My first real music video in awhile, and my first music video as JSD. Pretty excited to get it out there and the reception has been great!
Jerell wanted something quick and gritty, and he was thrilled with the result. After he told me what he wanted, I knew the perfect setting: Minato Mirai in Yokohama. We filmed half the video in Shinjuku and half at Minato Mirai. I had planned to try and film more in the Cosmo World amusement park, but they closed on days we needed to film and closed early the day we were there. It’s all good, as we got plenty of good footage regardless.
I filmed the video with a special setup using special settings on the GH5. I wanted ALL-I 60p 10-bit video, and my camera can only do that in 1080. Didn’t bother me, as I was going to use an anamorphic lens anyway. I used my Aivascope 1.75x anamorphic lens with the Focuser 8 diopter. Normally it’d be really difficult to use this setup at night, but I discovered that if I use my Voightlander 17.5mm f/0.95 lens in ETC Mode on the GH5, I can get much better images at even f/1.2 with the Aivascope. That lens loves small sensors.
I’m glad I got to help him out with his first real music video. I’ll be working with him and his crew more in the future. Next time we’ll take the quality up a notch. Looking forward to it!
I had been thinking of ways to make use of the SLR Magic Anamorphot-50 outside of it’s basic look. I had already done some tests in DCI Cinema 4K with it, which with the Anamorphot gives you the same aspect ratio as a 2x lens in the GH5’s Anamorphic Mode. I was already trying to think of tests using 1.33x lenses for landscape and wide shots to mix with 2x shots for focused areas or people. I really wish I had access to another GH5 to do some real testing of this kinda stuff. But done right, the Anamorphot performs well.
I have a small collection of orange filters that I had been getting cheap on Yahoo auction for a year now. I had a few ideas on how to use them , and this is my first one. A lot of people complain about the strong blue flares on the Anamorphot-50 and how contrasty and out of place they can be. Well, I think I fixed that. Now they’re a nice golden color… but so is everything else. Not that I mind, I think for some projects this would work well.
The area I was filming in is one that I came across during my previous photo walk wanderings. It’s a great area and the trails remind me of the ones I grew up around in America. Nice and clean, beautiful views, quiet, and well maintained. The only issue I had was that the higher I climbed, the windier it got. Had I any other camera without excellent IBIS it may have been difficult to shoot with such a light setup.
The only disappointment from this shoot was that the Iron Glass Helios 44M is useless wide open on the Anamorphot. Even though the Anamorphic disc inside the lens brings the minimum to a f/3.5, the Lens Turbo II brought it to a f/2.5. I shot some tests in Shinjuku wide open a few days ago and they were all unusable. I think I shot most of the Golden Afternoon video at f/4 on the lens. With the Animorphic bokeh filter and the Lens Turbo, I don’t even want to think about the math to figure out what I was actually shooting at.
I didn’t have my regular M42 adapter with me, so I just shot as-is. I want to try more to see if I can get a decent image wide open. I was really hoping for that orange/blue/violet hinted image. You can still see a bit of blue/purple in a few shots. The aperture changed the colors slightly depending on how far I was stopped down. I’d love to try an amber Helios with a blue filter someday.
Shooting 400mb/s gave me a lot of information to work with. I did play around with a few shots to see how many colors I could bring back, but that’s for another test. When shooting raw photos, I could get about 80% of the original colors back.
More fun projects coming soon!
Specs: Panasonic GH5, C4K 24fps 400mb/s ALL-I M42 Lens Turbo II Iron Glass Modified Helios 44-M 58mm Kenko YA 3 orange filter
Filmed at Konandaisaezurinooka Park in Yokohama, Japan.
Since October, I have been working on and off with Luis Mora on a film he’s wanted to make since he came to Japan for the first time earlier this year. We had planned to try and shoot it in a few weekends, but that drastically changed into all weekends and many weekdays/weeknights. Even with a lot of planning, this was a challenge to get done by his deadline. We only got to see a small part of Tokyo but it still came out huge.
