A break from the norm... Finally. Literally have waited a year to work on this with a new upcoming band. First music video we have done so would really like some critical feedback on it.

Probably our most technical shoot we have done to date.

Technical stuff: GH4 Mavic Pro

Sigma 18-35 Sigma 50-100 Panasonic 25mm 1.4 Panasonic 42.5 Nokton 1.2 Laowa 7.5mm

Came-tv 30w boltzen LED Apurture 528 wide LED X 2

Came-tv Single 3 axis gimbal

Got any epic pics of gear which met the same fate?

I published at 1080p so I could crop and zoom the 4k footage and incorporate a bit of Ken Burns effect. Hopefully I didn't overdo it. All feedback is welcome.

I tried to convey some of the sense of awe I felt swimming with these magnificent animals. After colour-wrangling, I deinterlaced my 30i HDV footage to 60p (using QTGMC), slowed most of it down 50% (to 30p), and sharpened it a little. There is still life in the old formats if the content is interesting.

Any feedback, positive or negative, is welcome.

ax100s and G7s

Celebrated director of photography brought his mastery of light and dark to the service of some of America's very greatest movies

Known for his delicate use of light, Howe worked on 130 films over his long career, taking in everything from lavish costume melodramas to the murky shadows of film noir.

http://www.independent.co.uk/arts-entertainment/films/news/james-wong-howe-hollywood-cinematographer-google-doodle-five-best-films-thin-man-yankee-doodle-dandy-a7916151.html

imdb Biography

His was a genuine Horatio Alger "Up From His Bootstraps" narrative, as by 1917 he had graduated from editing room assistant to working as a slate boy on Cecil B. DeMille's pictures. The promotion came when DeMille needed all his camera assistants to man multiple cameras on a film. This left no one to hold the chalkboard identifying each scene as a header as the take is shot on film, so Jimmie was drafted and given the title "fourth assistant cameraman. He endeared himself to DeMille when the director and his production crew were unable to get a canary to sing for a close-up. The fourth assistant cameraman lodged a piece of chewing gum in the bird's beak, and as it moved its beak to try to dislodge the gum, it looked like the canary was singing. DeMille promptly gave Jimmie a 50% raise.

Because of the problem with early orthochromatic film registering blue eyes on screen, Howe was soon promoted to operating cameraman at Paramount (the new name for the Lasky Studio), where his talents were noted. A long-time photography buff, Jimmie Howe enjoyed taking still pictures and made extra money photographing the stars. One of his clients was professional "sweet young thing" Mary Miles Minter, of the William Desmond Taylor shooting scandal, who praised Jimmie's photographs because they made her pale blue eyes, which did not register well on film, look dark. When she asked him if he could replicate the effect on motion picture film, he told her he could, and she offered him a job as her cameraman.

Perhaps the greatest honor that can be bestowed on James Wong Howe is that this master craftsman, a genius of lighting, refutes the auteur theory, which holds that the director solely is "author" of a film. No one could reasonably make that claim on any picture on which Howe was the director of photography.

http://www.imdb.com/name/nm0002146/bio?ref_=nm_dyk_qt_sm#quotes

James Wong Howe, ASC – The Great Cinematographers

In December 1945, as reported in the American Cinematographer, “Stephen Longstreet, a nationally-known novelist, editor, critic and currently a motion picture scenarist, made passing comment that ‘brilliant cameramen are the curse of the business’ in an article appearing in the August issue of the Screen Writers Guild monthly publication The Screen Writer. He generated a quick retort from James Wong Howe, ASC.

Howe: Camera gymnastics and strange angles are not what I would call the stock of a "brilliant cameraman." A man of limitations, director or cameraman, may use these mechanics to cover his thinness of understanding. Some of the most well-known writers possess technical skill and slickness and very little else. A limited writer can do far more harm, or lack of good, than a limited cameraman, because of the power of word and thought. I believe that the best cameraman is one who recognizes the source, the story, as the basis of his work.

http://blog.unl.edu/dixon/2015/08/26/james-wong-howe-asc-the-great-cinematographers/

Love or War [Director of Photography] GH2 -- (really wish they'd come to me for color on this - At Best Buy and Walmart and Amazon)

Vigilante Diaries [colorist] Red Epic (on HBO right now)

Last Man Club [Colorist and Post Production Supervisor] Red Epic (Streaming now on Showtime next month)

"3" - [Colorist] Red Epic (They went cheap on the lenses, which is why it looks like video - but never the less Nominated for Best picture at WHFF)