I got burnt out for a while and am thinking of getting back into things.

I have a GH1h, GH2h, GH3.... and honestly the GH3 had motion characteristics I didn't like compared to the GH1 which was the most filmic and the GH2 hacked which was the most detailed sharpest of the bunch.

I still look back on my Saturday with the the dogs and can't believe the GH1 shot that.

Now it's a bitch to mix these cameras cause the all look different but I have pulled it off. I have used the GH3 least of all.

Is there any point now to go to the GH4 for the supposed 4K (downsampled) editing... or has the time of the dslr faded and should I be looking at something new. I have the 14-140 stock lens (sharp as hell but needs light, the pancake, and to 40-100 panny (which I hate with the more cropped GH3)

Ideas? alternatives? Suicide?

• Blackout

Been away for a long time having a blast shooting all sorts of wild things and acting directing. I thought I would share this little clip (to show off my new car ** cough ** I mean spaceship) and also show 60fps vs 30 fps vs 24fps in the same shot.

24p film look vs 60p live look in ONE file so you can see the psychological effect. You'll need to DOWNLOAD and play (only 1280 x 720p sorry full 1920 x 1080p was too big. This switches in REAL time between the two in the same shot so you can really feel out the difference. I prefer 24p for narrative story telling and 60p for POV horror or news live look or 3D holographic shooting which I have been doing lately (not with the gh2 - using modded sony 3D pro cam, consumer ts10, and red epic for that). Note: this will only stream at 30p online (i really dislike 30p) you must download and play to see what I am talking about, No current online streaming service that I know of except for LIVESTREAM currently supports 60i or 60p streaming. I HAVE done it with livestream on my site which is astounding WHEN it works but it is still a little unreliable as of yet you need a business class hard wired ethernet cable and black magic card and an upstream of at least 20mbit down 5 megabit up CONSTANT. 1.5 won't do. Wifi won't do even dual band it gets blips. I can do 848 x 480 and sometimes 1280 x 720p live with a 4G card.

Enjoy... hope everyone is well...let me know what you think.....more to come!

http://vimeo.com/michaelbiggins/filmlookvslivelook

PS - just for fun and giggles - Disney let me toy around in one of their sets with Trumpet:

;)

Michael Biggins AKA Blackout BLACKOUT'S BOX STUDIOS Hathouse Films New York City - Florida - California 877-9-BLACKOUT michael @ REMOVETHISandSPACESforspam blackout.com

Comments are welcome dudes! Some pics of the session can be found here : http://www.switchmag.fr/decouverte/2015/11391-session-park-a-la-clusaz-matteo-cuny-nico-palladio.html

Shot on the Samsung NX1 with crappy Nikon 35mm AIS lens. About leaving the stimulation for peace.

Blind is a beautifully shot short film that is at times both unnerving and emotionally wrenching. It is a brilliantly suspenseful film about a young killer who lures his girlfriend to a secluded spot and tries to end her life. It doesn’t go to plan though as she is not quite as innocent as she first seems, it is in fact he who is left bleeding and struggling to keep a hold on life. And thus erupts a cat and mouse game between the couple.

The film is shown in a random assortment of scenes that at first don’t seem to make any sense or join with one another in any form of order. It’s a strange form that takes a while to get ones head around but once you do it all sort of fits perfectly into place and creates a mesmerizing viewing experience that grasps tight hold of your attention.

http://frakingfilms.net/2015/02/20/blind-short-film-review/

http://kck.st/1xO67Jv

While the stuff of celluloid film is partially made up of waste elbows and arseholes, it kind of makes sense to process with horse dirt. Please chime in here with your super 8mm, 16mm and 35mm love (or horror) stories.

Just came from the cinema. Still shook...
Ceylan's latest Kis uykusu is by no means an easy piece... by that I mean (hard to explain) that despite being a character based film, there's no judgment whatsoever, there's not a moral ethno-technical POV; that part IF happening at all is going to come from you. Personally I find this very mature and fascinating because Bilge Ceylan is giving us all possible space, each person will be able to construct his/her own Winter Sleep. It is also not easy because paradoxically it carries "concealed" a sensitive and intelligent but also very tough critique to ALL turkish social stratus; one might easily extrapolate that to the rest of the world, specially the rural zones. The landscape is gorgeous but it is also a confinement element, all very shakespearean. Throughout the 196 minutes I felt completely immersed in these few character's lifes, I surprised myself analysing and judging them, establishing and measuring their acts with a stupid moral system that, either in day to day normal life and specially here is utterly worthless.

Despite knocking on many doors, I end up going alone to this experience and it was good to be left alone with these guys. Also it was good later on to meet with someone who had watched the film and talk a little bit about it, also (like any good story) we had to talk a little bit about us... and we agreed that Winter Sleep has some of Buñuel and some of Bergman (but without the sensuousness - she said) and I might add some of (early) Kurosawa. It's a lot like real life in a totally no bullshit devastating slowly progression of "things" through an uber complex matrix of relationships, ay I bet you that if ants "had feelings" and to pay/receive rent they'll be all fucked up too.

