Leaderboard

I posted about the work Im doing on the firmware side of the nx1 a few pages back, but it was/still is hidden for some reason. **no longer hidden on page 11 at the bottom. Much more detail about what I have found on the camera.** To sum it up, I have been working on this the better part of 6 months, didnt know anyone else was interested until I found this thread a bit over a week ago and posted my findings. Im at a point of comparing the changes in the firmware versions to see how the code is written. I have uncovered the bootloader, the file format and language used for their custom control files for tizen, info on lut, rgb 888, sd card bus speed(its quite low should be ush1 u3 but its not set close to the speed stated in the sd association docs) and a few more things. My goal is similar to what the guy said on the gh2 hack. I had a hacked 144mbs gh2 I used for 5 years until moisture killed it a few months ago. The tech inside the nx1 should be capeable of pushing the hevc and the sensor to the limit, even if it shortens the life by 4-5 years its still cheaper than a red by a magnitude. Ideal goals for me are raw/compressed raw output, see if cdng or another compressed raw format would work. As red raw is just their version of jpeg2000 modded for cine work. There is not a deadline I have set to finish this, as this is just one of many projects I have on the go but comparing it to other cameras its quite promising.

I just sold my A7rii today. After having it for a few months I had nothing but huge headaches. I did many test with a 4k video devices recorder. Besides the worst rolling shutter I've ever seen no one seems to be talking about the horrible judder when panning. At first I thought it was just I'm shooting in 24p and viewing on a computer monitor at 60hrz. But further test in every setting, shutter speed and frame rate seem to have far more than every other camera I've shot with. Another problem is in 60p and 24p 1080 the noise level is bad. I also kept getting bad moire and aliasing in full frame 4k and 1080p especially in the highlights. Granted as a small compact photo camera it's frickin pretty awesome. But for video the image only looks good in crop mode 4k and as soon as it moves or things in it moves it falls apart. I barely took it on a shoot because of how much testing I had to figure out before I felt comfortable with all its down sides. And is not worth it. I went back to my Nikon D750 with a external recorder for now until I decided what to get next, but even though the 1080p image is softer everything else is far better. Rolling shutter very little. Noise level very clean upto 6400. Slow motion just as good as the 24p and very smooth. Color science far better. Dynamic range little less. Post with it is super easy. It's a shame this camera has gotten no attention, but it such a reliable camera its what we wanted out of the 5D Mk iii but quickly forgot about with all the 4k cameras that just keep adding more new problems, headaches, time and money all for the sake to say its 4k.

I joined EOSHD to let you guys know that I've been watching this thread, and will support ($100 on faith) a functional firmware improvement that includes some mix of RAW video and higher frame rates. I'd love to see low light video boost (and would donate more to that end) but won't hold my breath.

http://www.xdcam-user.com/2014/03/understanding-sonys-slog3-it-isnt-really-noisy/

I both would and do, most recently, I spent £100 extra on my A6300 preorder to order from a company I trust ethically

For anyone who has not seen the effect for themselves - doubling the bit-rate will blow you away. The Panasonic GH2 had even more issues with the image quality than the NX1 does, and with the 150mbps hack the difference is HUGE. EVERYTHING is better and all the problems of mush in the image and macro-blocking and colors breaking up all just vanished. Really the only reason I don't use my GH2's as 'A' cameras is because their older design has less dynamic range...maybe 9-stops. 9.5 if your exposure is absolutely perfect. If we were to double the bit-rate on the NX1 even the Noise Reduction and Sharpening would be FAR less of a problem because they would both be working with so much more image data.

