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!
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!