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My latest short film!!! "The Quiet Escape." Shot on the Samsung NX1 with 35mm Nikon AIS f2 lens and Leica R 100mm lens - one shot. Used Filmconvert and Gorilla Grain to treat it in Davinci Resolve. Came out so nicely. THANK YOU EOSHD and Andrew Reid for this camera!! Minus 5 contrast Minus 3 saturation Minus 12 (all the way) sharpness Before Gamma DR existed. The olden days.

​here's the last script I wrote - it changed a little in the final version but still it's mostly this plus some adlibbing. About rolling shutter - yea - I wish I shot at 180 shutter but what can you do? Also shooting the footage I had no idea I was going to turn it later into a short film - I started it just for fun. - The Quiet Escape by Edward C David I do want to leave this city but I’m always half in or half out with it but I really want to leave it but then I don’t but I do then I don’t then of course I do when i’m here i want to be there but the truth is when I’m there in the country I don’t want to be here, the city it’s a drug to get off of its safer now this city, new york city but it’s more crowded and, noisier and very very expensive even a single subway ride costs way too much ten years ago I came here from college straight to here, no where else I didn’t like manhattan, I liked living in brooklyn more, cheaper and smaller and more like my suburbs where I grew up more peaceful - but maybe not as much now And of course it’s my fault and other young turds like me who gentrified areas like in williamsburg, brooklyn I remember before those luxury condos on the water there it was kind of dangerous or maybe i was just a young kid and scared of everything but it was more dangerous and cheaper i lived here and worked and worked and worked just to move forward financially, my art on hold I had a script I never made about a man walking through the city and all his thoughts mending, fluidllike the war forever fought in our heads But I didn’t finish the film and now I’m 33 years old I can’t remember that much the last 13 years at all really just having some low rez photos here I am now talking into my phone mic recorder out in the country with my wife and my dog and her family and I have time, finally, to do my art. And finally for the first time well I’m being a little bit dramatic but here I can see what a waste it all is to live in that city to fight to survive when you can just as the cliche goes, work to live or is it work to live? Unlike that city , I have time here and peace and nature, it’s not all candy land - i’ve been confronting my flaws and my pain all bottled deep down in this well - ten years of tartar and plaque in my head. but god I needed to do this. I hope I can remember it The precious luxury of all. Boredom. The luxury to be bored, jesus that’s where our lives have gone? or maybe it’s just me and this city virus in me. the constant stimulation makes you numb you tweet away as the world fades and burns I have so many good memories of New York because New York is such a romantic place, those lights at night. how could anyone not love that those walks thru the west village god it’s so charming Riding my bike on and on and on thru brooklyn god those nights are good but dry up the next day and with the trash out and that smell and the loud noises you start to realize you’re paying an incredible amount of money for a little plot of land you rent from some slumlord far away (not talking about my current landlord who I love, he’s awesome, seriously) I’m done self-sacrificing myself, thinking it’s making me a better artist. no, Great art only comes if your brain is clear and your neurons and heart are firing properly. I got this unique chance to get out of this shithole and I’m going to take it. but still gotta be near some city and those wackos are pretty lovable but I see less and less of them as those suits and young rich bastards move in, with their hands always on their phones posting photos of themselves with their friends when I think I know they go home at night and are really secretly sad, a lot like me. We humans spent a zillion years in nature. With low noise, not in a city with bus’s tire stretching or the sound of a police siren. My dog knows that. We lived in small communities, maybe tribes of 100 or so. Not six million strangers None of which are allowed really to care about each other because there isn’t time. Our heads would blow up. Getting smaller and quieter increases quality of life. I should put that on my fridge. I don’t want to wake up tomorrow, ten years later, in my little prison with my noise canceling headphones on. No, thank god for that little dog, he would never let me. DEDICATED TO MY WIFE LILY FRANCES HENDERSON

Ran across this article on Nikon Rumors. This process wouldn't work at all for narrative work (aside from exteriors, cutaways, and such) but if you have the patience and hard drive space for it, it produces some pretty fantastic results. Oh for the day that we don't have to devise crazy workarounds and hacks to receive image quality of this level. http://nikonrumors.com/2015/03/07/capturing-8k-video-with-the-nikon-d800-camera-quicklapse.aspx/#more-89496

Took the SLR Magic Anamorphic 2x out this afternoon. And shot a variety of compositions and taking lenses (35, 50, 85) with some friends who also happen to be terrific actresses. The top and bottom frames were shot on a GH4 with a Nikon AIS 35mm f/1.4 @ f/5.6 and the middle CU is with a Nikon AIS 50mm f/1.2 @ f/5.6. Will post video later.