New to the forum, but I have been working on the opening of the firmware for quite a few months. The second I heard about this camera coming from a modded gh2 I knew things were going to be fun. I had plans to release what I found after having a stable custom build. Good news after reading this thread as I seem to have quite a bit more discovered than most. -bootloader -3d lut info -rgb888 info And quite a few more things that make this an ideal camera to mod. In the interview they basically implied they either had asics or fpgas built along side the arm cores. "DE: When we were talking previously, you said that the architecture of DRIMe V is very different than DRIMe IV. What sorts of changes are made between them? JK: The biggest change is the structure of the Image Signal Processor. The DRIMe V ISP is very different. Most ISPs have key parts of the processing hardwired to get the needed speed. What's really new with the DRIMe V is that the "hardwiring" can be reconfigured. DE: That sounds very significant, although I have to admit I don't know how common it is that ISPs are actually hardwired. JK: There's not much variability in them. Sometimes you'll get thresholding changes and small numeric variables, but the image path is usually very locked down... DE: It's pretty much, a fixed pipeline. JK: With a few tuning pieces, yeah. DE: Whereas this is more configurable. JK: Yes. DE: And it's configurable not at the level of changing a firmware program, but you're actually changing the hardwiring. There are switches you can use to change the configuration of the functional units? JK: Yeah, basically. And Samsung's software people are all over it; they're pretty sharp and I believe that we're really going to be able to tap fully into the DRIMe V's capabilities for the NX1. DE: So even though it's hardwired, some of the connectivity is programmable through the firmware, so we can actually look for continued "firmware" development that would continue to improve performance, including the parts that are implemented in hardware. JK: Yes. DE: So there may be significant improvements in the near future. That's pretty interesting, because it sounds like it's already starting out pretty capable. JK: And not just image quality, there's a lot going on in terms of programmability, like we talked about Samsung Auto-Shot mode before. Here's the UI for it." TLDR: fpga or cpld or asic that can be reconfigd. Now a few years ago samsung released info about adding fpgas into asics http://www.eetimes.com/document.asp?doc_id=1200317 And have teamed up with Lattice on a few projects http://www.oregonlive.com/silicon-forest/index.ssf/2014/04/which_oregon_company_has_a_chi.html The back end camera control files seem to be written in .cpp so diving deep into the firmware to do a comparison of hex/string/hash changes and tracking the changes across the updates is what I am doing right now. And seeing which values can be modded. Recompiling is a different story but what it seems to be is that building a smiliar man in the middle to what magic lantern would be possible. Have a gui that would simialr to ptools in camera using the web browser capabilities. Now this is not my full time work so Ive been progressing slowly as I have many projects on the go. This is also coming from someone who doesnt yet have an nx1. Doing the proof of concept and running the fw in a vm to emulate the possible bricking before things are bought. I am also tracking similarities to the nx500 to see what things are possible in that camera. Nice b camera which should be able to compete with a shortening of its life but at the cost 10x performance is worth the lifespan limit imo.

I have my eye on what Richard Gale is developing. And I believe his sensor technology is sourced from the same that's found in Blackmagic's Cinema and Pocket cameras. http://www.richardgaleoptics.uk/forbes70-large-format/

I use the Sony A7RII (as well as the Panasonic GH4) at work every week. Fact: My personal Canon C100 eats it for breakfast when it comes to motion cadence, rolling shutter, color science and overall cinematic quality. The 4K cameras might be sharper, but only by a little, and at the end of the day, resolution is the spec that matters to me least. All the fancy tech and high-power processing in the world doesn't matter if the image isn't pleased. And I mean pleasing right out of the camera, not pleasing after several hours in DaVinci resolve wrestling with SLog. Super flat profiles work great for RAW or 10 or 12-bit RGB video. For 8-bit compressed codecs, it's generally better to have a strong REC.709 image right off the bat. Also, the A7RII overheats after about 10 minutes of recording. Not great for interviews or long takes. The sad thing is, once upon a time, Sony had a magical camera called the F35, which had more mojo than anything this side of the Arri Alexa. And as much as people love to chalk it up to the CCD sensor, much of that same silky cinematic quality trickled down to the CMOS-carrying Sony F3, which as other people have pointed out, continues to be a beast of a camera, especially at the low, low prices that it now sells for. But somewhere along the way, Sony switched directions and decided to go for brute-force processing power and crazy specs, rather than real cinematic image quality. And as a result, while they have gained tremendous ground at the consumer and prosumer levels, they have ceded the high-end to Arri and Red. I have a lot of friends in rental houses and they clue me in as to what is going out most often: 1. Most people hire Alexas. 2. Can't afford Arri? Go for a Red. 3. Can't afford Red, but still need 4K? Sony, it is. 4. Don't need 4K? Have a Canon C300.

Had to pay $1600 for it (twice as much as the body only retail), but it included a few lenses and a filter so its ok

A Nikon D750 could outperform an Alexa but it's still limited by the Nikon lens mount and focus direction. A nikon dslr has about 1/10th of the optics selection that the 5dmk3 has at its disposal and around 1/100th of the selection that the a7rii has. Go to a almost any video rental house and there aint no Nikons to be seen - all because of the lens mount! I'd take the ability to run any cinema or stills lenses (and I mean any lens) on the a7rii in exchange for the quirks and more often the learning curve faced by most who jumped on (and jumped off too quickly) the a7 bandwagon without taking the care to learn how to get the best from it.