Luis’s goal was to tell his story with Japan as a backdrop. I have done plenty of “Tokyo” videos in the past, so I already knew how to deal with that part. The first real challenge for me was filming skating for the first time. I had watched plenty of skating videos over the years, but never had a chance to film any skating. Luis was very specific as to how he wanted the skating filmed, so I had a lot to learn. I’m still filming with him while he is here, so I want to get even more practice.
I have a lot of experience with “new media consulting” but I have never worked with a “new generation vlogger” before. I learned a lot about how youtube works now for people who do it for a living, and I helped him with old school outreach planning and culture gaps. It was a very fulfilling experience overall.
As for the film itself, the GH5 performed wonderfully. We shot most of the film on the Panasonic Leica 42.5mm Nocticron at f/1.2 with a variable ND. We did a few during the day in tight spaces with the Panasonic 12-35mm f/2.8, and a few of the last shots were done with the Voightlander 17.5mm f/0.95. The 4K 60fps along with V-Log did a great job capturing the city colors. I’m super happy with the regular 4K 60fps. Another thing… the GH5 Dual IS and IS Video Lock are INCREDIBLE. I’m willing to bet you can’t tell which shots were on a gimbal and which were not. I mean, the gimbal was amazing in it’s own right, but I had no idea hw good the IS is until I was using it constantly. I used my Beholder DS2A with the DS2 arms when I could, though. Because of the GH5’s IS, even at 42.5mm, I could walk with it and get super smooth video with the Beholder. The only time I had small shakes was in high wind, but Warp Stabilizer smoothed them out to a point where I’m pretty sure you’ll have no idea where I used it. (Except for two shots, which absolutely had to be in the film)
Lastly, I’m a firm believer in the message of the film. I may not be where I want to be in life overall, but I have never given up doing what I want to do. As long as you don’t stop trying, no matter how little or how long it takes, you never know what you’ll accomplish.
I look forward to working with Luis more and have a lot of my own projects coming as well! Stay tuned!
I use to watch a lot of Youtube. Use to, as in I have been so busy lately that I am really far behind and had to unsub form a few channels just to keep the backlog down. I found Luis from one of the many skate channels I watch and noticed he was coming to Japan. Checked out his videos, really liked them, and hit him up on instagram to see if he needed any help filming here.
He responded and we hit it off well. We started planning some shoots and I met him at his first big event in Japan at Mortar Skate Shop.
This shoot had some issues. I am still getting use to the camera/gimbal combo and it’s limitations. I won’t get into the details, but I wish I had filmed it differently. It was a lesson learned and he was still happy with the overall result. It’s still a great little edit.
We continued working together, and eventually planned a music video shoot for his friend Jerell (coming soon). We have already shot it, but I have been too busy to edit it. I can’t wait to get that project out there.
The big project that we’ve been doing is a short film called “Tokyo Dreams”. I won’t give too much info on it now, but we have already filmed HOURS of footage and still have a bit to go. It’s one of the biggest projects I have done in years and the video is looking to be some of the best stuff I have ever shot. There’s a little preview in his most recent vlog.
There is also an edit I did when we went to the Tokyo Motor Show. This is usually a dead time of the year for me and I never get to go, so it was a blast, even if it was only for a few hours. I’m a car nut, so it was a visual fun fest. The only issue I had was the crazy and drastic changes in lighting EVERYWHERE. Every booth and stage had a completely different lighting setup, making it hard to transition quickly. I used the Beholder DS2A gimbal with the D2S arms and I got just as many stares as the cars. It did a fantastic job getting shots over the crowd and nice, steady moves. I’d like to try a wider lens at the next car show I film. I need that Olympus 8mm f/1.8… I absolutely love some of the shots I got and they are totally going in my reel. 4k 60fps on a gimbal with the GH5 truly is a force to be reckoned with.
Then last, for now, is a short skit we did called “INTERVENTION”.
VLOG with the short as the intro:
This is how you should do it. Get together with a bunch of friends and make something stupid for fun. We filmed this thing in about 3 hours, as I had to make last train and Jerell had to fly out in the morning. Because I was juggling camera, direction, lighting, and audio, it’s not perfect. But it was crazy fun to try to make something like this so quickly. Everybody did a great job, given the circumstances. Poor Jerell was tackled down like 6 times and was covered with orange juice by the end. We got lucky with the location working as well as it did, as the first one we tried had way too much traffic.
