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Shane Essary

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Posts posted by Shane Essary

  1. If you're US based, you can rent some Optar Illuminas in PL mount from lensrentals.com.  They have half the set, IIRC.  Made for s16, T1.3 and the 8mm doesn't vignette like the Zeiss... Had I a BMPCC, I'd certainly be renting these.


    Edit: Just checked their site, they have the 8mm, 9.5mm and 12mm...

  2. Wow, it's so rare I check this forum anymore, sorry for the delay.  You're going to have rolling shutter issues with.. I can't think of any camera in this price range (used) that won't have it, so you have to either just accept it or go to some great pains to minimize the impact.  Adobe has a rolling shutter "filter" (plugin?) that will help minimize it in post with the cost of a cropped image.  

  3. Shot two music videos a couple weeks ago on my GH2 + Nokton 25mm.  Still love the image I'm getting out of this combo.  A "better" camera won't make me a better filmmaker; continuing to make films will.  One day I'll outgrow it, but until then I can just keep saving my money for that time.

  4. Just wanted to chime in:  still using my GH2.  Was itching to upgrade, but I like what I'm getting out of the GH2 + Driftwood Quantum X and I know I'm only touching the surface of what it can do.  Inspired by the Kendy Ty material, I've decided to just shoot everything using one lens (25mm Voigtlander) as a challenge to myself and I think it's working great.  I did find a situation where I wish I had a wider lens last week on a shoot, but I made it work via a little contortionism.  :)  

    I'd love a BMPCC and I'd certainly use one if given one, but my money right now would be better spent on a better video editing rig since my current laptop continues to overheat when doing anything intensive.  

  5. The fact that 90% have signed the contract tells me the deal is probably fair?

    Not necessarily as I seriously doubt Google has contacted each and every band out there, but rather the publishers that represent them.  For example, my band goes through various distributors, including but not limited to CD Baby.  Since CD Baby acts as our publisher, they only have to work with CD Baby since we agreed to let CD Baby handle that aspect of those particular releases.  CD Baby has something like 3-4 million tracks in their catalog with the same agreements.  Tunecore has a similar number and agreement, and The Orchard has probably even more.  Between those 3 catalogs, that's well over 10 million tracks right there (disclaimer:  I'm a software dev for a digital music service and I'm directly involved with the ingestion of those catalogs).  A huge chunk of the rest of the indie bands come through labels that are under the Merlin agreement, who handles reporting and publishing for those.  

    Chances are, the indie bands themselves aren't even involved in this discussion and it wouldnt' surprise me if the vast majority are even aware of what's going on.  They just want to create music and collect their non-existent royalty checks.

  6. I've got the M42-m43 speedbooster from jinfinance & it works with all my M42 lenses:

    Super Taks 35mm & 55mm

    Mir 24M, Mir-1B

    Helios 44-2 & Helios 40-2

    Tair 11a

    Jupiter 9 & 37a


    I figured they'd work, I was unclear with my question, sorry. How do they look, what with the reduced crop factor and the extra stop.. Are they worth playing with?   :)

  7. The artists themselves.  Just like filmmaking, it's not expensive to do these days.

    That's shit, though.  Part of the reason I got into filmmaking is so I can make videos for my band without having to worry about some flakey videographer/filmmaker (and I'm shooting one tonight and another in the morning).


    I want to make music, not promote.  I want to perform, not worry about distribution.  I want to get in the van and ride to bumfuck Indiana so I can play in front of 8 people for no money, because it's what I enjoy doing, not play phone tag with the venue or two dudes putting on the show with a couple local bands that no one locally cares about.  Same thing with films, right?  Do you want to make films, or do you want to spend all your time trying to sell them?  It's like that dude with the script.  He's so busy trying to sell it, he forgets to write another one.

    If your band is already well-established, like trent reznor, for example, going the full monty direct distribution route is feasible.  If you're joe blow just trying to make it, having a good label behind you can be the difference between going "somewhere" or just spinning your wheels.  There's an art to it.  

    From a consumer perspective, I like labels because they curate their music collection.  I can be assured that music coming from a specific label, while I'm not guaranteed to like it, at least is in the general ballpark of the stuff I do like.  That's the value of the label to me as a consumer:  They listen to 10,000 shitty bands and pick out the couple that have potential, so I don't have to.  


