nahua

http://eddavid.tumblr.com/post/113334610539/the-response-i-was-wanting-for-the-quiet-escape
After a week I finally got the response I really wanted for my short film, "the Quiet Escape" that you can only get from posting something online and having the anonymous bathroom wall writing comment on it:
"I don't mean to be rude because a lot of the shots were decent but hearing you call NYC a shithole made me disinterested .... just felt like a lot of whining. And its not magic most 20 something living in Williamsburg can afford rent they have there parents paying the bills so don't cry for them to hard. I mean why is this even a on here? What did we learn? sorry but Phillip Bloom teaches more in a simple instagram post. We can do better..... Good luck in the country buddy I was born and raised in Manhattan and it usually spits out most transplants eventually so don't feel bad"
This is a good thing.  Comments that are positive are nice, but you need the bad - to feed off of.  That’s probably one of the greatest strengths of NYC.
This comment is the underlying air that exists in New York City that you have confront after living in NYC for a certain period of time.  This feeling that you are never legit, you are never part of it, that you are always an outsider and that people want you to leave.  That you never really fit in, that you're not a true New Yorker and you'll never be one because person X has lived there longer than you.  
I dealt with this a lot on a website called Diehipster.com - it was a anti-gentrification website that featured fantasy scenarios where the blogger, Diehipster, would post videos of people who looked like hipsters getting beaten and stomped on, and also a sectio n where he would write a fantasy story of beating or maiming a hipster in a variety of cartoony ways. He was big when the hipster thing started becoming a thing around 2003-2005, or at least his hit counter clocked in at a million views.  He kept the blog going for years, but I think now it's over - maybe he moved on.
The undercurrent in NYC is grumpy and negative, like your grandpa when he's off his meds.  Maybe it comes from the rents raising and the food prices raising and the amount of people living there increasing - a feeling of loss, of being hurt by forces around you.  It makes people grumpy and have that "New York TUDE" that is celebrated in many of films about NYC.  
And it’s there and it’s something to celebrate.  So much art comes out of “difficult” situations.  No one made much of anything during the PAX Romana.  Right?  I don’t remember.  I was sleeping in class that day.
Is the "Quiet Escape" really taking a "dump" on NYC?  No it's not, well yes kind of -  but it's not that simple.  It's a study of the city - yes - and it's showing the flaws of the city - but that doesn't mean I don't still love it and love everyone in it, even the grumpy diehipsters.  I love them especially because like me, they are trying to figure it all out.  
 
 

​Wow this is just awesome.  Definitely inspiring and I'm glad he blogged about the entire process.  This is a great system when used in this fashion.  More set pieces rather than run-and-gun.  And just a greet feel to the footage!

​Made with the FM
Delta Airlines commissioned this piece to help celebrate the spirit of aviation, all the details here:
http://boydhobbs.com/delta
 
 

Wow so much drama people, chillout. Everyone has different views, getting angry at each other won't help anyone. 
Well I had much scepticism with the FM before I bought it because it was only a prototype product and the company wasn't being exactly clear on how to use it etc. However, the important thing is, it is of some use for budget end filmmakers like me who can't afford single focusing anamorphics. I find it definitely helps me quickly get shots when I'm out shooting because of the single focus. It's still got a lot of quirks but to the right people it is valuable. 
 
Anyway back on track, did a little test, getting shots have become much quicker since I can single focus with the FM now. This is a relevantly cheap setup as I got the takumar for about $70(US), Isco Ultra star for about $400, FM was about $750.
Pentax Super Takumar 50mm 1.4, Isco Ultra Star Anamorphic Lens, Focus Module Lens, Panasonic GH4, Natural Picture Profile with all settings dialed down, Simple color grade in Premiere, BGM : Bic Runga 'Listening for the Weather'

The sign of a good film is watching the film and not noticing any technical details- following the story, which I did- nice job!
I feel ya regarding living in a big city vs. the country where I grew up (on 2 acres in San Diego). I moved to LA (Beverly Hills) in 2006 to work for Myspace. I avoided the #1 traffic in the USA by walking to work. After Myspace I've been fortunate to be able to do mostly remote contract work to avoid the traffic. Once when working in Santa Monica it took over 3 hours to go 11 miles to get home. I could have walked faster. Trying to go East from Santa Monica after 2pm is challenging (the 'secret shortcut' is jammed too). Big cities have their plusses, but after a while it's time to get out, at least most of the time (sometimes work/family/friends bring us back). I kinda understood why some people from big cities moved to small towns/country, now I fully understand. Fellowship and connection to friends/family is the most important thing in life, not money or things. After many years in tech and the arts my next business is related to organic foods and spending more time with nature.

