Was asked to film with Sean of strangerskateboards.us while he was in Tokyo for his new drop. We did everything on the fly pretty quickly, but it was a lot of fun to do. We filmed in Shibuya for a few hours and I came back another day to do some pick-up shots. I used the same setup as this video with a few changes. It was super easy to just go out and shoot with such a compact setup, but I want to improve it more.
It’s always fun to have actual content to make. Sometimes just having the gear isn’t enough. Hope to get my rigs into a studio situation soon for some more commercial and promo work!
4K UHD 60fps 4K, CINE-D
Converted to 24fps
Voightlander 40mm f/1.4 Leica M mount
Pentax 85mm f/1.8 M42 mount
Blue Kowa 16-H 2X Anamorphic Lens
Filmed in Shibuya, Tokyo.
Music is: While I’m Away by Equalibrum
I had been wanting an iPad Pro since the first generation, but I couldn’t really justify it. I have been using a Surface 3 for my daily basic computing and simple creative work. It played back stuff from my GH5 no problem. But when I saw the new basic iPad was editing GH5 video, I was very interested.
The new iPad Pros were announced and I waited until I sold a few things to order one. So far, I am VERY impressed. Other capabilities aside, the fact that it handles my GH5 footage so flawlessly and QUICKLY made it an instant winner for me. (It also handles 6K and 400Mbit Anamorphic like it’s no big deal. More tests with those later.) It takes a bit of time getting use to the limitations of LumaFusion if you are use to endless option editors from Adobe and Blackmagic. The first issue I saw is that I couldn’t desqueeze in preview. I think I’ll try to do a comparison of video quality from the raw video and a set pre-compressed in the DeSqueeze app (another app I highly recommend).
Once you copy your videos to the iPad or import them from wherever, you can view and trim them instantly. Scrubbing is instant and in full quality. You can do this in the window or full screen on the iPad. Then you can color tag the clips and start dragging them on your timeline. Once on the timeline, you can then edit the video in any way you want. My timeline was already set for 2.76:1 Ultra Panavision. Set your clip to Stretch in Fit Mode and you’re good to go. You can then copy this attribute and paste it to the other clips as you work on them. I do wish there was a way to select all the clips, though. The only issue I have found is that you can’t copy speed settings. You have to do that to each clip individually. But it handled 59.97 fps to 24 fps perfectly.
After that, you edit your clips on the timeline to your liking. Then comes one of the amazing parts… One you’re ready, select a clip again and then go to the Color & Effects tab… you can then instantly see a preview of any LUTs you have imported. Like, you can just touch any one, see it and play the clip back in real time. if you have 50 LUTs you can see how they on your clip instantly. After you have your LUT selected you can then tweak the clip’s color to your liking.
I went out to Ginza last weekend just to film a few clips to test this with. It’s the first video I shot with my new Blue Kowa 16-H, which will be my main lens from now on most likely. It worked very well with the Voightlander 40mm 1.4 (Leica M mount) that I have been using a lot lately. It’s so crazy to be editing video from a DSLR anamorphic rig on an iPad, but I don’t think this will be my last.
The limitations are something you have to work around. To get the film effect on the intro and end, I rendered out the video clips and then put them through an 8mm camera app. You only get 3 layers to work with, so you have to do as much as you can with one layer. The only thing I didn’t do on the iPad were my logo and the end card. I imported those to Affinity Photo and edited them to fit the video and end credits. I still want to see how far I can push what can be done on the iPad. I think next I need to find some good animation apps and really try to take it to another level.
I think the more I get use to workflow workarounds the more I can use the iPad to speed up projects and work on the go. That’s the plan. Most of that video was edited on the train from Yokohama to Tokyo. I am also finally getting my illustrations cleaned up and finished on the iPad. I need to move forward with those co I can start more. Music too? Yeah, hopefully. I’m excited. The iPad won’t be my only portable machine, though. I have something else, kinda. But that’s for another day.
4K UHD 60fps 4K, CINE-D
Converted to 24fps
Voightlander 40mm f/1.4 Leica M mount
Blue Kowa 16-H 2X Anamorphic Lens
Filmed in Ginza, Tokyo.