We filmed on the GH5 with a Super Takumar 50mm f/1.4 lens and my Möller 32/2x Anamorphic. (The same setup as this post.) For the chase stuff I was riding a bicycle and with the rig on my Beholder DS2A. This was also my first time trying the anamorphic mode 400MB/s ALL-I mode. It destroyed my 64 GB card capacity halfway into filming and I had to dump it onto my computer. But at least I know that spending big bucks on a superfast SD card was worth it. We only shot like 30 minutes of video, but the project was over 70 GB. Crazy stuff.
To all the new people coming from Luis’s channel, Hi! I am JSD. I make things. Right now I am focusing on video, but I have a lot more to share with the world. Look forward to it!
I have know the singer of the band Eupholks, Koike, for a few years now. He asked me to film some of his live shows, so I decided to give it a shot. The first time I tried to do a 2 camera shoot by myself… and it didn’t go well. More people showed up than expected and my b-camera was blocked partially or fully for most of the show. So, I acquired some help for the next one and figured… why not do it in anamorphic?
At first I was going to try some kind of 2x/1.33 hybrid, with the wide shots being 1.33 and the close up being 2x. I don’t have a good single-focus setup for 2x yet, so I decided just to borrow an SLR Magic Anamorpot and do the full thing in 1.33.
I couldn’t get anybody with a GH4 or GH5 to help me, so I decided to try using my Panasonic G7 along with my GH5. I set them to the same settings for video, color, and white balance. The G7 was on the Beholder DS2A with the Panasonic 12-35mm 2.8 and the little 1.33x, and on the GH5 I had the Leica Nocticron 42.5mm 1.2 in ETC mode with the Anamorphot. I also got to try out the Video IS lock on the GH5 for the first time, which works very well once you learn how to use it.
Unfortunately, filming didn’t go off without a hitch. Jesse, who was helping me film, had the G7 on the gimbal in the back. I didn’t show him how to check if it was recording properly and he missed the first 5 minutes of the show. The G7 didn’t like the combo of low light and the anamorphic, and would hunt occasionally when the lighting was low.
Yeah, I decided to do the whole show in auto focus on both cameras. If I’m gonna experiment with weird setups, why not see how far you can push them? If I could have changed anything, I would have put the Near/Far ring of the Anamorphot on a follow focus. When the camera is barely close enough to get focus with the combo, the auto focus can give up sometimes.
Overall I think they came out good. I kinda like the slow creep into focus the Nocticron did for a few shots, and I think it fits the overall show anyway.
I am looking forward to doing more stuff with Eupholks and other bands. I would love to somehow do a 3-camera anamorphic shoot if I can find the right people and gear.
Camera: Panasonic GH5, 60fps 4K, ISO 1600 mostly, SS 100 always. V-LOG, Firmware 2.0 with Anamorphic IS and IS lock.
Lens: Pentax Super Takumar 50mm 1.4, used at f/1.4 and f/2.0
Anamorphic: Möller 32/2x
0.5+ and 3.0+ diopters.
Filmed near Yokohama Station, Japan.
This ended up being a pretty epic combination. I’ve had the Beholder DS2A for a few weeks now, but I’ve been dealing with weather, flaky people, and health issues that have kept me from making this video. I hope to have a full review of the DS2A soon, but I have to focus on what I can for now.
First off, while the Möller and the Beholder make this video what it is, the D2S 5th axis arms and the new GH5 firmware make it epic. As for the D2S arms, I am still learning how to tweak them for various situations. It might not be down to calibration as much as it is preference and walking situation. I’ll try to have more on this when I do a full review. Overall, they DO make a big enough difference that makes them worth the money in my mind.
The new firmware brings us video IS lock. This is HUGE for gimbal and steadycam work. The difference is obvious, especially when using Dual IS lenses. I can actually use the Nocticron with this rig, but only with ETC turned on. I stuck with the 50mm so I could get a wider image. Also, it seems the 2.0 anamorphic IBIS makes a difference as well. I should do a comparison.