Hi Ed, I really enjoyed your film. I love the voice over and the feel of the video. It kept me glued the whole time. If I may say one thing. Just my opinion, but I would have loved to have had more anonymity of which city you were talking about. Every time you said nyc it made me come out of the story a little bit. Other than that, I loved it!

I think it's great and I enjoyed watching it, but you already know that (that it's great). In fact I watched it a few times, and also a few videos of people you work with and I found that you really mastered the craft of editing because everytime I watch it to learn something about what you are doing I forget about it and get drawn to "the story". Maybe I'm just retarded... It would be nice to have a 4K download to avoid the compression artifacts messing up the grain.

​I totally agree, especially if you have a planed shot, or don't have an E-Mx camera. But it is important to keep in mind that even though IBIS is not replacement for professional equipment: ​Once you need to focus while you move, Nebula is next to useless. Once you have only a pocket to carry your camera, Nebula will be waiting at home for you. Once you need to shoot something now, well too late after all the time it takes to assemble and balance the Nebula.

​Same with me. As a big fan of Chris Marker, I love this thoughtful, streaming-consciousness-like poetry. I realize I understood ALL (in essence) just by getting tuned to the voice, almost music by itself (BTW: What was that music?). New Yorkers don't have a difficult dialect for foreigners to understand, they just speak (and think?) too fast. The same is said of Berliners, where Andrew lives. They also create the most new idioms. I particularly liked the editing. And how you treated sound(s).

It has a bit too much CA and smearing for my taste, reminds me of the Panasonic LA7200. But it's great to see some real world tests, thanks Zak.

noa, ​There are a few major issues with Robin Wong's test. First and foremost is that when he's taking the video of the camera with the E-M5 II and the E-M1, there are different focal points for both videos. With the E-M5 II, more of the camera is in focus than with the E-M1. More specifically, the back of the camera on the video taken with the E-M1 is substantially more out of focus than on the E-M5 II shot, making the whole image appear less sharp. There may be some small parts of the E-M1 shot that are in perfect focus, but generally, when you're doing a sharpness and fine detail comparison, you don't want so much of your shot to be out of focus. And, if you're comparing two cameras and you want to shoot this way, you have to be meticulous to a fault and make sure the focus is identical between the two. That's why you should generally be shooting further away (possibly at infinity focus). Another thing that you want to do is make sure that the subject you're shooting has sufficient fine detail to properly differentiate between two cameras. I don't believe he achieved that either. Regardless, I agree with Mr. Reid that the quality this camera produces is unacceptable by 2015 standards. And, to me, this would be true even if it were exactly on par with the E-M1. Olympus has played up the video quality so heavily, handed out free samples to numerous film makers so they could create their master works (and give them advertising in the process), and made numerous (superficial) spec upgrades to their cameras, all implying that this camera was a serious video tool. When you do that and you get peoples' hopes up that this is going to be competitive with Panasonic, you had better deliver the goods IMO. So, I don't think his response was unexpected. It was the exact same response I had, and I didn't even have reason to believe that it was worse than the E-M1 (or that the crop was increased), since I don't own any OM-D. And, another thing, having 77MBps and all-I (and time code), etc. is all code for many of us that a certain kind of video quality is going to be delivered. There has simply never been a camera with this type of bitrate, all-I, and this much hype that has had such poor video quality. Panasonic, Sony, Samsung, etc. would never release a camera with this bitrate, with this type of low compression, and this much hype, and not deliver the goods. It's a complete blunder on their part IMO. Finally, I believe Andrew has stated that he couldn't eliminate the crop when turning off the stabilizer (and that the crop was substantially greater than the prior model). And, anyway, turning off the stabilizer would completely negate the major benefit of this camera (possibly the only benefit). I'm pretty sure in past Olympus cameras, turning off the stabilizer eliminated the crop. For reference, I believe this camera has two stabilization modes. Mode 1 is IBIS + digital, which needs to have a crop. Mode 2 is IBIS only (I believe), which doesn't need a crop. I don't know if it's cropped anyway because I haven't tried the camera. And then, obviously, you can turn off all stabilization, which also doesn't need a crop. I would imagine that if the crop is on all the time, even without digital stabilization, this could probably be remedied by a firmware upgrade.

Well, I'd still suggest a D5300 - the articulated LCD is useful! How much more would it be for you?

Shoot was conducted with three Nikon AIS taking lenses: 35mm f/1.4, 50mm f/1.2 & 85mm f/2. There are a few close-ups in there where I used their new +1.8 diopter too.

Hi Aaron, I think you will get approximately one hour per 128gb in XAVC-I.