Music is: Luster (Interlude) by Equalibrum
Finally getting around to filming some new videos. Hit a few snags with life but more content should be rolling in relatively quickly from here on out.
I emailed Valdas of Aivascope to see if he’d let me try out his new and improved Aivascope. The video I did of the first one did well (a lot of people seemed to use it or stills from it to sell them…) and I’m still a fan. I only sold mine because I needed something I could use for anything and more often at night.
Well, that’s where this new version comes in. It was purported be be much sharper and better at fast apertures than the old one. And as you can see in the video above, that is VERY true. It gave me a chance to try one of my new favorite lenses, the Voightlander 40mm f/1.4 Leica M mount lens.
This lens seems to work with just about any setup I throw at it. I have more videos coming with this lens and another baby I picked up, the Canon 50mm f/18 L39.
The whole video was shot at f/1.4 and around ISO 800 pretty much. There might be a few shots at ISO 400 or f/2.0. The area of Tokyo we were in was very bright and had lots of lights. The Aivascope handled everything, especially the closeups, very well. The only issues I had were some flare ghosting by the custom variable diopter I thew together and a few shots where I forgot to turn off digital stabilization. It’s not bad overall and I’m still happy with the video. It really shows what the Aivascope can do. It doesn’t flare like the old one, but you still get some nice ones in the right light. The only thing I’m not sure sure about is the “D” bokeh, but it could grow on me.
As for the variable diopter used in this video, I made it from the focusing diopter glass on a Bell & Howel 2X anamorphic. The anamorphic part is cracked, so I picked up the lens super cheap. I designed my first ever 3D parts, and with some sanding they fit in a Pixco helicoid perfectly. Bam, a super sharp variable diopter for small anamorphics. It works on anything and REALLY surprised me with it’s quality, especially compared to the Focuser 8. Any aperture, any focal length. It’s only kryptonite is bright lights, they ghost in the elements and I can’t find out if I can fix that. It works, sometimes. Others… it looks really cheap. But for the 85% of shots where it’s super good, it’s still worth it.
I have to return the Aivascope in a few weeks, but I’ll try to get a few more videos done with it. I was planning to do an iPhone video with it, but iOS 12 bricked my phone. I’ll get a replacement soon and give it a shot.
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!
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.
One thing that I learned since getting into anamorphic is that fast apertures and anamorphic adapters do not mix. Most adapters will rarely work faster than f/2.0, with a lot of them going around 2.8-4.0. The fastest full anamorphic lens ever made is the Panavision 50mm f/1.0. Well, I think my 17.5mm f/0.95 has it beat.
My anamorphic is an unbranded 1.33x from the 90’s. While it may look like something from the Century Optics line, it’s more similar to the Sony VCL-W169. I have modded it a bit and it now has a filter ring, and have cleaned the class inside and out. I personally think some of the shots I get from it are better than the Century Optics stuff I have seen online. But as of now I have only tested it against the SLR Magic Anamorphot. Against the anamorphot it has it’s minuses and pluses, one of the big positives is that mine is smaller and doesn’t really vignette at all with the Voightlander. At night you can’t even really tell there is any vignette at all, especially in 4K.
I had been wanting to shoot a real test with this combo for awhile. I had done some test shots comparing it to the SLR Magic (may post those later) and various other things, but I really wanted to wait until I could get it on a GH4 or GH5. Got tired of waiting and my friend Yumiko was free to help with shooting, so I figured I’d go ahead and do one.
I shot at mostly 200 and 400 ISO, with maybe one shot at 600. I had planned to shoot the whole thing at 60p, but I had some issues with flickering at a shutter speed of 100 at random times, but I think it depends on the lights (It was really odd and random) so I may do another one all at 60 fps later. The under-cranked video was done at shutter speed 2 and then sped up in post. I also experimented with interpolating the 30 fps video to 24 fps, which worked nicely.
Used a +0.50 diopter for most of the shots of Yumiko. I think I used a +1.0 one time and then a +3.0 for the flowers at the end. I used a variable ND filter for the under-cranked video.