That said, this was shot using a 50mm lens (33mm HFOV with the anamorphic) and the walking shots are so damn smooth. I have never really even tried any gimbal work on something that tight or a lens setup this big. Now, to balance and support it properly I had to make a simple support rig. It’s made from that simple aluminum flash bar that is for sale everywhere and part of a telescope lens clamp to support the end. Using a washer, I got it nice and flat along the rig.
The only unfortunate result of this is that it makes the camera and lens sit a bit high. While I can get it perfectly balanced, occasionally sharp movements will cause some vertical wobble. I’m pretty sure I could get rid of this with some PID and settings tweaks, but I’m very happy with the base gimbal settings. As you can see in the photo, the angled motor arm makes this rig possible. I don’t think I could do the same setup on the non-angled DS2. It does make it a bit weird to balance, though. I’m still getting use to it. Balancing overall was super easy. When I added diopters to the front I could re-balance the rig in less than a minute. I did use Warp Stabilizer on a few wide shots, but I doubt you’ll be able to tell which ones.
Because of the difficulty of the rig, I decided to find a sweet spot and just stick with it. Really pushing that 1600 ISO on some of these, but It doesn’t bother me too much for night video. It’s mostly shot at f/1.4, but I think some of the super bright crowd shots are at f/2.0. The lens and the anamorphic were kept at infinity and diopters were added, except for two shots where I double focused to get beyond what the 0.5+ Tamron could reach. It wasn’t too bad. The bokeh in this video is superb, the flares hit just right, colors are mostly good. I am still learning how to deal with V-LOG, but you gotta take what you can get with this setup. Shooting at night left me locked at a shutter speed of 100 to prevent flicker. I think I want to invest in some light ND filters for night video eventually.
I need to super thank Matthew (rhyminggaijin) and Kahesi for helping me with this shoot. They did a great job and I’ll most likely work with them again in the future. (Their links are below) I’m not sure why, but I’ve had a REALLY hard time getting people for my videos. Either people are too shy, flake out, or just never get back to me. It’s really hindering my production schedule. I’m getting tired of working around it.
Lastly, I ask for your patience as I have been dealing with some health issues this year that are the real reason for the lack of regular updates. I have so much on the shelf and so many projects that I’ve had to outright cancel. After this shoot I have been really struggling to get through the day. I’m hoping that my most recent hospital visit will be the start of getting this cleared up. I have so much I want to do…
ANYWAY! I was pretty happy with this video overall. I want to do more and eventually clean it up to a more professional look, or at least as close as this rig can get. Look forward to more!
Becoming impatient waiting for Panasonic to release the firmware update with full resolution Anamorphic mode, I decided to take Friday off and try to get some good shots around Yokohama using the 6K Photo mode. It didn’t end up going as planned, but I decided to upload a few shots anyway.
In order, the shots were filmed at Yamashita Park, Osanbashi Pier, the Landmark Tower Sky Garden Observatory, and Ishikawacho Chinatown.
As luck would have it, it ended up being one of the hottest, or the hottest days of the summer. It made it hard to move around, focus (mind and lens), and it was really hazy overall. Not ideal conditions when trying to get your best shots. I think many of them came out great, but double focusing the Ultra Star got tedious when every shot was so different. I had issues with vignetting that I couldn’t see because it was so bright out. I wanted a good variety of shots, but I also knew I couldn’t do a long video. 8K is a pain in the ass to render and the file sizes are huge.
I kept my gear light, using a video tripod, rails, and external mic. I had originally planned to do 5.1 surround audio, but my mic setup failed for whatever reason. I apologize for the on camera audio. I was filming with the GH5, the Panasonic 45-175mm f/4-5.6 lens, and the Chinatown shots were done with the Panasonic Leica 42.5mm f/1.2. Most of the early shots were done with a variable ND, and the shots inside the Landmark Tower observatory were with a CPL. Any landscape shots were done at f/8, closeups at f/4, and all night shots were done at whatever f-stop to keep the shutter speed at 50, about f/2.0-3. I used 1+ and 3+ diopters for close shots.