​No I think in my grading I mixed up two jump cuts and didn't keep the same grade - but after seeing it the mistake seemed really pretty like old film - so I kept it in.
It's all fixed up.
 
Thanks very much for enjoying it!  I love grading the NX1 - how it handles highlights at night is so beautiful- seems better than the Sony A7S.  I need to do a test on this asap.

My latest short film!!!  "The Quiet Escape."  Shot on the Samsung NX1 with 35mm Nikon AIS f2 lens and Leica R 100mm lens - one shot.  Used Filmconvert and Gorilla Grain to treat it in Davinci Resolve.    Came out so nicely.  THANK YOU EOSHD and Andrew Reid for this camera!!  
Minus 5 contrast
Minus 3 saturation
Minus 12 (all the way) sharpness
 
Before Gamma DR existed.  The olden days. 
 
 

Using the Vizelex ND Throttle (Lens Adapter with build in variable ND) will change the character of the Lensflares.
First image plain Adapter (Nikon G to M43) Second image with Vizelex ND Throttle.
Both at f2,8. Vizelex @ minimum setting will take at least on stop, compensated here with shutter speed adjustment. 
 
 

I just wish the FM unit was a £1500 piece, with glass better quality.  using better glass the focusing optics could be designed to do their thing with less extension and the whole thing could have been less length, wider internally and with a kowa for bell and howell or kowa inflight 1.75 would be one of the best anamorphic solutions in the world, having no problems dealing with 85mm f1.4 on full frame. 

This is the answer Andrew,  a customer feedback.
Let's move on man, I do apologize to you again, really sorry!!!
I bow to the man with all the power. Thanks for having me on your forum, what else you want me to do.
 

A variation on the Flare inducing UV-Filter method established by Hans Punk.
To get the Filter as close as possible to the back of the Cinelux I placed just the Filter-Glass inside the Step-Up Ring which is coupling my Lens with the Focus Module.
68mm Filter-Glass fits perfectly inside a 52mm to 72mm Step-Up Ring and leaves enough play to screw it firmly to the FM.
 

Well I guess it's time to move on. Hard to argue against so much funded wisdom.
Seems like I have to dump my sharp single focus 2x Cinelux / FM combo.
Must be my fault that I can't produce soft, distorted images with lots of lovely CA like other recently hyped 2x double focusing anamorphics do.
So the 75,-- bucks I had to spend for the Cinelux were a complete waste.
 
Now I need to get one of those bargain Isco 36 plastic lenses. I heard they can’t do close focus below 2m without modification or diopters, but who on earth would need to get any closer? I sure hope they come with a decent user manual.
 
 

Hi!
I've got couple orders for a follow focus gear for the FM lens. Made few pieces, and accepting preorders currently to see if I should make larger next bunch now.
Please contact me if you need one.
http://rafcamera.com/en/accessories/ff-gears/gear-fm-lens-88-107-32mm
Thanks.

Andrew I understand your frustration.  I feel similar sentiments since I've had to buy an Isco Ultrastar and a Schneider Cinelux, as I didn't want to take apart my Kowa or Sankor.  The lack of instructions, and the feeling that it's more prototype is also a concern.  But I admit that it's a first run product by a small shop of guys.  I think everyone understands there are growing pains with anything that's new.  We're kinda like the beta testers here.  I knew that going into this and it's why I was hesitant at first to buy.  In fact it wasn't until I started seeing footage from Cosimo and Hans Punk that I took the chance.  I know you're used to having a "final" product to test, but this is a small shop.  I think your situation is unfortunate, but that's how it goes I guess.  In any case I hope Anamorphic Shop can continue to grow so that they can refine their product.  I really look forward to the new designs.  And I have sent them my concerns about the FM as it is far from perfect.  Similar to what I told Andrew at SLR Magic about their design.  Let's look towards a bright future for anamorphic lenses!