I told her we’d only be an hour. I didn’t want to spend all night composing a few shots. I wanted to see what I could do run-and-gun and then evolve what I learn for projects later. The +0.5 diopter really is magic… It’s what makes most of these shots possible. But even with it’s razor-thin focus, shots without the diopters can be just as sharp after a few meters or infinity. My only regret is that I didn’t go the extra mile and set up the Beholder for this rig. I didn’t give it much thought at the start because I had orignally planned to shot 60fps and thought it wouldn’t be and issue. Walking with that rig wasn’t too bad either way.
Lastly, I tried Speedgrade for the first time. I am usually horrible at color correcting, but I think I’m finally getting somewhere in Speedgrade. I decided to try it out to help simplify my workflow and it worked very well. I’ll do a few practice videos this week and watch a few tutorials to see if I can improve even more.
I have been shooting a lot lately, but nothing really complete. Just really trying to master what I have, or at least figure out how to get the best out of it. Might have to change a few things to get where I really want to be. Stay tuned…
It’s been awhile since Mavis updated their app to take use of both of the iPhone 7 Plus’s cameras. I had a bit of time, so I went out to try filming some night shots with the iPhone anamorphic rig.
Some key differences and changes now are better PID settings on the Beholder for this rig, the ability to shut off the OIS, and the ability to lock things like shutter speed and ISO. I wasn’t trying for perfection for this shoot, as I wanted to see what ISOs worked on the iPhone. It’s not really known for clean nighttime video. I tried to remove some of the noise just to see how it looked, but it only worked on some shots. Looked horrible on others.
One of the best things about Mavis is the ability to shoot while in anamorphic mode. No guessing, as what you see on the monitor is what you’ll see on your timeline. And the ability to lock or set pretty much all parts of the camera settings make it one of the best camera apps I have ever used. It switches between the 2 cameras pretty well (it’s not instant, but I don’t mind) and was super easy to use, even with freezing hands in the night.
I decided to lock the white balance at Set 1 (2896k) to try to give a nice cool feel to the footage and to compliment the anamorphic flares. It worked well. Decided again not to color correct the footage so people could see how it looks right out of the app and phone. I am not sure if this affected the amount of grain in some shots, but I can always do another shoot later.
One of the big issues with the first shoot I did with the standard camera app were the distortions caused by the OIS. You can shut off the OIS in Mavis, which is fantastic. But you can tell which shots I turned it off in when I move too much. The Beholder does a great job keeping it steady for the most part, but it’s not perfect. It’s still a tiny rig. I did shoot a few shots with the OIS on, and some are not as obvious as others.
Overall it was a good test. It was my first time using the Mavis app and I really enjoyed it. Shooting at night on the iPhone is not ideal, but you can get some decent shots with the right settings.
I have fun shooting with this rig, but it does have it’s limitations. It’s not really a recommended setup for the average user. I just happen to already have what is needed to do it. I have a bit set aside for the new Moondog Labs anamorphic when it comes out, but I want to find a good stabilizer that will work with it. The smaller and more portable, the better.
But you know what I REALLY want? A basic, small stabilizer for my RX100 IV. Nobody makes one. You could seriously make one the size of the current iPhone and GoPro stabilizers. Somebody get on this.
Lastly, the music was done in the Launchpad iOS app. It’s a nice go-to for somewhat original free music when I have no time to look for something.
Wasn’t planning for this to be my first upload, but all my main projects are taking more time than I planned for various reasons.
I never get tired of city visuals in Japan.
This was mainly practice using the 1080p 120 fps feature on my Sony RX100IV. I wandered into main areas of Yokohama with the camera on my Beholder DS1 and just filmed whatever. It has no post stabilization and no additional time warping or remapping. Just re-interpolate the 120 fps to 24 fps and this is what you get. Aside some issues with color correcting (something I really need to practice more) I’m about 75% happy with how it came out.
Music was thrown together from something else I was working on rather quickly, so it’s not the best mix. No soundcloud until I make something I’m at LEAST 60% happy with.