daydreams of a revolution, but in 2065 even daydreams are forbidden.

We shot this short film for the YouTube short film competition. We went from concept, to written script, auditions and casting, to shooting, and editing in a 6-week span starting in mid-February.

We used the Quantum Orion v9b patch, and couldn't have been happier with the results. We can't thank @Vitaliy_Kiselev and Nick @Driftwood and everyone else on this forum for their hard work. This is truly a unique community and I can't wait to see what the rest of the year has in store.

Also, the ending credits are truncated because of the 15:00 running time, the version of the film we plan on releasing to festivals is about a minute longer with some footage added in the support group video, and extended credits. Also, I uploaded the version we submitted to Vimeo to share with everyone here, because I despis YouTube's compression.

In the past i have been far more active here than in the last few months. Partly because ive been busy with filming rather than patch development. Besides @driftwood the genius that he is leaves me no work to do in patching for a long time now.. hehe Thank you btw. In Any case with that said i want to show you the trailer for my new film hitting a few festivals soon shot mostly on my GH2 and an assistant on his cannon. We had a red carpet premiere here in NYC and are now doing the festival circuit. Due to the timing of the release we will be missing some of the major festivals but will enter those next year. Generally i love to do narrative work but in this case i did a documentary which was a bit of a challenge due to the size of driftwood patches... but the quality is worth it!

My request is if you could please help me out so that i can go on to do more work by pressing the like button on my page. I always promote @Vitaliy_Kiselev and the GH2 on any set or project i am involved with. i wold REALLY appreciate some support from the community if you will be so kind. You can also find my GH2 guide on there if you haven't seen it yet, it was popular before the faq went up around here but it still gets plenty of comments.

One of the things that excites me the most about this release is that thanks to @driftwood and @Vitaliy_Kiselev i can continue to prove that the GH2 INDEED has enough quality for the movie theaters! That it is more than just something you compare to other cameras on vimeo!! I've had poeple dispute this claim that it does not belong on the big screen in my forums and to them is say keep complaining... its not exactly a scarlet FINE but the rest of us are putting the gh2 EVEN with those short comings on the big screen ANYWAY, its the best camera to me and especially thanks to @driftwood and @Vitaliy_Kiselev who i cant possibly thank enough for their work. In that way i would say they helped with my work and in my opinion NOT indirectly.. with even my career for making the camera everything it is today.. It most definitely boosts my creativity or just work ethic to LOVE my camera, i can never seem to put it down, every single day i shoot something. The last time i loved a camera this much was the DVX100, remember those days?? hehe... aah.. Another Panasonic classic.

I humbly request everyone click like on my page here : http://www.facebook.com/OSGFilms
or like it from my site here http://osgfilms.com/whilewewatch/ (its on the left column)

You can view the imdb page for the film here : http://www.imdb.com/title/tt2118550/combined

And last but not least a great review for the film by the huffington post here: http://www.huffingtonpost.com/david-fagin/whilewewatch-a-review-of-_b_1201107.html

Thank you so much if you help me with the likes to promote the work or my page a littte bit, it could really help me move on to my next project. Its always a pleasure to be a part of this community and working toward the GH2 being # 1, May we see many more projects hit the big screen filmed with it!