    From a band perspective, the label gives us good/reliable contacts in other towns to help set up shows.  They handle the pressing and distribution of the recorded product and I don't have to have 100 boxes of 7" records laying around my tiny apartment.   The label sends out the records to the various fanzines and college radio stations, and all we had to do was get in the van and drive.  We sold a lot of merch, but with gas at $4.50/gallon, that was a break-even proposition.  

    I don't know what the actual answer is other than to try and weather the storm and see how it shakes out on the other side, but direct distribution isn't the 100% answer 100% of the time.


    EDIT:  I will add that we also don't pay to record our music because our singer is an audio engineer in his day job (I'm a software dev).  He has a nice recording studio built in his backyard, but that wasn't free to build or maintain.  It doesn't cost the band anything to record, but it's far from free and is typically subsidized by charging other bands to record there, as well.

  8. Later he upgraded to a GF1 with just the 20mm f1.7 lens which he was using for a while and did some nice work with that. Videos he has also removed. I remember him messaging me then about this blogger lady by the name Eugenia who was giving him a hard time for buying the GF1 which she thought was rubbish, telling him he should have bought the 550D. He thought she was crazy for criticising his purchase like that, but he had some good reasons to explain why he'd bought the GF1. Then he went and got himself the 550D anyway :)


    I wonder if that was Eugenia Loli, from osnews.  IIRC she was big into the camcorder (HV/HD 20 something?) back in the day, as well as talking about alternative operating systems (mine was BeOS).  

  9. edit: odd, cantsin and I have similar tastes, maybe?


    Favorite:  My Panasonic GH2 (currently on Driftwood X).  Workhorse, lightweight.  I've been tempted by the G6, but still waiting for a good deal to come around on this.  I'm ambivalent on the GH4 as I don't have the machine to reasonably handle 4k footage.

    Least Favorite:  previously was a nano-fly-steady-cam thing.  $100 and took too long to setup, especially for the kind of shooting I was using it for (jump out of the car, set a scene..go).  Sold it.  Currently:  My current video editing laptop is suffering massive overheating issues while trying to edit.  Well, 3 years on a $350 laptop ain't so bad.

    One for the Future:  New Video Editing rig, probably a gaming laptop of some sort (Asus ROG GS750 or similar).  

    Wish:  I wish Cosina-Voigtlander would figure out a way to give us a ~12mm f/0.95.  For an "existing" wish?  Hrm.. BMPCC + full set of Optar Illumina s16 T1.3 lenses.  Or filmmaking talent.  Probably the latter.

  10. Well...




    It's been done... I've considered using a friend's Nokia 1020 to shoot some stuff, as well, but it looks awfully inconvenient workflow-wise. I'd say this is more vanity than just picking up a GH2, but hey, I don't like it when people tell me how to shoot my films, either. :)
  11. a Peleng 8mm in m42 + m42 focal reducer on GH2..  think it'd vignette heavily or might this be a decent wide angle solution?  The SLR Magic 12mm might still be the better option, though... (and I do like the SLR Magic, but options are always good, right?)

  12. Try Speedgrade CC too, if you're a Creative Cloud guy, it's all yours. Pretty under-rated IMHO

    I have CC, but haven't loaded in awhile.  Have they finally fixed the round-trip between premiere and speedgrade?  Previously, you could export to speedgrade nicely, but bringing graded footage back in was a gigantic PITA compared to the workflow between AE and Premiere.

  13. Bit the bullet and finally just bought a used Voigtlander Nokton 25mm.  I've really liked renting it in the past and found one at a decent price.  I thought hard about the SLR Magic version, but I keep reading they're hit or miss on QA and I really don't have the patience shipping things back and forth in case I get the bad penny.  At least there's a local Voigtlander dealer I can work with. 

  14. Different forums for different purposes, I suppose.  For storytelling and structure, I.. *sigh* read the reddit screenwriting forum and listen to some podcasts.  For workflow (editing and fx), I watch tutorials, film riot, and the like.  For keeping up to date on gear and the like, I prefer EOSHD over things like PB's site which really just come across as one big advertisement in a lot of ways, although I still read through on occasion.  

    Honestly, I'm trying to get out of GAS (gear acquisition syndrome) mode and back into film mode.  It was so much easier when I just had a camera (gh2), a hack, and a rented Voigtlander 25mm + variable ND filter.


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