Shot in one day on a RED EPIC DRAGON at 'The Big Drift', Wilson's Promontory National Park, Victoria, Australia.

Produced by Kat Mitropoulos (Full Stop Pictures)

Director - Peter Savieri.

Cinematography - Alex Cardy.

Steadicam - Glenn Clayton

Leica lenses - 35mm, 50mm and 90mm. Watch it in 1080P

So here is my intended version of the video that we agreed upon. Shot on GH2 with Flowmotion and Nikkor AI and AI-S lenses, edited in FCPX and graded in Resolve.

Password: MyVersion

Official video (if you want to compare):

Marc Sardou "Love's Already Made" from maxsainvil on Vimeo.

DASH - 'Cautiously'

Just note that widely known pop groups/divas does not count.

I'll start from

• Apocalyptica
• Lacrimosa

If you're interested in the tecky stuff, here it is, otherwise please just enjoy the pictures!

I used a kowa 8-Z anamorphic adaptor, mounted on a voigtlander Nokton 35mm F1.2. I also had a Tokina .4 achromat and a Cokin Diopter +2 for the Close ups.

It was all shot at night which presented problems as I found the Lumix isn't very good in low light. I was shooting at 50fps which reduced the amount of light I had even further. I also found that if the lens was fully open it was difficult to get a focus. Not because it was too shallow, but because it wouldn't focus on anything with the adaptor.

As you can see I over-cranked the ISO (accidentally went to 3200 when I thought I was on 1600), but I couldn't set lights up on the banks of the Thames at 3am, as we didn't have permission to be there. I wish I'd got someone to stand close by reflecting a bright torch off a white shirt though. I can only hope that I get away with the graininess in the spirit of low/no budget film making, and it looks like 16mm. I couldn't ask the actors to go back into the Thames for me!

I think the Lumix in low light has given the film a real 'look' but in all honesty I wasn't impressed by how much colour information it recorded. This camera really needs light to work well.

You can also see the notorious shutter wobble a few times. Weirdly it doesn't bother me in this video, as I think it suits the slightly surreal mood. Same goes for the sodium street lights making the flicker. I wanted to keep the shutter above 100 (I was shooting 50fps), but I could have decreased flicker by reducing the shutter speed. However, I decided to embrace it, and instead increased the shutter, which made the flicker more pronounced.

Staying close up to the actors, using the diopters, gave me a picture I liked the most. The bokeh looks lovely and soft and cinematic. Shots where I had to focus to infinity were difficult - the bokeh is ugly in those shots (in my opinion), taking the shape of a kind of horizontal tear. But I couldn't film the whole video in close ups!

It was difficult to shot this as a one-man-band. Having to screw two different diopters on or off every time I wanted to change my proximity to the actors made it quite fiddly. I was also moving lights (I had x3 LED panels). I had some other taking lenses, but it wasn't practical to change during the shoot.

Lastly, I know its normal to crop the super-wide picture you get from shooting 2x anamorphic on a 16:9 sensor, but I decided to embrace it. It's fun, and a bit silly, but its a music promo, so why not.

Hope you enjoy. The track by Durlston George, his debut single, is lovely.

Let me know what you guys think. The compression on youtube and vimeo is awful, so if you want to see it for real, you can download the file from vimeo. There's also an annoying glitch at the end that I couldn't fix. i uploaded the video several times and every time it did the exact same thing.

It looks a lot better if you download it from vimeo.

DOUCE CHINE: Technical detail for every shot (Camera/lens/Aperture)

Birth of the “Douce Chine” Project: Twice a year I am teaching a 10 weeks (25 hours) filmmaking course in Shanghai. www.shanghai-classes.com/filmmaking For the 2014 spring term, I decided to help one of my friends, by shooting a music video for his new Album: Douce Chine (China Delight). This was an interesting project for my students as well, as we had time to work on lighting set up and camera positioning. Song is about a guy who is used to travel from France to China, mixing up jet lag feeling with night life, good wine and wave of exciting emotion spicing up his life in China. This 4 minutes video was integrally shot in 10 hours (2 afternoons) in our classroom which is only 25m2. That means we could only walk 5 steps max in the different directions of the room.

