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Matt Kieley

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  1. Like
    Matt Kieley got a reaction from Juxx989 in 15 Second Horror Films: Crawlspace & A Gripping Tale   
    Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
    Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
    The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
    Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.
  2. Like
    Matt Kieley got a reaction from PannySVHS in 15 Second Horror Films: Crawlspace & A Gripping Tale   
    Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
    Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
    The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
    Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.
  3. Like
    Matt Kieley got a reaction from Aussie Ash in Lenses - Sticky Topic   
    Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
     
  4. Like
    Matt Kieley got a reaction from mercer in 15 Second Horror Films: Crawlspace & A Gripping Tale   
    Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
    Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
    The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
    Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.
  5. Thanks
    Matt Kieley got a reaction from PannySVHS in Lenses - Sticky Topic   
    Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
     
  6. Like
    Matt Kieley got a reaction from webrunner5 in 15 Second Horror Films: Crawlspace & A Gripping Tale   
    Last year I DP'd and edited two films for the 15 Second Horror challenge, and I meant to share them here, but forgot. The first is Crawlspace, written & directed by my friend Chess Maxwell:
    Crawlspace made it onto Lloyd Kaufman's top ten, which was exciting for us since we're all fans of The Toxic Avenger and were inspired by Troma when we were teenagers. You can see it and the rest of "Uncle Lloyd"s Top Ten here:
    The other film was "A Gripping Tale" written & directed by my friend Steve Sanders:
    Both were shot on the Panasonic G7 in CineV with Canon FD lenses. This was one of the most fun shoots I've worked on recently. Both were shot at the same location, same day, back to back, with the same cast and crew, and I'm pretty proud of our work on these.
  7. Like
    Matt Kieley got a reaction from webrunner5 in Lenses - Sticky Topic   
    Oh no, what have I done? Have I gone and bought the bmpcc again? I tried 4K, it was fine, now I'm back to the land of better color and DR, and ProresHQ/Raw files and that s16 sensor. Feels good. I'd say this is still my favorite camera. Anyway, I decided to compare some of my c-mount lenses. Don't mind the quick and dirty lighting and grading, this is more about the lenses and their sharpness wide open. You can tell the 12.5mm is the sharpest because of the aliasing in my beard. I still love the camera though. Here's some bmpcc/c-mount lens footage I shot a year ago (which is what made me want to get the pocket again) with the KP 26mm, KP Yvar 16mm 2.8, and Fujinon 18-108mm 2.5 zoom:
     
  8. Like
    Matt Kieley got a reaction from kidzrevil in The low-budget bubble has well and truly burst   
    Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.
  9. Like
    Matt Kieley got a reaction from Chrad in The low-budget bubble has well and truly burst   
    Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.
  10. Like
    Matt Kieley got a reaction from PannySVHS in The low-budget bubble has well and truly burst   
    Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.
  11. Like
    Matt Kieley got a reaction from Mattias Burling in The low-budget bubble has well and truly burst   
    Someone on my facebook feed earlier called filmmakers who prefer film to digital "hipsters" and basically idiots for wanting to shoot on film. I don't see anything wrong with Soderbergh wanting to try something different. I love my digital cameras, but I've also shot Super 8, and I have some 16mm waiting to be shot. I'll probably shoot something with my iPhone at some point, because it seems like it could be fun. I guess I'm a fucking hipster for wanting to keep filmmaking fun for me. No one ever questions an artist for switching from water color to oil, when clearly they could just paint everything the same way because there's no NEED to use anything else.
  12. Like
    Matt Kieley got a reaction from PannySVHS in Lenses - Sticky Topic   
    Yeah, ML with 3x bitrate, and Ive Lotus "FILM" picture style (my favorite). No grading except a very small contrast curve.
    http://www.filmpicturestyle.com/
  13. Like
    Matt Kieley got a reaction from PannySVHS in Lenses - Sticky Topic   
    I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures.
    Tokina 12.5-75mmmm at 12.5mm

    Tokina at 50mm:

    Meteor 5-1 at 17mm:

    Meteor at 69mm:

    Cosmicar 6mm:



    Cosmicar 8.5mm:



    Cosmicar 12.5mm:

    Kern Paillard 26mm:


    Love this set-up so far.
  14. Like
    Matt Kieley got a reaction from mercer in Lenses - Sticky Topic   
    I had to sell my G7, so to get the most out of my EOS M, I'm sticking to crop mode with c-mount lenses. I've added a Cosmicar 6mm 1.2 and Tokina 12.5-75mm 1.2 lenses to my c-mount lens collection. I tested all of them along with my Meteor 5-1 17-69mm 1 lens from my K3 16mm camera. All are tested wide open. I don't plan on shooting wide open all the time, but I wanted to test sharpness and DOF at wide open apertures.
    Tokina 12.5-75mmmm at 12.5mm

    Tokina at 50mm:

    Meteor 5-1 at 17mm:

    Meteor at 69mm:

    Cosmicar 6mm:



    Cosmicar 8.5mm:



    Cosmicar 12.5mm:

    Kern Paillard 26mm:


    Love this set-up so far.
  15. Like
    Matt Kieley got a reaction from Dustin in First Friday with Phantom Stranger Inc   
    A couple of weeks ago, I shot this punk show in a bar and made a highlight video for work. All of the slider B-Roll is shot by me on the Panasonic G7 with Cheap Focal Reducer and Canon FD 50mm 1.4 (CineV). Interviews were shot mostly on the Canon 7D with (I believe) the L Series 50mm 1.4. There was a lot of cool footage I wish I could have included. Maybe I'll make a reel of some of the stuff I've shot for work.
     
  16. Like
    Matt Kieley got a reaction from PannySVHS in Chicken   
    I got the settings from Dave Alitzer on another thread, which he apparently got somewhere from dvxuser:
    "THE SONY PROFILE
    Black Level: 0 (it's disabled in s-log2 anyway)
    Gamma: S-log2
    Black Gamma: Range- Narrow, Level -7
    Knee: auto
    Color Mode: sgamut3.cine
    Saturation: +32
    Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5)
    Color Depth: +6 (all of them)
    Detail: -6
    Expose 1.5 to 2 stops over."
    I used the Sony Profile settings and graded with Lumetri in Premiere. I only used those settings and never found a need for anything else.
  17. Like
    Matt Kieley got a reaction from Juxx989 in Drake Boen Micro Doc (Editor's Cut)   
    Last month I completed a short doc/promo for MMA fighter Drake Boen, directed by Edrei McCabe, shot and edited by me. The final version utilizes archival footage of past fights and doesn't have film grain, but I prefer this version, which I've dubbed "The Editor's Cut". It was shot mostly on the Canon EOS M with ML (H.264 with 3x Bitrate) with some Panasonic G7 (with focal reducer). Lenses used: Canon FD 50mm 1.4, 28mm 2.8, 35-105mm 3.5, and the Tokna 17mm 3.5. Edited with Premiere, graded with FilmConvert.
     
  18. Like
    Matt Kieley got a reaction from bamigoreng in Drake Boen Micro Doc (Editor's Cut)   
    Last month I completed a short doc/promo for MMA fighter Drake Boen, directed by Edrei McCabe, shot and edited by me. The final version utilizes archival footage of past fights and doesn't have film grain, but I prefer this version, which I've dubbed "The Editor's Cut". It was shot mostly on the Canon EOS M with ML (H.264 with 3x Bitrate) with some Panasonic G7 (with focal reducer). Lenses used: Canon FD 50mm 1.4, 28mm 2.8, 35-105mm 3.5, and the Tokna 17mm 3.5. Edited with Premiere, graded with FilmConvert.
     
  19. Like
    Matt Kieley got a reaction from PannySVHS in Chicken   
    So all summer I've bene working on this short film, which is in the Sound Design/ADR/VFX/Scoring stage right now. It's the first really "serious" (as in made with the intention of submitting to festivals and not just dumped online) project I've done since my first feature film way back in 2009-2010.
    Chicken is a horror comedy about a woman named Brenda, who has fallen on hard times financially, and is working as a mascot sign dancer for a chicken fast food restaurant, Wally's Chicken. But her boss, Steve, is a pill-popping abusive lunatic who bullies and pushes her to perform up to the standard of the former beloved mascot, who has recently passed away. As the stress of her job mounts, Brenda begins to believe she is being stalked by Chicken mascot.
    Here are a few grabs:

    From the fake crappy local commercial that opens the film. The signs of the restaurant we filmed at still need to be replaced.

    Guinevere P.H. Dethlefson as Brenda

    Brandon Nebitt as Steve.