Ad payouts are pretty much all these early rushed out shitty reviews are done for.

I've had a DS1 for a couple of months now and it's been very solid. Any problems I've had have been from me trying to cut corners on pre-balancing it. As long as I properly balance it, everything is fine. The only other issues I've had are from not knowing what is happening with it due to the manual not being clear. So, here's some tips on the DS1: * It starts up in follow mode. * One button press and you will hear a tone. Now it's in lock mode. (The manual is clear on these two modes). * Another quick press, gets you a tone and you're back in follow mode. * To go into half-follow mode requires a two second press. Confusingly, it doesn't give you a tone when you do this. * To add to the confusion, a five second button press completely disables the joystick. Also no tone. The manual doesn't mention this at all. I imagine that after improper balancing, this undocumented feature causes the most customer confusion. * Invert mode is easily accessed, just hold the DS1 upside down. You don't even have to turn it off! * They don't advertise the DS1 as water proof or resistant, but I've read some people think it is because the wiring is concealed under foam. WRONG! If you carefully look at the DS1 under sunlight you can see the copper wire windings in the motor housings through the gap between pieces. So don't believe the people tag think t may be water resistant. * I built a double handle rig for it with a couple 15mm rods, two handles and a mounting plate in the middle. That's about another $60 of hardware. It's great for holding the DS1 for longer periods. I'm happy with my DS1. I got it to work with my NX1, 16-50 S lens combo which is heavy. It does fine. The only problem is that the 16-50 S lens is so heavy that the NX1 has to sit back on the plate very far. This means your tilt range is very limited and that you won't be using any focal lengths longer than 16mm. That's obviously no fault of the DS1. Here's a couple sample shots where I attached the DS1 to a monopod and used it as a jib (not with the 16-50 S lens):

And that is certainly a decision you have the right to make. One remains to be convinced that it justifies this thread in the context of this forum however. Just as an aside, one might wonder whether you maintain the same degree of humanitarian concern for the workers and their families in (at least some of) the countries in which your equipment (not to mention your household goods and chattels more generally) was probably manufactured. It would be a more relevant exercise, in this context, to use your eloquence and writing skills to produce a "Guide to Lighting" for our friend Zach and others (including myself) who are new to the techniques and methods used by the more experienced.

So I returned the A7sii yesterday. Like with all Sonys, it first feels perfect. There is so much to like with them. Everything from the handling, features, build, specs etc. The A7sii is a joy to shoot, much improved DR, mind blowing lowlight and great IS for old glass. But.... still... when grading and viewing the finished image... its just not there yet. I hate being able to get the Slog-3 where I want it just to see it band. Or to be satisfied with the Slog-2 in general and then see what it does to skin. In short, its a super awesome and great camera, but its not for me. With that said I did a top 5 review.

It was written in the .cpp files showing the hz of the sd bus, this would be an incremental increase test that would just be raising it until it crashes or to the limit stated by the sd association. And if it changes depending on what type of file is being written to it. As well as tracking the sensor and chip heat out put to see if it is underclocked for a reason. Lots of fun. Not at the point yet, still tearing it down. The base tizen didnt seem to change much through the updates. It was the control files for the camera, written in c and a whole new ball game. I do about 15 hours of work into this a week, which isnt much considering but things are moving. If you wanted me to just make hello world appear it wouldnt really prove much, at least not in the way that this camera works. Have not got to that point yet, still diving into the code and doing a control file comparison, as the updates for the camera happened they state what they changed, and that is what the major key point of what Im doing is. Its one of the nexts steps though. I can update as I progress and post summaries of what I find. Just to find the rgb888 and lut info I had to look though about 15000 lines of code. Its tedious. But worth while for me in the end, so I will continue to dig and deconstruct. And update!

The a7rii doesnt have bad colour science. it's just different to canon and nikon, which are different to red which is different to arri, black magic, etc. subjective. There is nothing that careful rgb curves can't sort out. If specific colour is important it's probably best to learn how to set and use white balance bias, tweek profiles, and learn rgb curves rather than discard a superb imaging machine with such potential for glass. Glass is way more important than the camera. - being able to select from any type of lens is worth the effort of learning how to get the required results from a camera in my book. 'awful' motion is subjective but assuming you are getting unsatisfying motion and rolling shutter you're probably not rigging the camera properly. fitting a cage to add weight to the camera and learning how to shoot with it to avoid micro wobble is a very good way to remove rolling shutter - as is the ibis. perfect example of a piece of work by someone who got to grips with how to get the most from the a7rii. lots of hand held stuff.. no motion issues. lots of colours, no colour issues.

