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Day 1:

Here's a musical film JOE melodic rap, following the massacre in Paris at the "Bataclan" concert hall.

Shot with Pansaonic Lumix GH3/GH2, good visualization. Phab

We used a lot of lenses, from Voigtlander and Panasonic to Samyang with SpeedBooster XL, passing through some Chinon and Fujian 25mm C-Mount, allways with SLR Magic anamorphic adapters, we wanted the unsqueezed look.

Have a look.

PS: the aerial footage was done with a Phantom 3

Have a look yourself and let me know how you like it in the comments! From feedback we can learn, so keep it coming!

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Music licenced from RoyaltyFreeHeaven, W. Mozart "Duettino sull Aria"

Shot on the Blackmagic Pocket Cinema Camera, and the Sony A7sII

Supposedly he even had to ask on set when he was supposed to say cut. :)

I actually got their a bit after 12:00 (Event started at 12). I planned on getting their much earlier but hey, things can happen sometimes. Anyway, once I saw how gigantic the line was, I panicked thinking that the only footage I'll be able to get is shoots from outside the Hatch Shell area. I decided to walk to other streets hoping I can somehow increase the chances of getting close though another way. As you can see I somehow managed to get in from the other section. Once inside, it was a pain getting the first few shots with a ton of people in front of me but lets just say I was able to move forward every time people got away or they moved to another spot. I was eventually able to be touching the gate and it got much easier to shoot the planes getting into the Charles River. The end of the video has the awards ceremony.

I really should have tried to apply for a Press Pass. Wouldn't have had to have a big headache trying to figure out how the heck am I going to get in at at the very least be outside but still able to get a decent shot of the runway before it's too late. The first line I went to was a big eye opener. Almost seamed like well over a mile. I'm extremely lucky to have gotten in. Shot it with the Panasonic AC90 in 1080p60 and used TMPGEnc MPEG Smart Renderer 5 to superglue all the clips together rather than re-render the clips into 1 file.

As one of the original colourists for Whites Aviation in the 1950’s, Grace Rawson reminisces and revives the forgotten art of hand-tinted photography for the first time in over fifty years.

I was amazed by what I saw. Hence, I started to take the camera with me and took some footage. It turned into sort of an obsession over 4 years, and I had to overcome many obstacles on the way.

Apart from technical challenges which are described further down below, I was struggling a lot at the end with the storyline, which became part of the reason why it took 4 years eventually to finish this off. Year after year I did not see the ends coming together – but finally I was able to record the missing pieces to formulate a story.

This is sort of a film for children (some of them grown up like me ;-)) - I hope you like it and your children too!

Filmmaking is always a collaborative effort, so I was very happy when my brother Stefan Machu (stefan.machu@chello.at, a studied audio engineer) offered to do the sound design. It is a mix of natural sounds recorded at the pond (Zoom H2 and Sennheiser MKE 400) and foley, and I was amazed to see how he produced all of the foley sounds on his own (using a Rode NTG3 and a ZOOM H6 recorder).

Around the same time Krystian Shek (info@utcwired.net) got in contact with me, and he offered to do the original score for the film – we had collaborated earlier already (see e.g. Stopover Bangkok or The travel diaries II here on vimeo) – and I am very happy with the way it finally came out. I strongly recommend to have a look at his music on itunes or utcmusic.de

Finally, I have to mention Peter Baker as well who did the voiceover (mail@peterbakervoiceover.com, peterbakervoiceover.com) for this film. Also with him I already have a long standing collaboration (see e.g. Oh Angkor or The Bali Experience here on vimeo), and he is a professional in every way.

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Now, to some of the technical details: a major challenge for example was to get as close as possible to the little heroes of this film, which were retracting to the middle of the pond obviously whenever I tried to get up close. Hence, I used the telezoom mode of the Lumix GH2 a lot which uses a centercrop of the sensor to give an effective 5.2 crop factor. Coupled with a Tokina 60-300mm Zoom lens and a 2x teleconverter I got an effective (5.2x300x2 = ) 3120mm focal lenght which got me close enough. But have you tried once to frame your target with such a focal length, not to mention that the slightest camera shake would turn footage unusable quickly? Therefore in addition I built a custom 5m crane which allowed me to put a GoPro in the middle of the action. The telezoom crop also came in handy when using a 50mm Canon FD macro lens, turning it into a 260mm macro effectively. By using 25mm extender rings I was able to put objects right in front of the lens for amazing close ups.

Let me know if you like it!

BTS