    Shot ont he Sony a6300 with mostly the Rokinon 16mm, and occasionally the Canon FD 35-105mm 3.5 zoom. It should be complete by the end of the year, and probably premiere next year. I may even share a private link here before it's premiere if there is any interest. Here's a little glimpse of some sign dancing:
     
  20. Like
    Matt Kieley got a reaction from PannySVHS in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    Have you looked into the Panasonic FZ2500 or FZ300? The FZ2500 has a 1" sensor, built in zoom, built in NDs,  shoots DCI 4K at 100mbps and 1080 at 200mbps, and 120fps slow mo for $1k. And the FZ300 shoots UHD, 1080p/60, has a smaller sensor and no NDs, but a 24x zoom with a fixed 2.8 aperture for $500. They seem similar in specs and close in price to what you're looking for.
  21. Like
    Matt Kieley got a reaction from mercer in AF 100 and Recorder PLUS ultimate low price 1080p/720p 3chip camcorders ?   
    Have you looked into the Panasonic FZ2500 or FZ300? The FZ2500 has a 1" sensor, built in zoom, built in NDs,  shoots DCI 4K at 100mbps and 1080 at 200mbps, and 120fps slow mo for $1k. And the FZ300 shoots UHD, 1080p/60, has a smaller sensor and no NDs, but a 24x zoom with a fixed 2.8 aperture for $500. They seem similar in specs and close in price to what you're looking for.
  22. Like
    Matt Kieley got a reaction from matthere in Chicken   
    So all summer I've bene working on this short film, which is in the Sound Design/ADR/VFX/Scoring stage right now. It's the first really "serious" (as in made with the intention of submitting to festivals and not just dumped online) project I've done since my first feature film way back in 2009-2010.
    Chicken is a horror comedy about a woman named Brenda, who has fallen on hard times financially, and is working as a mascot sign dancer for a chicken fast food restaurant, Wally's Chicken. But her boss, Steve, is a pill-popping abusive lunatic who bullies and pushes her to perform up to the standard of the former beloved mascot, who has recently passed away. As the stress of her job mounts, Brenda begins to believe she is being stalked by Chicken mascot.
    Here are a few grabs:

    From the fake crappy local commercial that opens the film. The signs of the restaurant we filmed at still need to be replaced.

    Guinevere P.H. Dethlefson as Brenda

    Brandon Nebitt as Steve.





    Shot ont he Sony a6300 with mostly the Rokinon 16mm, and occasionally the Canon FD 35-105mm 3.5 zoom. It should be complete by the end of the year, and probably premiere next year. I may even share a private link here before it's premiere if there is any interest. Here's a little glimpse of some sign dancing:
     
  23. Thanks
    Matt Kieley got a reaction from Alt Shoo in First Footage From EVA1   
    Who is this camera for then? Wedding videographers shooting in terrible dim/mixed lighting? Who would be able to afford the EVA1 + lenses, but not a few Lowel lights? I just recently picked up a second Lowel DP (1K) light, used, complete with barndoors, protective screen, and bulb for $60 from Adorama. The first one I bought used for a similar price. There are also good, bright LED lights that are portable and affordable, so "not having access to power" is no longer an excuse. Lighting should be something all filmmakers (not videographers, but filmmakers) use creatively, to express a feeling, not something that comes last, after camera, drones, gimbals, etc. 
    If low light is a concern, why not buy an A7SII for a fraction of the cost of the EVA1?
  24. Like
    Matt Kieley got a reaction from Justin Bacle in New BMPCC is Not Happening any time soon!!!   
    And my point is, I wish they would design a camera that isn't ergonomically stupid, so we don't HAVE to rig it up just to make it work like a video camera. Of course there are rigs designed to add this type of functionality, but why should we have to buy $1k work of accessories just to make it functional? Or spend $5k+ on an UM4.6k? Yes, the Micro has a mount for a bigger battery on back, but they went with an LP-E6 instead of a camcorder battery, which I think is stupid, because you can get camcorder batteries in different capacities/sizes. If you want to use it as an action camera or on a gimbal/drone, just use one of the slimmer/lower capacity batteries, and if you want to shoot anything else, you can attach a larger battery that will last for more than 1-1.5 hours.
  25. Like
    Matt Kieley got a reaction from Jonesy Jones in Which "De-Video" filter?   
    I have a set of FD lenses on my G7 and love them. kidzrevil has posted some gorgeous stuff shot with pre-Ai Nikon lenses + diffusion filters.
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