Yamashita Park had lots of great places to film. I will definitely go back when I have the chance. And yes, All Star by Smash Mouth suddenly started playing while filming. They also played I Try by Macy Gray, making me think that the park’s music CD was from 1999.
Osanbashi Pier apparently shakes just enough to not be compensated by Dual IS. It was constant the entire shoot but I didn’t notice until I got home to check the shots. After Effects Warp Stabilizer did a good job eliminating it, but had I known I would have done the shots handheld.
Landmark Tower’s Sky Garden was great. It cost 1,000 yen just to enter, but they had no issues with me using a tripod. (Many Japanese tourist sites don’t allow them) The glass reflection, however, was really difficult to deal with, even with a CPL. I couldn’t get the lens close enough to the glass to eliminate it, and the glass is so thick/layered that even then there were still reflections. Some of the shots I took with my iPhone right up against the glass had reflections.
The shots in Chinatown came out great. I would have filmed more but I was already super tired by that point. I also had limitations, as if I wasn’t careful I got heavy vignetting with the Isco Ultra Star and the 42.5mm lens. I need a bigger variable ND if I’m going to use that setup. I tried to film a guy making candy, but his lights were so bright that I had to stop down to f/5.0, and it gave ugly dark corners.
The next challenge was working with the damn H.265 files. I repackaged them in Handbrake (who decided to change the dimentions on a few videos for no reason), and they worked OK in Adobe Premier. I have a pretty fast computer that can handle 4K stuff with zero issues. But it was like I was in 2008 with HD files on a 2006 computer. Press space bar, wait 5 seconds, it plays. The edit took far longer than it should have. And that was after rendering all the shots at 1/8 resolution. The rest was no-nonsense, I imported it into After Effects for color correction (something I am still not good at) and then it came time to render.
After researching if there was a better way to render 8K video and failing in all attempts, I decided to try just slightly reduced settings from my early experiment that I rendered using GoPro Cineform and just hoped the file would be under 128 GB.
After 3 hours of rendering, I was left with a 3 minute and 19 second, 42 GB large, 9984×3744 sized video. I’m listing it as 8K, as Youtube will only support up to 8K right now.
Overall, I guess I’m happy with it. I think the shots could be cleaner. I think if I brought more gear and my square ND set I could have got better overall compositions. Double focusing is not an ideal process for getting perfect shots on the fly, and some of them are not as clean as I’d like. When Panasonic offers the full resolution 6K Anamorphic mode, hopefully it won’t be in that god-awful H.265 format. Until then, I think I’m done with the 6K Photo mode.
I need to get more hard drive space. This is going to be a data nightmare year.
So, after a deal with a very dangerous group of individuals, I have finally acquired a GH5. This wasn’t planned to happen for a few more months, maybe even a year… but hey… GH5.
Not having a GH5 is not the reason for the lack of updates. I was very sick over the past few months. Last year a had a bout with vertigo that came back with a vengeance this year. Makes it hard to focus on anything. This was compounded by a list of other problems I won’t mention here. I am much better now. That’s all that matters.
I will go more in depth into GH5 ownership as I go down the road. For now, let’s talk about the two videos I posted recently.
One of the huge differences between the G7 and the GH5 is the 6K photo mode uses the actual full sensor, where the 4K photo mode on the G7 did not. Another big difference is the use of H.265 for these video files, which are a pain in the ass to deal with. However, once the files are properly re-wrapped in Handbrake, you get a massive 4992×3744 video file. When doing my first batch of tests on the first sunny day in awhile (the weather has been horrible since I got the GH5, pushing back planned videos) I shot a few “6K” videos. Of course I had to do it with an anamorphic attached. After all was said and done I had 20 seconds of 9984×3744 pixels at 14.1 GB. The only codec that seemed to be able to handle it in Adobe Media Encoder was the GoPro Cineform RGB 12-bit preset. I was using the Isco Ultra Star and the Panasonic 45-175mm zoom, a combination I use for no-nonsense sharp images. It was a successful test, but I think I can do better. I may clean out my work drive and try a short edit of sorts to see how far I can push it. I may even get out the Zoom H2 and do 5.1 surround audio too. Wow.