​Hi Andrew, I am writing just to clear everything out and let all the members know what really happened.
Your demo unit arrived on the 7th of february , 3 week ago, I've never led you on anyone else to believe that the Kowa would fit inside the FM  without the need of DIY hacking and I have proofs of that. I have wrote you on the 20th of january explaining which anamorphic would fit inside the FM see the attachment file.
When you received your demo unit you wrote me asking for instructions on how to fit your kowa cos you couldn't figure out, remember that?
I then wrote you straight away again explaining you that you would need to disassemble your focus gear in order to fit your kowa inside the FM, and that the FM was created for the Schneider cinelux, the Isco Ulrtra star in mind,  and I will attach my mails so that everyone can read that I always informed you without misleading you. 
It's not my fault if you don't read your mails, I understand that you may have been busy and missed my mails and I am very sorry that this happened as I was keen to read your review and as you know I always wanted that.
As for the sharp reply you have received from the anamorphic shop guy I wrote you another mail  only last night as I was busy working, saying that words can be misinterpreted, and he didn't mean to be sharp to you, he only answered in a very simple and honest way to your question Either you can loan me an anamorphic to use it with, or I can return it."
The guy asked you to return it  as it was too late now to have a review and gave you his address, that's all, no need to get upset and make believe everyone that it's my fault. 
I hope you understand my point,  and please do not misinterpreter my post too, thank you.
Here are my mails that you didn't read:

​Thank you Andrew, and very sorry if we did waste your time.  I will take the blame for all this , yes you are right I should have followed you and inform you more on this. Can I please ask you  a personal favor, could you or any other moderator eliminate the whole FM lounge thread please?  I am tired of this arguing over stupid stuff. Please I will appreciate it if you do.
Thanks very much and do forgive me if I troubled you again with all this.
Best
Cosimo

Despite the lens being a loan, if I were a paying customer I'd be asking for my money back because Cosimo at no point before the lens shipped did you tell me the Kowa wouldn't work. I have all the emails and PMs. You kept this quiet until after the demo unit arrived on the 7th.
Again it's a good job I didn't pay for it, because I would have had a bad surprise there.
I was willing to help, like I am with all new anamorphic solutions, I want to try them and if they are any good help get the word out. Already this thread has had 20,000 views.
Problem is the FM is not very good and I feel deceived.
Also you said it would ship with the Schneider originally. If nobody at Anamorphic Shop in Latvia can be bothered to send a fully functional demo unit, then I can't review it. Simple logic really. What do you expect me to do, risk the £500 Kowa or buy a £500 Schneider myself which would be even more useless to me after I send the loan FM back!?!?
Logic doesn't stack up does it!?

Like I say I was willing to do the review but you shipped an incomplete kit with just the FM and no anamorphic, didn't ship any instructions and wasn't clear about which lenses I needed to use until after it plonked down on my desk in Berlin. Based on this mess I think you'd be the first to admit Cosimo that a bit more effort and a bit less hyperbole was needed to make this task of a review a bit less impossible.

Excellent point.
​This is why there will always be noise on the internet with many people and their gear.  
Those that have "something to say" actually go out, spend their time doing it, and don't really worry too much about online forums.
However, those of us, like me, that get by doing decent but somewhat unimaginative work (I'm a corporate video guy) like to chat about their stuff because we're invested into it as a way to inflate our capabilities.  For example: If I win the lottery then go out and purchase an Alexa... Well, I can then be superior to my peers because I've suddenly acquired a bit of kit that allows me to be 1 or 2 steps of dynamic range better than you!  Haha!  I'm better!  I have the best thing!  Hooray!  Of course, that viewpoint is mostly nonsense.  But, I do have a device that potentially increases my ability.  Will I, with my limited abilities, exploit that in an effective way?  I'd like to think so, but I would not.  Not really.
But, man, I'd be emotionally invested into that potential.  It would affect my perception of my capability --of my value to my profession.  And that value defines my self-worth as a person.
It's not just cameras, it's kind of anything materialistic, really.  
The thing that comes to my mind is car enthusiasts that build hot rods with all the materials they can afford, but couldn't drive around a race track to save their lives.

