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Matthew Hartman

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Posts posted by Matthew Hartman

  1. 5 hours ago, Marco Tecno said:

    My old but mighty i5820k @ 4.4ghz handles perfectly h.265. I now also have a 1080ti which has hw support for it, so the cpu stays at 1%..

    Most ppl dont realize its the proccesor that handles the bulk of h.265 decoding. I also have a 1080ti and it barely gets taxed. 

  2. Near "super 35" sensors will always be coveted by filmmakers as a matter of a long withstanding convention. It can and will change, but for now I don't personally know many ppl complaining about the super 35 -ish format in real world applications.

    Full frame is more desired in photography, but there's a growing movement to go medium format as those systems come down in price. 

    It's all relative to how wide you want to go and obtain a shallow depth of feild and light gathering abilities. Usually, if you're shooting wide, it's because you want to show the breadth and detail of the entire frame. Therefore, I feel the sweet spot is super 35, but I'm not married to my own opinions either. 

    The lowest I'm currently willing to go as far as production is APS-C with back illumination. Samsung spoiled me in this regard.

    I'm not touching mirco four thirds with your 10 foot pole. A simple physics issue for me. 

  3. Windows 10 supports it natively. That being said, in the recent fall creator's update it's no longer bundled with the OS, you have to download and install it seperately:


    To get smooth playback with HEVC, I reccomend a proccesor with at least 6 cores. 

    Once you have a system and NLE that can smoothly handle h.265, you understand the power and value of the format. 

  4. I'm a little late to this but I just wanted to say I enjoyed this. Also, the twist was nice.

    Old School Critique

    The only thing I would have played with directorialy is I would have had the actor walk towards the bunny in a sense of relief, which would set up a more instense rise when the hand pops out. By standing in place, it builds up anticipation, as if he's "waiting" for the twist. 

    Technically,  the framing, lighting and grade was very nice.

    At first, the framing was very tight which felt a bit claustrophobic, but you eventually opened it up. I'm a big fan of reverse reveals where it makes sense and I think your pacing was very nice and thoughtful to the piece as a whole.

    What I read was in the first frames he was "comfortable" and "insulated" doing something mundane. As you built tension you gradually opened up the framing which made him seem smaller, more vunerable and unprotected. Nicely done. I see you bro. 

    The only thing I didn't like was the whip transition of him running up the stairs. It felt out of style to the rest of the film to me. I know as cinematographers we like to try out various tricks, but I'm personally really big on functionality over form when it comes to engaging the audience into the story.

    The most effective films keep viewers locked into the story, and so you'll notice use of transitions are very limited to cuts and fades, and in certain films, eh hem Star Wars, wipes.

    I feel the cooler, more experimental transitions are better left to music videos or non narratives because the viewer is more engaged in the mood and emotion rather than a cohesive story arch. 

    Also, as a motion language thank you for not doing handheld. The technique is being used to death and it's refreshing to see you can have smooth stabilized footage and still build up tension. I feel like this is lost on a lot of modern filmmakers. 

    How was the VFX on the hand grabbing the bunny accomplished? I always like to learn how different ppl approach these things. 

  5. 8 hours ago, Marco Tecno said:

    very good resolution and framing, but the image is a bit "dull" on my monitor and TV

    The cinematographer prefers a flatter grade. He also lets darkness be dark, which I personally appreciate, as long as you can still read the frame. 

  6. 42 minutes ago, webrunner5 said:

    The Kinefinity seems like a nice camera output, but damn it seems like a camera company one step from going Bankrupt all the time. They just don't seem very grounded for a camera company for me to buy into.

    My guess it because they lack broad support from the community. The same can be said for both RED and Blackmagic when they initially started. It will take time for Kinefinity to gain brand recognition.

    I understand ppl's skepticism,  I mean, I shoot with a discontinued camera after all, I've been around the block. But the alternative isn't all that great either, which is perpetually buying into overpriced systems from companies that care more about their shareholders than their customers. THIS is why the GH5s has very few improvements over the GH5, because ppl are more than willing to pay premium prices for small iterative updates which saves these huge corporations costs on components. This only changes when ppl are ready to take a risk in hopes of shaking up the industry. And trust me, this industry needs a little shaking up. 

    42 minutes ago, webrunner5 said:

    I realize you are not going to make a Hollywood movie with it but how many on here are...