DJI have updated their consumer Phantom drone today, which will be priced at $1400. It contains some serious AI. Read the full article

DPStewart t I agree with you. Even 50k is too much money to lose to some hacker, film festival judge, or Amazon. As you say, at this time filmmakers (especially ones using their OWN money) have TO LOCK IT DOWN.

Definitely is. Thought about setting up something to test the white balance settings and send it to their engineers. I did a quick one the other day on a shoot. Daylight 5600k in daylight rendered faces as pale green, same on cloudy and shade. My daylight lamps were green and tungsten was blue at 3200k. I've spent a lot of money on lighting and the A7SII makes them look weird. I don't understand why this hasn't been reported and fixed? (Like with the FS5 issues?)

Wow..I was deadset on the a6300 as my b and c cam, but that g7. For £350 used, can pick up 2 and change for the price of an a6300 here.

I have the D3300, body only threehundredsomething. Awful, almost no way to control video parameters. But quite nice colors. Don't know about motion. Because, as I confessed, I have no eye for that. Had been a projectionist too long and find 12fps more pleasing than 48 ....

Yes. But with the D750 Nikon completely step up on maturing 1080p full frame. Before Andrew's review on it I would of never consider it back in early 2015.

It's flexible and good enough to get the job done. Go shoot something!

White balance is definitely faulty. Dreadful, in fact. How this gets past quality control, I will never know.

That can't be answered in general. I take it you're talking about the speed booster? In the end you have three future possibilities: - Stay with Micro43 > Speedbooster for M43 - Go with Sony APS-C > Speedbooster for E-Mount - Go with Sony Fullframe > Smart Adapter for E-Mount Seeing how you seem to be undecided about what to opt for in future, did you consider buying used to minimize losses when selling on?

If you dont like the grip, a cage is always a pretty nice way to ad both weight and functionallity. Remember there beeing a good one but cant remember the name of it.

Best thing I have ever done selling my Nikon D750 and prime lenses and getting the G7 with Metabones Speedbooster XL! Such a killer combo, thanks for the great review @Andrew Reid I'm new to videography this is my first video and stoked with the performance of this little cam

The channel is confirmed fake actually.

Havent seen anything that points to that.

try the Zeiss Distagon 35mm 2.8 C/Y that lens pops its so damn sharp - the 25mm 28mm and 35 are all stellar lenses insanly sharp - the 45mm pancake has a great character to it , its a slight bit softer than the distagons as its a Tessar formula , but it has a look to it I really like , the 50mm 85mm 100mm and 135mm Sonnars are superb very cinematic for actor close ups, these lenses have the exact same glass formaulas as the Zeiss Super Speed cine lenses

I think that channel is bullshit // 100% fake

Yeah, another example is the 200mbps app for android. In some cameras bitrate does wonders.

I'm sure that a product called the PlexiDrone is being released soon that has most of these features. You can also mount a camera the size of the LX100, RX100 IV and Sony A6300 with a pancake lens on this too. https://dreamqii.com It also smartly fits into a backpack - that's one of it's USP's.

I do a lot of aerial video and I don't find this P4 very interesting. Not that It's a bad product but on a video standpoint, it brings very little compared to the previous P3 Pro. Still does 4K30 at 60Mbps, similar ISO performance, no new log or Codec. In other words, the P3 Pro will soon be sold for half the price of the P4 with the same video performance. Same for the batteries, the DJI smart batteries are known to be pricy ($150 each) and I expect a drop on the P3 batteries as it happened with the P2 when the P3 came out. Overall it will compensate the few minutes of additional flight time of the P4. Then there is the 1080 / 120, but let's see how it performs. These high frame rate mode are usually very bad in term of moire and aliasing (eg GoPro 4). Last, the real deal for me is the dual IMU that may help to avoid the DJI's infamous "fly away". But again, I prefer to save money and throw $250 in a full parachute kit with automatic deployment such as the Mars Lite and Mayday board that will ensure better safety for any drone malfunction, not just IMU/compass/GPS. Overall, IMHO, I would say, buy a discounted P3 Pro with a bunch of batteries if you don't care about all the bell and whistle auto flight modes. You'll get the same IQ at a very competitive price. Shoot with my P3P