From my blog, eddavid.tumblr.com
 
On a recent thread on an unnamed camera nerd user-board, a user, I will call "Johnny-Five," wrote a beautiful little message about how brand loyalty doesn't work in the world of cinematography.
At the end of the day, you have a camera, lenses, and accessories, and grip and lighting and sound and they all come from different companies, from different countries.
Your lights can be German, American, French - all different brands and you mix them together and they work great just as you can mix HMI with fluorescent with tungsten fresnels.  Same with your lenses or monitors - on some jobs I use English lenses and on some German or Japanese lenses.  I don't look at brands, I look at how good something is.
"Johnny-five" got flogged on the board.  "What? How can you say that?  I love my company - it's my family."  This is because these nerds have spent thousands of dollars and hours of time on their camera toys.  Thousands of dollars investing in products.  And they don't want to hear this.  Imagine if someone told you that your car or your house could have been made differently.  You don't want to hear it.  You just spent a lot of money so don't tell me the windows can be switched out with better windows.  No thank you.
But it's important to hear.  And hence why rental houses are so important in cinematography.  Because not every camera or light or lens is the right one for each job. These companies own a variety - and they are prepared for how it all changes.  Ten years ago Zeiss Standard speed lenses and other uncoated vintage glass were not as desired, but now with super sharp sensors, they rent like hot-cakes.  Who would have known back then?
Now part two.  Everyone is drooling about two new cameras - one is named a "weapon" -  the other a "mini".  Both cameras don't exist.  Well the mini is a prototype.  But why drool until that camera exists?
The same thing happened a few years ago with a few screengrabs of a camera named after a fictional mythic creature - which I will call the "Lockness Monster."  It was promised to have 16 stops of dynamic range and beautiful new color and make it the greatest camera ever made. 
I drooled.  "This is it," I mumbled to myself as I typed on internet camera nerd forums.  But it wasn't.  
It had low light issues and the color isn't that much different than the original camera. 
But the biggest problem with the Lockness Monster is the same thing that plagued that camera company since they switched to a smaller body - the fan. 
It's loud - it's on really loudly when you rehearse takes.  This is when you need intense concentration to think - to light, to block, to work with actors.  You don't need a giant fan on.  When you shoot a long beautiful interview at minute 20 it gets loud - really loud - and it's over - the moment.  And you can't focus and concentrate because it's blowing in your ears.  Who would thought the thing that makes me the most upset is a minor issue that probably could have somehow been solved?
The Lockness Monster's fan may be better once the Weapon comes out - but for me, I don't care right now because it doesn't exist.  
I rather just keep my money and buy an older camera on ebay and figure out how to make it good.  It's a lot cheaper to not be an early adopter.  To let other people figure out the quirks.  
Because at the end of the day, any camera that can shoot log - you can make it look good with the right composition, angles, creativity, and grading.  Some will look better, but at the end of the day, it's not how good something looks - it's whether there is a good story, good acting, and if you have something to say.  Cinematography is always secondary to story.  So please weapon, fix that fan noise.

Hi guys there is much talk about camera gear but what i don't hear is monitor or what we use, which is as important or even more when it comes to final output. What i learned so far properly calibrated monitor is critical for color correction of our short films, music videos or what ever even for web. I know that dedicated color monitor are expensive ranging from $4000 like FSI monitors to Dolby PRM-4220 40 to 50k. I can be technology junkie and properly calibrated monitor is really important to me, i have Dell Ultra sharp u2410 10 bit ccfl for the past few days i have been trying to calibrate this monitor as close to REC 709 for HD and color correcting as possible and so far results have been really good you can only calibrate this monitor in standard mode since custom mode is broken and does not give you accurate colors, but problem with standard mode it does not give you access to RGB controls which is really important. There is way around this by accessing those controls via factory settings which is awesome. I have dispcalGUI and Argyll Color Management System which is free and i1 display pro from xrite. After calibrating to Rec 709 color space i was thinking is my monitor really calibrated or close to it. Answer is YES i used free trail of Calman Studio color checker Analysis to see if my monitor is calibrated properly to REC709 and to my surprise my colors measurement  points in Delta E2000 chart are well below acceptable requirements in CIE1976 chart color looking triangle my premieres green, blue and red all fall in to that square which is a target for REC 709 if it is outside of triangle then its a problem also dots in side a square are color checker points and as you can see they all fall within the square or acceptable range The Green buttons in image My avg delta E is 1 where pro monitor is hitting 0.8 and my Max delta e is 1.9 where pro monitor is 1.7
I have provided 2 images one is my Dell calibrated and other one is LG flatron if you compare images you can see deltae2000 are way off and CIE1976 chart color is all over the place i have calibrated both monitor 4 times and result is the same dell monitor can be bought now for 300 dollars where i paid 600. Stay withing 24 inch because anything bigger color tend to shift since there is more real estate space Most of the pro monitors like FSI are 24 inch and below except Dolby PRM-4220 40 inch but at 40k you also get dolby technician to cone after 3000 hours to calibrate it which is not cheap
Again i am not a pro but to me my colors specially in resolve color looks so good, blacks are black and not gray
Thanks guys