Why multi cameras shoot? Out of my teaching work in photography and filmmaking, I am both a pro photographer and DP/cameraman. I am having lots of gears and this shooting was a good place to put all of my cameras at work for the good of the students; Nikon D800, Lumix GH2, Lumix GH3 and Panasonic AF100. I hired one of my Photography students (Richard) to be my main assistant and he brought along his Leica M240 he had never tried in video mode so we decided to give it a try on that project. Music video is the place for multi camera shooting as you cannot ask the singer to repeat the exact same performance many times in one afternoon. Despite the lack of space in our classroom, we managed to position the camera to cover as many angle as possible in our 3 different sets of background: Simple black back drop, (fake) Bed and Chinese curtain, Window with (fake) street light reflection. There is no use to get many cameras in action if their position and angle of view are not both different and matching.

Image bank from extra cameras On the image shot for the music video, I add a layer of images I shot in the previous years in France and China. They were shot with GH1 (night shots and on board shots) Panasonic HVX200 (club and slomo of people walking) and HVX200 with Letus Ultimate (Water shot, airplane, traditional places…). I followed up with the HD evolution but all my HVX shots (720p 50fps) still looks real good even blew over scaled to 1080p. Great cams always existed and any day, I can still grab my HVX200 if it matches my need on a new project.

Which lenses? I am having some great lenses and I used some of my favorite on that shooting; Voigtlander 25mm f0.95, Nikon AIS 50mm f1.2, Nikon 85mm f1.4 AFD, Computar 75mm f1.4 (a rare but cheap CCTV lens great for portrait) Prior to the shoot, I bought a 35mm f1.8G (DX version) which is doing very well on the D800 even in FX mode as I knew I would add some vignette in post. I am always taking advantage of this type of experimental project to test new things without pressure. The GH2 was hanged to the ceiling on top of the fan with the Voigtlander 25mm which was wide enough to get the establishment shot at once. The D800 shared the 35mm and 50mm at f2. The GH3 always used a Speed Booster (great tool that I highly recommend) with the Nikon 85mm 1.4 which is an amazing lens (older AFD version half price than the new G version). The AF103 mainly used the Computar (200 USD lens). For the Leica, Richard brought along his 50mm f0.95, 35mm f1.4 and 90mm f2. Those 3 lens costs more than my complete equipment, but they are already sharp fully open and get their own character which makes their full frame image looks more like Medium format camera.

Light and camera settings. This is not a proper camera test as the aim was to complete the music video shooting. Therefore, we didn’t try different set up on camera or aperture on lenses to compare. Instead, we kept everything pretty much the same. I am used to set up a lighting to be able to shoot at f2 on all camera at ISO200 (base iso for GH2, GH3 and AF100). This Aperture offers great sharpness on all my lenses and it also allows me to use lenses of any angle of view from 12mm to 180mm at f2(with speed booster) on M43 (which means 24mm to 320mm on FX). I am also working at f2 most of the time as I know the combination of lights able to deliver this result which is time and budget saving. There is just some slight correction according camera position versus light position. Playing a bit on the ISO or the aperture can handle that. On the other hand, Richard wanted to go shallow depth of field (f1.4) on the Leica and sets the ISO at 100. Sometime, he went too much on that direction (while being close to the subject) and you can notice that some of Leica’s shots are a bit out of focus as depth of field is too limited. I guess that Richard went as far as f0.95 few times on the 50mm due to noticeable overexposure on some shots. Bokeh Otaku!

Main differences between cameras - GH2 and GH3 are classic, great tools, the most efficient, my favorite and they get even better with Voigtlander lenses or Speed Booster + Nikon. They are easy to set for a flat image for post processing purpose. Still, I think the GH1 was the best in term of cinematic colors out of the box. Image is sharp and it is up to your treatment to smooth them up. Those cameras are easy to handle due to their size, articulated screen, electronic viewfinder with all needed information minus peaking. - AF100 (AF103): Often described as a weak product by people who don’t own one and just judge on technical data, this camera is a workhorse, the one I pick up first for my paid job due to its form factor and ergonomics. Great for sound recording and flexible with its ND filters (the feature I am missing the most on GH series). Image quality is good and it had never been an issue for me or my client. Interesting point, it is the most accurate camera of the bunch in matters of color rendition. Green is much more right on the AF100 than on the Gh2 or Gh3 for instance. I love this cam and it is far better than its reputation. - D800: I used it once for a very short movie just for a test. (

Final words: Camera model, Full frame or M43 does it matters? This was not a camera test, but a real world shooting with very different gears. As far as I am concerned the possibility to get a flat image out of the camera, working on a nice lighting set up, taking care of camera positioning and making a wise choice of quality Lenses are more important than camera type, model or brand. Cinematic look is not about crazy shallow depth of field. Watching great classic films help to reset some mind on that matter. Pilling up image with crazy smooth out of focus area is sometime so obvious that it takes over the story itself most of the time… The real advantage of FX is to be able to offer more separation between element with wider lens (even with an f2.8 zoom) and at longer distance from subject. If one day I am trying to shoot a fiction with the leica, I am going to write a story with that idea in mind and I might shoot in flat light, colorless environment to compensate the high saturation of the footage.