Thank you so much for this Andrew - what an amazing write up you did. Yes the small technology can empower all of us to tell stories and bring so much -to not worry about costs - just to worry about creating and telling as good of a film as we can. What an exciting time we live in!!!

I think that the nx1 has currently the most powerful hw in a camera. It could do all this and much more, if programmed well. I can only try to imagine what it could happen if the guys of magic lantern had access to the source code... Imo it could do 6.5k at 24fps.

The sign of a good film is watching the film and not noticing any technical details- following the story, which I did- nice job! I feel ya regarding living in a big city vs. the country where I grew up (on 2 acres in San Diego). I moved to LA (Beverly Hills) in 2006 to work for Myspace. I avoided the #1 traffic in the USA by walking to work. After Myspace I've been fortunate to be able to do mostly remote contract work to avoid the traffic. Once when working in Santa Monica it took over 3 hours to go 11 miles to get home. I could have walked faster. Trying to go East from Santa Monica after 2pm is challenging (the 'secret shortcut' is jammed too). Big cities have their plusses, but after a while it's time to get out, at least most of the time (sometimes work/family/friends bring us back). I kinda understood why some people from big cities moved to small towns/country, now I fully understand. Fellowship and connection to friends/family is the most important thing in life, not money or things. After many years in tech and the arts my next business is related to organic foods and spending more time with nature.

​Modern Televisions have such poor contrast ratios and such heightened highlights and milky blacks and weird motion cadence that I rather have my stuff seen on an ipad or iphone or the web than ever on TV. I watched Better Call Saul on my macbook pro - first 3 episodes then ep 4 on a samsung 30' hdtv and man the little 15' display looks so much better. I have lost my faith in most HDTV displays. It's sad. The contrast and motion on tube tvs used to be quite wonderful and organic. Thank goodness for Apple making good looking computer and phone displays the norm. Kind of sad of all companies Sony that help pioneer digital cinema cameras makes such poor HDTV displays with soap opera frame doubling the norm setting. How many TVs have I fixed?

​I do big commercials. I'm on one right now. I also have an Emmy and just was in American Cinematographer. And brand loyalty is a big thing. We mostly use Arri HMI lights. Joker sometimes but Arri because we know Arri makes a damn fine light with the M90 or M18 - Joker 1600s never took off. I use the best camera for the job - but I have to have long talks with the producer sometimes about that. For instance, I just did a Lincoln commercial in Dubai and we shot on the Sony F55 - not the Arri Alexa or Red Epic Dragon. Why? - Got that question so many times. Alexa was too heavy - it was 16 hr steadicam days in the 110 degree weather - and Red Dragon - not good in heat - but I got slack - because Alexa and Red have better names. I also shoot dog videos on smaller cameras. I own the NX1 and the Sony A7S - and I work with film and own 2 f35s and red one mx and use alexas and red dragons and arri 416 and 435 on jobs - and there is so much goodness to come from using a small lightweight camera. So much wonder and beauty from using these little guys - it reopens wonder and ease and has improved my color grading knowledge so much. It's such a pleasure to have a lightweight camera where it is fun again, where it's not physically exhausting to reframe. So there is a differing opinion from me. Traditional DPs are now dealing with the new era, where young upstarts like me can rise up without being a loader, 2nd, 1st, , cam op, then DP. Or electric, best, gaffer then DP. I became a DP in just about five years. I was an assistant editor for 5 years going down the editing path and I switched because I was already shooting docs. And there is nothing wrong with that. My sense of lighting took longer to develop but my sense of the emotional space was more developed. Getting smaller moments. There is no right way to be a DP. Because I am so unconventional, I bring a childlike wonder to filmmaking. I bring a different perspective and wonderment to how I work - more innocence, more in the moment. There is no one right path. Older established DPs I have nothing but respect. Maryse Alberti, Gordon Willis, Raul Coutard, Jordan Cronenweth, Storro, Michael Chapman, Conrad Hall, Lance Accord, Nestor, Wexler - nothing but respect. Also the DP of IDA - the most beautiful film I saw in the past 4 years, was a cam operator - first time DP. The director said he was so good because he had no ego. So next time you watch an unlit video of a dog - think about how much fun the DP was having. How casual it was, and how beautiful that can be.

​My vote is for Olivia Glass.... Although DSO worked for me.... Bob

Few days ago I saw this video on Richard's Vimeo channel and I must say that this FF58 Quasi 1.5 ultra low contrast looks beautiful on A7S. The image has enough detail but still has that very soft and organic feel. The other great thing is that this is a rare occasion when even if the image looks almost washed out, to me it feels great just like it is and I wouldn't change it much in post. Great job Richard is all I can say, both filming and enginering.