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Honoring My Father is the story behind Keith Kadoyama attending the Lantern Floating Ceremony every year. The Lantern Floating Ceremony honors our loved ones who have passed away. Keith honors his father Mitsuo Kadoyama, and he tells his story. Thanks to my good friend Keith for doing this. I conceived of the idea when I saw the announcement just 2 days before, and I'm glad he was up for the challenge. I shot all of this myself, so it was a lot of hard work! Shot on a Panasonic GH4, 4K with Panasonic LUMIX 12-35mm X lens and SLR Magic Anamorphot and Tiffen Vari-ND Filter GH4 shot with CinelikeD Contrast -2, Sharpness -5, Noise Reduction -5, Saturation 0, Hue 0 Master Pedestal +15, Highlight -4, Shadow +3, 0-255 F2.8, 1/50 sec, ISO 200 w Vari-ND, ISO 800 without Interview Audio: Rode NTG-2 shotgun mic with Rode Blimp on a Tascam DR-60D Music by Escape Club - "I'll Be There"

The Contax Zeiss Distagon 'Hollywood' 28mm F2.0 is a classic fast wide for full frame and is incredible on Super 35mm as well. Wide open it's one of the sharpest F2.0 wide angle lenses available and it has very little distortion. The Contax Zeiss version fetches $800 on eBay but there's a $60 wolf in sheep's clothing called the Pentax PK 28mm F2.0 which has a fascinating story behind it. [url=http://www.eoshd.com/content/10730/60-pentax-thats-actually-a-800-zeiss-with-optics-by-designer-of-stanley-kubricks-nasa-glass]Read the full article here[/url]

An excellently written and very helpful guide. I will refer to it often!

Daniel Peters has done a great job, and I'm sure he would using any camera. I think the lack of IBIS adds something, depends on your personal taste. I'd love a Digital Bolex, just because I find its features unique and I love the image it is capable of for the price. The "flawless tonality" doesn't come with the camera, it's the user! If you know what you are doing, some cameras just make a life a bit easier. I'll stop saying obvious stuff now :) I'll be buying the GH4 as I've had a lot of success with the GH3, and it suits my style and needs perfectly. When I need more power behind the wheel, I just hire another camera.

Agreed. Check this out:

To be honest, nothing could save Salt from sucking, the story, the stunts, the acting and the lighting ( in this scene especially ) were really bland, but the smooth editing at least doesn't leave you confused. In Dark Knight, for example, the shot from above where we see police column encounter a burning blockade, that was a very poor establishing shot...first, we very briefly see something burning as it enters the shot, but its not clear enough....then, for almost an eternity we see the cop's reaction to it....so he is already reacting to something we haven't had a chance to process yet......and only then, briefly, in the next shot do we get a closer look at what he was looking at...but by then we have to mentally re-edit in context to understand the cop's reaction...that is annoying because it takes you out of the movie when you should be IN IT. One movie I think that had the right to be confusing and nauseating was Gaspar Noe's "Irreversible"...it was part of the point of the film, and was effective. In fact, Nolan himself did it even better in Memento with reversing the chronology...but Memento was still a masterpiece of precision...in every scene individually you were always extremely spatially aware...for example, there was a repetition of an establishing shot of Teddy's murder scene in BW and Color..Nolan was extremely careful to orient us properly. I think he was probably not very confident in directing action ( it is one of those things that you either got, or you don't, no matter how great of a storyteller you are otherwise ), hence the lack of precision in that Dark Knight action scene. Take a look at James Cameron directing a very similar but much better truck-chase-in-a-tunnel scene in T2 and see how amazingly clear the cuts are, this lets us as an audience to feel the action without having to think "Wtf is going on". Every damn shot here picks up the motion from the previous one and passes it on smoothly into the next one. Beautiful.

I'll be brutally honest here, I started watching this critique and stopped when I realized it was "The Dark Night". This is like having Werner Herzog talk about Tansformers 3. If you want to see a movie that uses the long take to full effect, check out Abbas Kiarostami's "Certified Copy", or his newer "Like Someone in Love".

I'd like to see her blending with dinosaurs!

Just resize to 50% on the 1080p timeline and you're done.

There seems to be various pissing matches concerning specs of this camera and that. At the end of the day, does it produce an image you like and how useable it is? I'm in prep for a movie I start in a few weeks. Intended for theatrical release we need IQ that'll hold up to the big screen. So we tested F55 vs Dragon vs Alexa. The tests were precise and extensive: ISO, over / under exposure, all with people and Macbeth Color Charts. Because of the tight schedule, I wanted the smaller cameras (f55 and Dragon) to be as good or better than the Arri. So we graded and projected the results at a full on commercial grade suite with a 15' screen. The producer and director immediately felt the Arri was a hands down the better image. They couldn't quantify it. Being a tech, for me and the colorist, it all came down to flesh tones and color grade across the entire exposure range. When we wrestled with the F55 to get a rich honest flesh tone, the color chart was completely off (read: extra time in post keying and windowing that no one wants to pay for). The Epic came close, having quietest noise at all ISO's, but it too had some flesh tone issues as well as color aberrations in clipped areas. Worth noting, we shot the Alexa at 444 Pro Rez, not Arri Raw. How does it retain its amazing colors? Trading pixels for color space, instead of spreading your butter too thin. Why do I bring this up? Because much of the conversations here obsess about pixel count, DR and other specs but few mention how well it grades the human face and how the grade effects your back ground colors. When I compare cameras, it's the first thing I look at (and what audience's pay the most attention to). The F55 despite it's stellar specs is dead to me as a feature film camera. We don't make movies for techs. So I'm holding my judgement on the GH4 until I see some footage, not of rocks, bridges and buildings at night, cars, aggressive music video LUT's but just attempts to shoot faces, graded as naturally as can be. This is what attracted me to the BMC line up. I felt the colors were honest, requiring little work out of the box. I believe this is much of the success of the C300/500 line (see Hurlbut tests) despite being 8 bit and clippy on the high end. The F55 held highlights 6 stops over key. Insane DR. But specs do not a great image make. We also tested Scheider Xenars vs Cooke S4's vs Super Speeds. The sharpest of the bunch, the Schneiders were the F55 of lenses. Soulless paperweights.

Solution is simple: buy a cheap Canon EOS focal reducer, a Sigma 18-35mm with Nikon mount and a Nikon F to Canon EOS adapter with aperture control. Voila.

There is no electronic m4/3 speedbooster yet. All of the boosters currently available are "dumb", in that there is nothing electronic going on. However, the Metabones (and possibly now some of the off-brands, not sure) DO have a clickless aperture control ring built in. This is possible because Nikon lenses use a little lever to communicate aperture position to the body. The Metabones interfaces with this lever and gives control of it via a ring on the adapter. Your most-compatible option is to get a Nikon-mount lens, the Metabones speedbooster for use on the GH4, and a simple Nikon G-EF adapter ring (many are available with the same type of aperture ring as the Metabones) for use on your friend's Canons. You will have on-lens control of aperture on both systems, but no autofocus on either. Going with an EF mount lens will give you AF and in-cam control of aperture on the Canons, but no aperture control on the GH4- you would have to remove the lens, put it in a Canon body, turn the body on, change the aperture, hold the DOF Preview button down while turning off the body, remove the lens, and re-mount it to the GH4... every time you need to change aperture.