Franc Péret French Filmmaker/Cameraman/Photographer/Teacher based in Shanghai cn.linkedin.com/in/francperet View my video on (need a VPN from China): http://vimeo.com/channels/659428/videos Filmmaking and Photography classes www.shanghai-classes.com

Would be great to here thoughts and feedback. Please watch with headset or good audio system and download file for best quality.

Camera settings: 50 Mb/s IPB 50fps => 24p timeline, -5 -2 -5 -5 Lights: 1 x Arri Mini-Cyc 800W, 2 x Arri Junior Plus 650 W, 2 x Arri Junior Plus 300 W Post Production: FCPX + FilmConvert

Acting by: Veronika Herren-Wenger Music by: Jasu Jaranka (Sam Cava Productions) Art direction by: Heidi Wenger Assistance by: Ali Kisaoglu Directing, camera, light design and editing/grading: Christian Wenger

List of features:

• 180 gram vinyl
• Two vinyl-only hidden tracks hidden beneath the center labels
• One hidden track plays at 78 RPM and one plays at 45 RPM, making this a three-speed record
• Side A plays from the inside out
• Dual-groove technology: plays an electric or acoustic intro for "Just One Drink" depending on where needle is dropped; the grooves meet for the body of the song
• Matte finish on Side B, giving the appearance of an unplayed 78 RPM record
• Both sides end with locked grooves
• Vinyl pressed in seldom-used flat-edged format
• Dead wax area on Side A contains a hand-etched hologram by Tristan Duke of Infinity Light Science, the first of its kind on a vinyl record
• Absolutely zero compression used during recording, mixing and mastering
• Different running order from the CD/digital version
• Utilizes some mixes different from those used on CD/digital versions

White's new album is set for release on June 10th.

I often have this issue which is that there is sunlight coming through a window (or two side windows), and spotlights on the stage. Currently using secondary correction for this but it is always difficult when the light mixes. As the session goes on, the sunlight moves from left to right.

I've got a spec project I'm working on where one of my friends (a Grammy winning classical vocal soprano) will be tracking vocals in London. Unfortunately she doesn't have a studio of her own and we couldn't fit the session in while she was in L.A. because of a last minute scheduling conflict with the L.A. Phil.

So if anyone would in London would be interested in helping out, please let me know (and any info. about gear and space would also be appreciated). Thanks!

Comments and criticisms are appreciated :)

Cheers.

This is a music video we did for a Detroit rock band called Odd Hours. About 80% of footage after the boat scene is GH3, all wide angle stuff is T3i.

http://songwriter.revimage.com/channels/JoannaStClaire

If the music video wins for Joanna, it means a chance to work with Don Was (one of the most prolific and acclaimed producers out there) and money to help create additional music. She spent years on the album this video comes from and is an incredibly warm and talented person, so your help would be really appreciated by both of us.

Now here's some more text for everyone else about a project I worked on at various points from 2007 to last week. :)

Quick intro: I'm Per Lichtman, the guy that found the audio settings values now used in the majority of modern GH2 hacked settings, thanks to @Vitaliy_Kiselev making it possible to test and modify them. I've also participated in a lot settings comparison tests and talked way too much over the years. :)

Last year I directed a music video for a song I also worked heavily on the music side with. It was called "Listen to the Sound" by Joanna St. Claire and it finally got put up at http://songwriter.revimage.com/channels/JoannaStClaire in conjunction with a contest Joanna St. Claire recently entered. I wanted to help her out in the contest and share some of my experiences with the GH2 community at the same time.

The video is shot using a mixture of GH2 with the Driftwood Canis Majoris Night settings, as well as a RED Scarlet and Cooke lens courtesy of OnTheMarkMedia.net. There are also one or two shots with a Canon HV30.

The grading was done by Dimitrios Papagiannis ( @Bueller) in DaVinci Resolve using the Cineform codec as a digital intermediate. Ashley Nunn and Karla Usagi provided additional support carrying things as well as behind the scenes photography for one or two of the days. In other words, shooting often consisted of just me and the artist.