After Ilklimer and now this, I can ridiculously call myself a Ceylan fan and can even brag (to people who care about such things) about it winning last Canne's festival Palm D'or.
Anyway I though of you guys, specially those who hadn't seen it and "must" firmly insist, je je
If you have the opportunity go see Kis Uykusu, just remember to empty your bladder first +)

gashô

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

This is the latest video, from a free Gregory Porter concert and some touring of the region. It's somewhere between a roadtrip film and a jazz festival report.

I wasn't really setup for capturing the concert in full, so some of my favourite shots came unexpectedly and weren't too steady. Time to invest in a steadicam obviously... but my editing has been getting better I think, so would be interested to hear what you think of the final product. I went quite heavy on the colouring at points to appeal to the instagram generation!

Took me forever to edit wading through hundreds of clips! Second time I have used Magic Bullet Looks and first time using Warp Stabilizer in Premiere Pro CS6, lots of the footage was shaky because it was mostly filmed on a moving train (and my camera movement was pretty terrible at times but this was definitely a run/sprint and gun scenario).

Pretty happy with the outcome altho the laptop I coloured the film on is quite yellow it seems. Still not using a hack...

ProLUT is a color grading pack of looks based on real films and movies.

It comes in every format you can think of so that you can use it in whatever software you're using.

Watch the demonstration video here:

More info http://www.davidhjlindberg.com/?product=prolut

Because I've just joined on as the DoP to shoot a feature on a BMCC, but given the nature of the film (shooting most of the time late at night), am wondering if a Sony A7s is better.

Am curious about some direct comparisons between an A7S and a BMCC at night, and how they'd be able to grade, and how they'd be used in practise with lighting set ups (as if we can use a smaller lighting kit, that might help mitigate some of the cost of an A7S), their look, etc.

As if so, I might then recommend to the director trying to find space in the tiny budget to switch to a Sony A7S instead.

What I really wish Sony would do is make something like an A7S version of the Sony A5100. So perhaps an APS-C version with merely a 5 megapixel sensor and the same amazing low light performance as the A7S but with the cheap price of the A5100!

As I don't need a "full frame" sensor, neither do I need more than 5 megapixels so as to have enough for 4K video. I'm content with 1080p.(after all, even with the A7s, most are not shooting 4K because it doesn't do internal 4K)

Unfortunately I don't think a 5 megapixel camera would go down well at all with the typical 2014 consumer, even though I've shot plenty with my old Nikon D50 which was only 6 megapixels. So I think 5 megapixels would do just fine for casual photography, especially as it would be a very very good 5 megapixels. (plus of course I wouldn't be getting it for photography, but video)

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.

So with all those difficulties, how would you mic this scene. I have a recorder and a lav mic, but can buy or rent more recorders and mics (boom, lav, or whatever type is needed), basically whatever is needed, I'll get. So what do you recommend?

Check it out, it's short & sweet:

Help us to make it happen, we need your voice.

Go to www.bloody-title.com and be part of it! We launched a crowdfunding campaing, it's live until May 21 so don't wait too long!

Thanks for reading, J.

It took three weeks and some weekends to make - I know there are better examples of cinematography and imagery - but I love using the GH2 and was more than happy to use it for the film. Where it will go and end up - I don't know. Just glad I saw it through.

I'm not asking for shares or anything - just wanted to show that we used a GH2 and it never let me down.

Cheers.

For example, we have 'Cine City' here in Brighton, UK, which starts this November, showcasing up and coming film talent, artists moving image, exhibitions, etc.

So I would like to try and keep a maintained guide here on personal-view for us all to use. Many festival list sites are out of date, so ensure your festival details are correct. Please help by adding your town's festival below.

Please submit below the festival name, website link, submissions info, dates, etc. as my example;-

After shooting mostly with Panasonic cameras, and so use to a super sharp image, I'm not sure what people think about the 5d2 these days for web delivery? A few years back, it seems like everyone was requesting the 5d2, but things have changed, is it still an acceptable image today? Should I shoot a test for the client, or am I overly critical of the softer image compared to the gh2? I can drive myself crazy with this shit. Just looking for opinions and advice from my peers thanks

https://www.reelhouse.org/stonekeyfilms/dyrafjordur

Following an earlier posting about a teaser I shot anamorphic on LA7200, I've now launched a crowdfunding campaign to finance the missing part of the production budget - principal photography to start this coming summer.

It's bloody, noir, full of intrigue, and still missing a title.

Check it out for yourself on http://goo.gl/CUO6vi

And help make it happen!

Thanks for reading, Jo

PS: keep up-to-date by joining the FB page: http://goo.gl/082px8

More informations here: http://blenderartists.org/forum/showthread.php?322805-Compositor-Addon-3D-LUT-Editor

If we go on to win the next and final round, our film will be featured in the new Bruce McDonald film Hellions and may even screen theatrically along with it.

I shot the film on the Blackmagic 2.5K with Lomo anamorphic lenses. The video portions were shot on analog hi8.

I've attached some stills from the film below.

Let me know if you have any questions or comments! Huge thanks to anyone that votes!!

Harold House