I agree with pretty much all of this especially turning off the NR. But then I just think... I got this camera for $2,200 CAD with the 16-50S lens almost a year ago. Sure when compared to a $3,000 USD body only FF camera doesn't win but it still competes quite well. I think my point is we should not nit pick the IQ of the NX1 too much but I am definitely all for turning off that annoying NR. With regards to bit rate does it make sense for samsung to handicap the bit rate in the NX1? I mean the NR makes sense because they want to give us the best picture straight from the card witch doesn't necessarily give you the best picture possible but if the bit rate is adjustable i would think samsung did some testing to determine the optimal bit rate. For that reason I am trying to focus on encouraging the addition of "new" features that samsung never developed and/or implemented or removing features like NR or time limit that were implemented for various reasons none of witch include any of our semi professional needs.

Very Insta-resting.

If I remember correctly from working with GH3 footage the banding was nowhere near as bad as on the Samsung NX1 of course Samsung fixed a lot of the shitty colour bleeding and terrible banding issues with the newest firmwares but the banding still persists, its there if you pay attention and you definitely will see it when you work with the files. I can apply the LOG profile from EOSHD to the NX1 footage with the proper settings in place, if I push colours too much I see banding, I have some GH4 footage I shot before I sold it duo to the low light performance being unsatisfying, I can push the colours quite extreme without seeing any form of banding, even in the 1080p footage. Obviously the NX1 has way better colour range than the GH4 with Cine-D and I sadly its almost a year and half since I sold the GH4 and back then we had no idea there was an actual LOG profile coming for it at all, not even the news about the beta LOG being worked at. Its pretty clear its the HEVC codec doing it, I have reproduced some of the nastiness of the HEVC by using clean high bit depth images with gradients applied and noise in sections to see what the codec does to it, indeed the codec does cause banding at 8bit output, it also smoothens out noise in low detailed areas, I further checked with a still picture shot at 1600 ISO with some fine grains, again I see the same the codec smoothens out the flat areas, in high detailed areas it leaves but every area that has no details the codec smooths out, the earlier versions of HEVC were terrible at detecting detailed areas its gotten better. I will just assume here the NX1 uses the earlier version of the HEVC codec because its clearly destroying details in out of focus dark areas were the codec is struggling to detect details. It gets worse when you lower the video bitrate as well of course the in-camera noise reduction in video does not help at all just makes the issue far worse than it should be. Its managable but if we can turn off noise reduction in video, that would be a life saver for all of us because many of us does not have the luxury of light to shoot one or two stops over. Some of us are forced to shot stops under, its either that or very high ISO and we all know what happens then...

Rectilux Core DNA: Extras to get by Ian Edward Weir I would highly recommend getting these extras to make the Core DNA ready for use. 1. M3/M4 Stainless Steel Nylon Head Grub Screw Plastic Brake Buffer Bolt Screws Hex This is so you don’t scratch up the coating of your anamorphic lens or housing. http://www.ebay.com/itm/281858121964?_trksid=p2057872.m2749.l2649&var=580836260280&ssPageName=STRK%3AMEBIDX%3AIT 2. 86mm UV filter to protect the front of the Core DNA glass. 3. Metal back cap for whatever size you end up using for your coupler if bigger then 75mm. 4. A custom coupler made from this lens hood fits perfectly. “FOTGA Screw Mount 67mm Standard Metal Lens Hood for Canon Nikon Pentax Sony Olympus” http://www.amazon.com/FOTGA-Screw-Standard-Pentax-Olympus/dp/B009GFY858 Then a step down ring or step up ring for whatever the size of your front anamorphic thread is. I’m doing 77mm because this is what most of my front clamps are. I’m making a custom 75mm to 77mm coupler for Kowa 1.5x and Kowa 1.75x. 5. 86mm Fixed Spacer Ring http://srb-photographic.co.uk/86mm-fixed-spacer-ring-5713-p.asp You want a uv filter to protect the glass but having it on you can’t completely go to infinity. Lucky, even with the uv filter on and not being able to turn the Core DNA to infinity, I’m sharp for over 100 feet. This spacer is for clearing the full range of the focus and using filters. 6. You want to get some 86mm or higher diopters. You need them if you want to get sharp and close.