On to the next…
I picked up a copy of the Möller Anamorphot 32/2x awhile ago, but didn’t get much of a chance to shoot with it. This is a very special lens. I wanted one after hearing you could just screw a 40.5mm step ring on the front and use it as/is. Well, this was the start of a few issues I had with mine. To keep it short, I ended up having to file down the inside of the step-ring to get it to fit right, and even then it took awhile for me to get the confidence to put anything on the step ring. Unfortunately, it doesn’t work to well with the Aivascope Focuser 8. It’s just a bit too long. It does, however, work perfectly with my set of 52mm Nikon diopters. The filter ring also doesn’t rotate when you are focusing, a rarity among anamorphic projection lenses. If you get the custom Redstan clamp for it, it’s a completely trouble-free lens and is incredibly easy to use.
The above video was shot entirely at f/1.4 and double focus. You can use it at 1.2 as well, but my only 1.2 lens is too wide to use the Möller in Anamorphic mode. It’s such a sharp lens… just unbelievably impressive. I am, however, lucky that I can even use it in this state.
When I was cleaning up the lens and getting ready to black out the edges, I had the filter ring completely removed to get at the edges better with my paint marker. However, the lens was set at infinity. And with the top lock collar also removed, a bit of pressure on the top of the lens pushed down the focusing part and the front element…. popped up. It was a nightmare getting it aligned properly again. But as you can see above, I did eventually get it right.
Lastly… having 60fps at 4K is pretty amazing. I will thoroughly abuse this feature. I will also have fun with the other high frame rates… but I already hit a roadblock with those. More on that later!
Still working on a lot of things at the moment, but I had to go out and film/upload something in the meantime. It was pouring rain today. I have a high-quality camera that is water resistant that does slow motion. Let’s put it to use!
The whole video was shot on the iPhone 7 Plus using both cameras. It’s attached to a selfie-stick (I get these things for free from distributors all the time. I have 4 of them) and filmed at 1080p 120 fps using the Mavis app. Edited in Adobe Premier and lightly color corrected. Music is something I threw together in Garageband ages ago.
I had a full scale review of the Aivascope planned. And then this happened:
It was the middle of my shoot day. I was taking off the Magfilter when it slipped out of my hand. Only fell 10 cm or so, but flipped on the way down.
Right now it’s on it’s way back to Lithuania to be repaired. I will continue my tests when it returns.
As for the video above, I wasn’t planning to make a video with those shots. But I had to put together something while I wait. It’s not the best, but I’m happy with what I got.
First, a few quick things about using the Aivascope and Focuser 8:
The Focuser 8 is CLEAN. I sold my Elmoscope-II rig mostly because I never grew to love the SLR Magic Rangefinder and it’s random blue at all the wrong moments. I hope to try it out on other lenses when my adapters arrive.
The Aivascope is very difficult to use on anything that isn’t wide or small sensor by itself. I have the focus-through version. However, it shines with the set of vintage Nikon 52mm diopters I got for it. Diopters make it very usable, but the Focuser 8 is what makes it awesome.
The Aivascope works on the Sony RX100 IV. I need to make a stable rig to utilize this better. I don’t want to have another drop.
The Aivascope works on the iPhone 7 Plus with the zoom lens. Even in 4:3 mode using Mavis. Will shoot with this soon.
As for the video, I shot it on the Panasonic G7 at 1080p 60fps, with the exception of the first and last shots, which were shot on the Sony RX100 IV at 120 fps.
The first half of the video was shot using the Sgma 30mm 2.8 Art on a Beholder DS1. I still didn’t have the kinks of my custom PID settings worked out, so I did use Warp Stabilizer to smooth out a few bumps. Overall it worked. Once I get the combo right (and a camera with IBIS) it should be super smooth. The second half was shot on a monopod and with the Panasonic Leica 42.5mm 1.2. Because of the size, anything below f/2.0 doesn’t register a change. (It gets kinda dreamy below 2.8 anyway)
If I still had the lens I would have shot a grid to get the right AMC settings. Had to eyeball it for this video.