    It's this statement that holds the industry back. Why not? Why can't you make a "Hollywood" (more like Alantawood now)  movie with it?

    The typical reasons you hear are based off manufacturer marketing backed by archaic thinking. Someone who spends there's client's budget renting 3 Arri Alexa's is the person that wants others to think you can't shoot a feature film on a Leica, or a GH5 or even a smartphone. That would mean they've been complicit in blowing their client's money. 

    "Tangerine" was acclaimed. All shot on an iPhone. Look at the original "Blair Witch" film. Did rather well too. STORY IS KING.

    It's time for us to move on and start thinker broader now. A paradigm shift is just on the horizon, you want to be a part of it.


  7. 16 minutes ago, webrunner5 said:

    I would argue the Leica-D-Lux-Typ-109 is the best buy of a lifetime. Take a look at what this guy does with one!


    Nice body of work, although I would argue the look has more to do with lighting and the talent. 

    For a complete setup the price is good:


    I watched a handful of videos online from the camera and to be completely honest I'm not a fan of the image, which looks to be a bit noisy and muddy even at 4K resolution. I think for a beginning filmmaker it's a great setup. 

  8. 14 hours ago, IronFilm said:

    One of those chances is if they release a "Nikon N300", their 4K cinema camera. 

    Ah, if only!

    In a way, the entire company of Blackmagic Design is a "pet project" of their CEO/owner!

    But it shows that approach of throwing the kitchen sink it while cutting prices low, can make the business rich and successful. Maybe more should try it. 

    You're not going to get this from Sony and Panasonic, or Canon or Nikon for that matter. They're too big and ppl gladly throw money at their iterative shit so there's no incentive to grow or change. 

    The "smaller" companies like Blackmagic are still hungry and have something to prove, for the time being. That was the position Samsung was at in 2014 as well. And we all know RED is outside the realm of affordability for 90% of us so they can continue to be a successful niche. 

  9. I have never been more disappointed in any other company for discontinuing a product line. We all know had Samsung stayed in the game they would have completely dominated the mirrorless market by now. To unseat long time competitors Sony and Panasonic in this space in such a short time is unheard of. 

    Having been burned by big manufactures I'm looking deeper into the AXIOM APERTUS and Kinefinity Terra lines of cameras.



    A couple of ppl have remarked the the Leica SL (Typ 601) is the camera the NX2 would have been.



  10. I plead with all NX1 and NX500 owners to stop recording handheld footage in 4k.

    These cameras do not do well with rolling shutter in 4k, even with slighter movements in the X and even Y axis. Jello and even micro jello all over the place. 

    This is my biggest gripe with the camera and can totally ruin a shot. 

    If anyone has figured out the "Rolling Shutter Repair" plugin in After Effects or Premiere in relation to footage specifically from these cameras please share your settings. On default settings, I don't notice much repair at all. 

  11. This is a exert taken from a Forbes article about an official statement from Samsung in relation to the upcoming release of their Galaxy S9 smartphone:

    "Meanwhile the Exynos 9810 is big on party tricks. 4K UHD can be recorded and stabilised at up to 120fps (twice the 60fps of the 2017 iPhones). There is also support for 10-bit HEVC and VP9 video formats offering a 64x wider colour pallette than the 8-bit colour support seen last year."

    I can't help but think the above could have very well been the evolution of the NX line of cameras, if not even better specs than this.

    They are putting this in a freaking smartphone! A freaking smartphone is going to shoot better slow motion than my NX1 with more color bit depth!

    Unbelievable in both a good and pissed off way.

    FY Samsung. 

  12. 8 hours ago, keessie65 said:

    Hi Matthew, just wondering, do you have films made with these settings? I have them also but I normally use DR settings, not always happy with.

    I'm finding with the NX1 that you have to use different settings for different scenes. When I used to set my settings to just one setup, it didn't work for everything.

    Casey's settings work really well when you're shooting in a controlled studio with plenty of lighting. So he sets his master black level to 0 because in that environment you dont have to pull up your darks that much or at all. You control shadows with actual lighting.  

    But in darker or more unpredictable lighting situations, (run and gun) I really have to crank up the master blacks levels to get any latitude in the shadows. I usually set that between +6-10. I never go pass +10 as a rule of thumb because when you adjust black levels down in Premiere/Lumentri you get a lot of banding and artifacts. It's pretty bad actually.