The shoot was done entirely using natural light, without reflectors or any other aids, on an extremely tight schedule and filmed almost entirely around sunset over the course of multiple days. The shots featuring water were done in a region where there is not normally a body of water: it was there for the first time in about a decade due to unusually high level of precipitation. The lake evaporated in a matter of weeks.

The lenses used on the GH2 were a Rokkor Minolta-mount 58mm f/1.4 and a Tokina 28mm Minolta-mount f/2.8. Various Tiffen contrast filters were used at certain point on the GH2. To the best of my memory, no filters were used on the Cooke lens for the Scarlet.

I will be posting more information (such as which shots are which) depending on what the interest level warrants.

The re-mastered album that the video goes with is "Stream HD Master", which we recently released in full-fidelity 96 KHz at 24-bit depth dynamic range. You can find it at https://joannastclaire.bandcamp.com/

It's been one of my favorite musical experiences so far. It also one of the ones were I've worn the most hats (recording engineer, mixing engineer, mastering engineer, creative consultant, album cover photographer, music video director, editor, etc.) that I can think of so far. :)

This is the music video that we made for the dutch DJ Bassanova. The video was filmed with two GH2's. Technical specs:

Camera : 2x Panasonic GH2 (AVC-Intra Driftwood MOON T7) Lens : Nikon AF-S 24-70mm f2.8 G ED, Nikon 50mm F1.2, Nikon Fish Eye, NIKKOR 80-200mm f/4.5, 2x Meta Bones SpeedBoosters Gear : Sachtler FSB-4 75 CF, Kessler Hercules 2.0 Head, Kessler Pocket Jib, Kessler K-Pod Tripod System, Kessler K-Flex Dolly Track System, Gini Follow Focus Rig, 2x Lilliput monitors, ARRI 650 Plus Tungsten Fresnel Light

Cheers, D.

and also a big question regarding the music, the music is premixed in stereo or is it in 5.1??

By the way - The cars they drive in the video are registered as tractors (kind of), kids aged 15 or more (or is it 16?) can drive them (they can´t go faster than 40km/h - you need to be 18 to drive a normal car here).

Cameras used: gh3, gh2, 5dmk2, gopro... maybe even a 7d?

1) We need interview guests! One of the series is called “High Scoring”. This is going to feature interviews with game and film scoring composers talking about the history and craft of scoring. Far from the usual discussion emphasizing creative process or tools or “industry realities”, these interviews will actually look at musical influences and changes in scoring approach over time. The continuity of composing for media. Following this discussion, the audience will also have chance to participate in a Q & A.

Several people have already volunteered to be guests and all I can say is “thank you!” for your desire to both help the arts and to help expand the perception of what we do as composers. It is my hope that the series will help both help to give a sense to the greater public of the history of what we do (in much the same way that music history classes do for classical composition) while providing a unique perspective to those of us already in the scoring community. Admission should be only a little more than the price of a movie ticket.

2) You can come to one the interviews, lectures or classes. It currently looks like they will be held in North Hollywood and tickets will likely be $15 to $25 depending on the event.

3) You can help us gauge interest in terms of the potential classes and the best schedule (for instance, would weekday evening or weekend evening classes be better?)

Here are some likely candidates (but feel free to suggest your own): - “High Scoring” The History and Culture of Film & VG Scoring - Supporting Your Child’s Creativity - Intro to Photography and Video - Composing and Producing - How To Communicate Better With Your Clients and Customers - Cultivating Creativity - Developing Expertise: The Keys to Learning Effectively

4) We will be launching a YouTube series in conjunction with “High Scoring” and possibly other courses as well. That means if you want to donate time or labor to any of the related areas (recording, filming, editing) it will be greatly appreciated. The more help we get, the more content we can create in a short period of time and the more attention we can bring to our craft.

5) We will need to get word of mouth out! Even if you can’t help directly or attend in person, chances are you know someone that would want to come to the seminars or classes or at least would want to watch the videos.

Anyway, this is something that I’ve been laying the groundwork for a long time and we only recently found a good venue for it. So I hope you’ll support us in making it happen any way that you can. I feel like we can really help make a difference, both for our peers and for the children that will soon be following in our footsteps.

So if you’re interested, please PM me or e-mail me at per@perlichtman.com. Thank you.

http://perlichtman.tumblr.com/post/69311146740/support-the-arts-for-the-price-of-a-movie-ticket

Wanted to share this music video I made for a Dutch band using the hacked GH2(Sanity 4). I was hoping to get some feedback from people who do not know me and were not involved in this project. So give your inner critic a go and let me know what you think :)