We'll soon publish in better quality lot of booths.

This is my first short feature documentary effort. (44:41)

It is about Vincent Pannizzo who left his Ph.D studies at UC Berkeley to become a homeless advocate and street preacher in Oakland, CA 18 years ago. He is homeless by choice and works to help people pretty much nobody else will. There is obviously a religious aspect, but the themes are universal.

I welcome your thoughts and criticisms. The goal is improvement. And thanks to Vitaliy for the forum...and the early days when he helped so many of us hack our Panasonic GH cameras!

This was shot with a Panasonic (Lumix) camera. Ten points and a beer if you guess which one! (Hint: NOT a hacked GH2)

Here is the link:

PASSWORD IS: Pannizzo

Marc Garman -- Lab Rat Pictures

(P.S. Wasn't sure which category, so please feel free to correct.)

The video shows a landscape created synchronously with the music. The generation of the visuals is based on the sound spectrum. The diverse frequency bands have been used to algorithmically define the visual parameters such as geometries, materials and lightings.

Through this sonic analysis and spectral decomposition each element and texture of the track has been visually processed.

The whole sequence has been created in a procedural way, where the definition of every part has been based on mathematical integrations.

BMCC 2.5k Aputure LS1 Aputure Amaran HR672 Canon FD + Speedbooster

Finished in Resolve 12.5 using Impulz.

Quite long credits...supposed to be a bit of fun. Avoid if you don't like metal :)

This film was shot entirely on a Sony A7s II with no lights, tripod or crew, just me as director - DP. For my day job, I work with full size crews and camera packages (Alexa, Red, etc) for TV and commercials. But this project, took place in the bush of one of the poorest countries on Earth. The entire camera / sound package had to fit in a small back back and never leave my sight. For sound I used a Rode Video Mic Pro for almost everything and a Sennheiser G3 kit for interviews. For glass, I used a Canon 24-105 and a Rokinon 20mm Cine as well as a full set of Tiffen White Water 77mm Filters and BW Polarizer.

Initially, I ran with a Movcam cage and top handle as well with Wooden Camera handgrips and an F&V Spectra 4.3" on board monitor. But after a few hours, I realized the paramilitary look of the camera attracted too much attention and undermined my subject's candidness, I stripped it down to just the camera body, metabones E mount adaptor, lens and Rode Mic and used the camera's EVF or LCD. It's amazing how a small change in gear, changes people's behavior around you. If I came in with a proper "pro" rig, I would've been mobbed at every turn.

For settings, I tried the EOS Pro Settings. Big mistake. Contrasty and red. Fail for sunny conditions and skin tones. You'll can easily see which shots used that. I then switched back to my reliable Cine 4 settings with black level pushed up, magenta down, sharpness all the way down, etc. Despite the settings mistake, it was definitely a blast and a learning experience.

Post was done on FCPX. With the latest updates, I find this to be the best doc editing software out there. Took me a while to make the switch but once I figured out the language, it saves me at least 30 % more time over Premier or Avid. Transcoded A7s II 4k footage to Pro Rez LT to cut and finish on.

Anyway, enjoy the film.

I'm still working on the edit, have to fine tune some things. All critics are welcome. Thanks Ow and I'm not english, can someone tell me when a subtitle sentence isn't correct? thanks you!!

Anyway, my curiosity is that seeing it I suspect it was with a GH, although they could use some Sony or a JVC camcorder M4/3, and even Samsung, but I lean more to the possibility of a GH.

The cinematography is from Mark Schwartzbard, first first assistant camera of 'Borat', camera operator of 'Brüno' and additional camera operator of 'Up in the Air', 'The Departed', 'Little Children'.

http://www.vimeo.com/campcomet/anmamorphic (not a typo)

3.55/Non tweaked version

From the vimeo description: > WARNING: CAMERA SHAKE

I had to hold up NDs while trying to handheld and focus at the same time. You have been warned.

Music: Anma Mama - Eureka 7: Astral Ocean

UNCROPPED/NON SCAN VERSION/NON TWEAKED VERSION HERE: ( soon)

Hot Rod Cameras PL mount Kowa Anamorphics (40, 50, 75, 100) from Blacklist Productions GH2 w/Sedna Q20 Hack @ 1080/24 and 720/60 Smooth

Composed with TVLogic 5.6" w/2.40 stretch (close enough)

Just grabbed some whatever-kinda-footage to test out the new old set of Kowas. Really like them, much better than the set of Lomo squarefronts that I've used. Not Hawks or Panavisions but I'm considering shooting my next few projects (feature film included) on this set.

Stuff was lightly tweaked in final cut, just a straight log and transfer no 5DtoRGB this go 'round.

Interestingly enough I found a really cool way to rig up the Hot Rod PL mount, a Noga Arm, and a 5.6" that helps me hold it all a bit steadier...

UNFORTUNATELY... I had to hold up NDs while trying to handheld and focus at the same time as you were warned up front.

Will have to work that situation out, but it was still fun.

Desqueeze Process:

1. Convert from AVCHD to ProRes (was probably LT honestly) in Log and Transfer
2. Change Aspect Ratio in FCP on All Clips (drag one to the timeline, get the aspect ratio down, copy, drag all of your clips to the timeline, select them all, click paste attributes, select basic motion and distortion, click apply, drag all clips on the timeline to a new bin at once)
3. Adjusted the image as I saw fit as far as center

The reason I did this? Didn't see any worthwhile difference or benefit to doing another file conversion just to get the aspect right, nor did I think the time spent was worth losing the ability to reframe even if it was left to right.

Others mileage may vary.

If you're interested in pictures of the rig you can ask me.

Will put some pictures up of the rig here, forgot them on the work tower.

These are expert testimonials which have been recorded vertically with my Nikon D750. The videos are best viewed in full size on smart phones and tablets.

In the second CPI/IAPS Video Policy Brief Dr Jennifer Y.J. Hsu looks at the role and challenges of Chinese development assistance in Myanmar.

Vimeo:

Do you like this format? Your feedback and comments are most welcome.