    You have to work with this camera for a bit to discover it's weaknesses. Good image out of the box, but not very malleable. We're fortunate that Samsung's color science is generally good.

    I've seen some amazing results from this camera and I've seen some absolutely horrible results too. I believe the key is sutble grading and good controlled lighting that doesn't push extreme contrast values in the scene.

    Even low output practical lighting will blow out really quickly, which is a hallmark of limited DR. And if you underexpose to combat this, and try to lift the image in post you run the risk of bringing out the noise in the shadows. 

    I'm sure Samsung would have addressed some of these issues with firmware updates that made better use of the amazing 6.5k, 14bit, 28.8MP sensor. But they left dishonorably and now we're stuck with what we have. 

    I think the best we could hope for is a hacker comes along and lifts a lot of current restrictions on the clean out HDMI channel, so we can get more out of this sensor through an external recorder. 

  13. On 9/1/2017 at 2:18 PM, DaveAltizer said:


    I directed this but didn't have much say in the edit and post. If I were fully involved in that process I would have done either just 16:9 or 2.35:1.

    Also, the color grade...not a huge fan. Would have made the intro shots more moody and dark. 

    Just my thoughts. Wish I had more involvement, but dealing with the artist, label, and producer wasn't easy and they kinda took over the project after the shoot day. 

    I may put together a "directors cut" and post that on Vimeo with the changes I mentioned. 


    Honestly, with such a cringe worthy and aggressive grade this could have been shot on a DSLR with the same destructive output.

    If this grade/look was the intention of the production/client, budgeting/using the Alexa Mini for this project was simply overkill. The distribution channel for this is probably Instagram and Facebook which ends up in a super compressed 8bit codec anyway. 

    I've been down the road where I as the DP/cinematographer lose control over final vision of the project and the powers that be take over and just ruin the hell out of it. It really sucks. I feel your pain.

    The last time this happened to me the edit and grade looked absolutely horrid, I voiced my issues, and then was basically told to go back into my corner. I was so upset I ended up walking away from the project sighting "artistic differences".    

    How I help combat this is I'm also and Editor. I actually approach my cinematography as an Editor and try to get in as package deal.

    I've also learned that being dipolmatic and having the director sit over my shoulder while I'm cutting sounds good spirited in theory but usually ends up in a situation where I basically become a technician to a backseat editor, rather than a storyteller crafting a story, if that makes sense? I dont find it fruitful. 

    Since narrative filmmaking is my side passion seperate from my day job I can be selective about which clients I work with. I've kept this setup intentional. But I understand not everyone does it this way. Some have to work with what they have because it keeps the lights on.  

    If I come across a client that basically is unwilling to trust me for what I bring to the table I dont bother working with them. Lots of ppl have a story to tell. They can hire someone else or shoot it themselves. No one who has talent or skill should be made to feel like a wrench monkey. 

    On that note, if you find a client or director you have chemistry and a good working relationship with do whatever it takes to nurture that relationship and keep it flowing. This is why you'll often see the same Director/DP/Actor couplings across multiple films. This type of connection doesn't come along easily.

  14. 2 hours ago, keessie65 said:

    Now filming for a few days in The Efteling, the Netherlands. Because of the low light at evening I decided to build my setup; NX1 + NXL speedbooster + Mamiya 55mm f1.4 + Bolex 16/32/1.5x + Rectilux HCDNA. I had to set the lens not at infinity, but somewhere about 10 meters to get the sharpest results. The film follows later, for now a few pictures.

    After all, I am very happy with the NXL speedbooster.





    Colors look rich and the image clean. Can't wait to see the film. 

  15. I have a Helios 44 58mm coming in the mail from Russia and a m42 to nx adapter. 

    From what I'm reading online the Helios makes a great taking lens. Any thoughts about this? 

    Can you point me in a good direction for a good quality clamp, or whatever it's called that goes between the taking lens and the anamorphic lens? 

    I think I'm starting to wrap my head around this anamorphic stuff. It took me a second. I didn't realize at first how it all worked. 

    13 hours ago, lucabutera said:


    So basically the camera itself does not control or comm with the lens? You need this intermittent device from Aputure, which gives you electronic control externally? 

    Though not the optimal solution as direct comm between camera and lens, and a bit pricey, it's an interesting workaround. I'm sure that took a lot of man hours on your part. 

    When will this v.2 be ready for prime time? 


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