The word filmic to me has only to do with the visual characteristics of film and film cameras. So colors, grain, DR, subject motion/shutter. Camera movement, audio, lights, composition, actors, etc, that try to look Holywood I file under cinematic.

OK folks - here's the complete product link list from the video. Lord have mercy - that is one tedious process. The dang sellers had better NEVER change those links or I'm crackin' skulls! Products discussed in my Video in the original post: "One size fits all" Cage - $149 Movcam BMPCC Cage - $323 Fotga Follow Focus - $170 Follow Focus Speed Crank - $13 Giottos Quick Release Adapter - $38 Offset Riser Clamp - $18 Cavision Matte Box - $99 Cavision Matte Box Rail Mount Clamp - $28 Cavision Matte Box Riser Bracket - $15 XT Power Battery - ~$60 (On today's date - Feb. 24th it's out of stock like I mentioned might happen) Fotasy Rods - $15 Fotasy Rod Connectors - $5 Neewer Handles - $30 Fotga Shoulder Pad - $15 Flashpoint Counter Weight - $30 Glide Gear Portable 4" Jib - $159 Davis & Sanford Bowl Mount Tripod - $159 Davis & Sanford "Airlift" Tripod (The taller one) - $149 Carry Cases - Stanley "FAT MAX" Tool Box - $35 online price. (Will almost always be only $25 if you can find them locally.)

i know you didn't ask me but iam also a sony shooter and i've found shooting at -1 magenta and +2 to orange makes the image very apealing and nice to work with.

Why does the Pocket & Micro footage look so much nicer? Simple, it has to be the S16 sized sensor! Personally, my favourite lens combo with the pocket is the Nikon 24mm f2.8 & Iscorama 54 (no speedbooster or lesser clone). Anyone thinking that S16 is a format or sensor size that isn't used, then you must be kidding yourself - its everywhere simply because it has that something... DSLRs & the introduction of FF for filming has created a snobbery towards S16, which is completely unfounded. I'd take S16 over FF any day of the week, it just has such a pleasing look to my eye - S35 is the standard (obviously).

I'm with you man. I'm loving the BMMCC footage way more than the Ursa 4.6K. A good analogy of how I feel: You're driving down a highway looking for an exit with a good place to eat. You pass 3 or 4 exits thinking you'll find something better soon. Suddenly you're at the edge of a town and realized you passed up the best option. You turn the car around and go back an exit to the best choice. For camera tech we've been chasing the perfect camera and I believe we've hit the point where it's passed "the sweet spot" and we're taking back a notch to find the best images. EDIT: Image quality is subjective, but I'm speaking for the people who want something similar to 16/35mm film. The classic look.

Looks good to me, but it's very slow. My workflow has been editready full rez to proress 422. From there I can do trims in streamclip and output 4k trims to Prores (for shots that will get reframed, tracked, stabilized, whatever) and 1080 for general editing. Prores in excellent for doing this sort of thing, there's just no visible generation loss that I have ever seen. Plus, the H265 files are so small, I keep them around, in case I want to run one out some other way.

Yeah, somehow the 1D C has got it down and got it down good. It might not compete well in the numbers game (well, maybe launch price, ey), but delivers you something that, and I hate myself for saying this, because it's stupid, just looks filmic. It's less robot... less clinical, less emotionless, less efficient, yet sooo efficient... it's more like a living creature that breathes, has soft skin, with some freckles perhaps and when you look the creature into its eyes, it's not pitch dark and empty, but there's something expressive, a spark, a flame. There's emotion. Confidence, richness. I don't like the camera one bit. I'm really all about mirrorless and practical things, lots of digital aids, love specwars and getting the latest and greatest. But I just have to admit... there's something about that 1D C... the footage I've seen that comes out of this is hard to touch and it makes it look so effortless. Maybe everything else there is just trying too hard...

You both have mega cool portraits! That's my only excuse and I'm sticking to it!

ask away, i'm happy to share. this is our first feature film to make a healthy profit and we're not even counting future revenue from the paramount release. believe it or not, it's a very good feeling to be able to pay residuals to your cast because the thing is actually making money. we've made enough to make two more movies this year. and we plan to make a small slate of movies following this model (quickly, before it changes yet again). working with a micro budget still enables us to pay our tiny cast and crew. but will also keep us profitable so we can do it again and again. we work within the parameters of genre movies so they can be sold as such, but the content is still personal and challenges us creatively.