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://moviebarcode.tumblr.com/

Here's a short video that shows some interesting views of this data:

Crime/Drama 92min

Shot in the summer of 2014 in Toronto, Montreal, and Quebec City

Using 2x Red One MX camera's some hacked GH2, and a couple of shots on a Sony A7S.

Lenses: Zeiss Super Speed

IMDB list for eternity.

Should I be embarassed that it leads the list of... well... the less appreciated manifestations of moving picture artwork? Not really. With its whopping "1.0" score it (a) correctly indicates the pathetic state of our local movie industry (which certainly does not fall short in terms of technology, given how many succesful international movies are produced here), and (b) it gives honest feed back to what results when a bunch of moronic "Youtube celebrities" collect money from their even more brain-dead followers to expose their lack of ideas, talent, determination, intelligence, and everything else that could make a movie interesting to watch in the cinemas.

This work is so abysmal, it will hardly be beaten by anything intended to be a "trash movie", because to intentionally make a trash movie, you at least need some determination and knowledge about the movie business, something completely absent from this pile of crap.

Ah and please, don't feed the makers egos by watching this. Knocking your forehead to a wall for 90 minutes would be more fun and less painful for sure!

June 28, 2015 | “Funny How? Am I a clown? Here to fucking amuse you?” Yes. At least when it comes to Joe Pesci. Apparently the necessity for good, seasoned Hollywood actors is drying up: Pesci and De Niro have been spotted moonlighting as clowns at children’s parties in Los Angeles. The report was originally picked up by the AP when Pesci allegedly began yelling at a particularly insolent kid, “What the fuck are you doing? You’re hanging around my fuckin’ neck like a vulture, [...]

http://sourceforge.net/p/rockymountainsmovieconverter/wiki/Home/

I wanted to shoot dreamy and poetry like mood from near forest area in my home town Hämeenlinna. Shot on: Panasonic GH4 + Iscomorphot 8 1.5x anamorphic adapter + SLR Magic 35 T1.4 & Helios 40-2

Please check out and feel free to comment, thanks! :)

Password: 10111987

Shot on the GH2 using the 25mm Voitglander and running an unspecified intravenus patch.

Enjoy!

Sound effects in scenes from Jonathan Demme's Silence of the Lambs

(An example of good sound post-production)...

there were animal screams and noises built into the ambience itself downstairs there. From a little movie I had made years ago called Little Monsters I took this lunatic kind of screaming that I had recorded; I took track, processed it, slowed it down, and played it in reverse. That became one of the ambiences in the room, too. It's the room tone, but the room tone has been made from some guy screaming in pain. Whenever you're down there with Lecter there's this element--it's a low tone that rises and then comes down again. It's very organic as opposed to something you can create electronically. I don't like taking sounds that start electronically; I like sounds that start organically. It' s a lot more fun."

listen to this:

On the other hand, there are movies with fairly gratuitous sound just seemingly thrown-in. Is it just me, or have late movie releases gone over the top with a (Phil Spector-like) wall-of-sound? I long for good, multi-track ambience, foley and vocal sound tracks. Music, when it's a theme, can be most powerful used sparingly but strategically. (Remember?)

http://www.filmsound.org/synctanks/

I have been a Lumix owner since the GH1 was first hacked and moved to the GH2 last year.

Thank you so much to vitality and everyone else who has worked tirelessly to keep these cameras on the forefront of compact filmmaking.

Let me know your thoughts on the video!

Shot in 1920x1080p 60fps MOV format with 14-42mm kit lens, and canon FD 24mm f2.8 Prime. Standard profile -3-3-2-3 Graded with Magic Bullet Mojo.

We just finished shooting our Scary movie "The Killing Silence" in Morocco with GH2 of course.

we are looking for someone to score our movie, any thoughts where we can find someone?

our budget is non existing but we can pay $700, film credit and IMDB.

I hope you'll enjoy it ! Feel free to comment ;)

Thanks to @Vitaliy_Kiselev and @driftwood for their work !

PS : I don't have Plus Vimeo Account, I'll put a 1080p DL link soon !

I was reading the other day about de-clicking old Nikon lenses, and people's comments about how they'd like to slightly tweak the iris "on the fly" to adjust for minor light changes. Since I have a photographer background, the first thing that came to my mind is "Why would you want to do that? Doing so will change the depth of field!". Ok. Tweaking can be interpreted as "less than a click", that is, less than 1 stop (or 1/2 in some brands). But still, my question to you guys is "Why?" Is it because it is the only basic parameter (Aperture/SSpeed/ISO) that you can change on the fly, and not via camera menus? (You wouldn't want to change the SSpeed anyway.... And for the sake of this discussion, let's pretend we are on the less noisy side of the ISO values). What are the benefits of changing Iris? If you could decide to change Iris vs ISO (which takes me back to "Panasonic: Auto-ISO in Manual Movie Mode, por favor...!!!"), which one would you choose?

As script is a bit difficult especially at the end and possibly left over footage, while seemingly a mixture of drama and road movie conventional. It is a very intimate film, very slow with many long still shots, but in a plastic stunningly beautiful, I love the night shots in it, are a delight to behold.

Nuri Bilge Ceylan is the director of it, while cinematography is by Gökhan Tiryaki. It was shot with a Sony F35. Winner of Cannes 2011.

So I started looking at stereo microphone and remembered the Mitra with philip bloom,

that sounded fantastic. But the price was a bit high, and I saw other like the Audio Technica BP4025 (a bit high also). some example here http://soundcloud.com/ausavim

Further searching I saw another system called Binaural recording when people use mannequin head and ears etc to really simulate human hearing. A company that does it http://binauralears.com/

I don't know what you lot think, but this was really a revelation to me about getting the big movie sound. From what I know is that lot of the sound effect and mixing are done in post to get the stereo or 3d effect. But some of these solution seems more appropriate to the indie crowd.

My question is, what or where are the settings I should be using directly on my camera? I switched it over to C3 menu and when tried to record got an error back that my card was not fast enough (which it probably isn't, but getting a new one soon) so this leads me to believe that this is where the highest quality settings live but I still am unsure of what settings produce what results? Is Manual Movie mode just the standard camera mode?

Sorry if this lives on another thread or seems like a silly question, but I new to this whole hack thing and not having the background knowledge is bugging me.

Cheers!

http://usa.shop.lomography.com/the-lomokino-mubi-edition

Just thought I share.

The LomoKino Movie Camera in general (http://microsites.lomography.com/lomokino/features)

Love the video, especially his reaction after the woman says, "Excited!". That alone tells me he knows what he's doing.

http://www.cringely.com/whats-a-movie-cloud-thats-up-to-you/120509/

Though for those of you more skeptical, that link is one of my favorite bloggers talking about the idea and how similar ideas have had problems in the past, including being bought out by hollywood and never realizing the indie roots. Also how there's no real talk about exact technological underpinnings that would need to be addressed to make this a reality.

Still....is the possibility of this worth $29 to you? I think I might make the pledge.

Hope you all like it. Thanks