Chinese New Years!  Footage shot with FM Module + Cinelux 2x + GH4 4K + Tokina 28-70mm
https://www.youtube.com/watch?v=rFPkn1IF74Q

Rich you're right.  I shot both and here's my thoughts:
SLR Magic 2x just like other 2x adapters need the right lens.  I have had a hard time pairing the right lens.  Older lenses like Russian lenses or the Tokina lens don't pair well.  The SLR Magic 2x is best used with modern lenses.  That's unfortunate because it becomes more clinical and less like the "anamorphic look" that we all strive for.  The other problem is the dual focus, and I've talked at length with Andrew Chan about this.  It doesn't have a distance scale so the focus is different for each taking lens.  The focus plane is also sharper and smaller, so you can't shoot it wide open aperture.  Taking lenses must be 1-2 stops from wide open, which is F2.8-F4 or even F5.6.  Old lenses usually F8.
This is in sharp contrast to the FM Module with the Cinelux, and I believe it has more to do with the Cinelux rather than the FM.  The Cinelux is sharp, and it works very well with old lenses.  Also you can shoot wide open, meaning F1.4 is sharp.  This also gives great character especially to closeup shots of faces.  Add to that the FM is single focus and you have a clear winner.  The downsides to the FM is that it is HEAVY, HUGE size, MUST be rigged, no way can you run-and-gun with it.
I'm still on the fence as I haven't been able to shoot a lot with the SLR Magic 2x.  I've just shot what I could, and even then I admit it's not what I want to shoot.  I hope to use it more and get better results.  But there are serious compromises and I have addressed it with SLR Magic.

One month has passed since i bought my NX1 and i thought i would share my thoughts so far.
Coming from full frame as my main camera i was hesitant to the change in the beginning. I started my hobby with a Canon 550D/t2i and then later upgraded to a 5D Mark 3 which was really pleasant, i loved the full frame look. The choice to abandon both Canon and full frame did not come easy but a Panasonic G6 (Micro 4/3 entry level camera) helped a lot in the transition.
The NX1 really fits well in my hands and after a not so steep learning curve of the controls i feel comfortable to just pick it up and shoot. I have pretty large hands so when i changed from a 550D/t2i to a 5D I pretty much decided to never again buy a smaller camera. That didn’t work out as I later bought, tried and sold the A7s as i was reminded why i don’t like small cameras. This is of course a very personal opinion, i know that many people prefer portability. Somehow the NX1, being smaller than a 5D, feels really good to hold for hours.
 
Image quality of both stills and video are great, just great. You can throw whatever specs and lab test at me you want saying that the NX1 is inferior in dynamic range and what not but i just love the sensor and the colors it produces. With that being said, im not a professional and i don’t have professional needs. What i also like to point out that this is a $1500 camera, not an Alexa. And what you're getting for your $1500 is in my opinion a very capable camera.
 
On a lot of videos posted from the NX1 there have been comments on banding and macroblocking, including my own. As there is no/almost no banding or macroblocking in the raw files this is a result of transcoding. I use Samsung Movie Converter which comes with the camera and it’s clearly not the best option yet every other software i’ve tested seems to fail me in some way (Maybe i should invest in a new computer?). Still waiting for Adobe to support H265!
 
To sum it up. I feel that i have finally found a camera that will stay with me for a long time. I'm not over the "wow i have a new camera let's see what it can do"-phase but i have high hopes for this plastic monster. This camera has been discussed a lot on this forum but if there’s any questions i'll be happy to answer them.
 
Here’s my latest video shot with the NX1, 16/2.8, 30/2.0 and 45/1.8. Shot in both 4K and slow motion 1080p. Standard picture profile with sharpness and contrast set to -5. No change to luminance or master black levels. Edited, stabilized and graded in Adobe Premiere with Visioncolor LUTs Osiris M31 and KDX as base and then RGB Curves. No sharpening in post.
 

I shot this entire piece with 2 GH4's. It's for LEGO and their new season of Ninjago which airs on Cartoon Network.
 

The SLR magic 2x certainly has a nice look. Particularity with people in the frame I think. Any idea when this will be released?