Ed_David

I think the problem is that we trust people at the top and corporations, because they seem to have our best interests at heart. They run the world. They control the politicians. The media, the police, and advertising. They control me, and many I know. Many filmmakers. They pay our bills. They keep us alive. There are no national endowments for the arts. There are other jobs to do, but only commercial work provides enough to be able to take off for months in a year, if need be. So we all side with the corporations. Just as you guys side with the photographers making 50k a year. What I meant by the lighting/camera assistants in photography is that they are really the directors of photography - they control the lighting. They order the gear, they make the decisions. The photographer is more a director and a camera operator. He makes 50k, they make $600 a day. Compared to film, where the DP on a big commercial will make 4-5k a day. The union established this, and the rules on set. Meals after 5 hours. Overtime after 8 or 10 at time and a half, double time after 12. Turnaround time 12 hours. These are all rules to keep crews safe and for the longevitiy of people working in film. Photography doesn't have these standards. There is a reason for unions. Sure, some can be corrupt - all groups of people can be corrupt. Some good, some bad. But they started because worker's were getting abused. They didn't come out of nowhere cause people are greedy. I pay a lot to be in the union, because I know one day I'll break my back or get old and need it. Now in terms of my character, and my stances on things - I'm not perfect. I faulter. I change my mind. But I won't change my mind, on what Andrew said, workers need to be protected, especially if they don't speak English, which seems to be the case in B&H factory workers. Maybe that's not true. B&H already has that lawsuit of $5 million dollars in a settlement they paid out to workers. So I'm going to have a hunch that probably B&H is hiding something. Even though they do have incredible customer service and great people on the floor and everyone I know from there has been great. Especially my friends in the lighting department. Next up you guys are going to defend the horrible working conditions on Reverent because in the end, it made a great film! http://www.hollywoodreporter.com/news/how-leonardo-dicaprios-revenant-shoot-810290

You're right - I should be careful what I say about B&H Photo video, but it's okay for you guys to disregard several people's statements that made it in NYTimes because you don't trust the unions. But you trust B&H? You trust the big corporations? Like Walmart? They hate unions! Unions are the only reason I could make a decent living doing non-union work. Have you ever tried to work in the photo world without unions? How much does the photographer get paid - $50k a day, when his crew makes like, $600 a day?

I'm not an expert in union/company relationships or tactics, but you have a company that already settled a $5 million dollar lawsuit less than 10 years ago about unfair labor practices. That's a pretty large sum of money. And you have statements, probably under oath from it seems like 2-5 different people. And this is covered in the Times. They have a lot of fact checkers. They are used to investigative journalism. If the workers are lying, that is libel. B&H's professional reputation has been hurt by these articles. Yes, it's possible the worker's lied, but I just don't see why they would? I mean, how easy is it for these types of Latino laborers, especially those who don't speak English, to find work? I live in Bushwick - I see a bunch of homeless and poor Latino men everywhere - out of work. My gut puts me on the side of the worker, especially after reading a Village Voice article years ago linking a company named B&H to a medical scam in South Brooklyn, where they supposived supplied Russian medical helper to the elderly, but was later found out to not be true. Maybe that's a different B&H.

Well said, Henry, also just found out you are head of PR at the audio department, which I love there. So your opinion on civil and legal matters related to B&H is probably not as inclined to the data and official stance of the company, which is fine - all of this is probably private information as of now. I know how much companies hate unions as well. And how unions can play really dirty. But if the NYTimes and Al Jezera both run stories on it, I think there must be some validity to the claims. Plus that B&H in 2007 paid a $4.3 million dollar settlement to unfair wage page to Latino employees, again scales me towards believing the first-hand accounts of the workers and their lawyers. Also it's possible with your photos that yes it does look really clean - cleaner than the studio I work above - the clean up was done after complaints and hints of unionization. And lastly, I wonder, why is employees unionizing ever a bad thing? Except to the corporation? Well finally, seems like according to the NYTimes, there were two seperate instances of workers signing documentation in English they couldn't read that signed away their rights to medical care reembursement. NYTIMES Martin Hernandez was moving heavy boxes of merchandise at a Brooklyn warehouse belonging to the electronics superstore B&H Photo Video in late August, he said, when he felt a sudden stab of pain in his left leg. “I felt my knee crack, and I just couldn’t get up,” he said on Tuesday, through a Spanish-English interpreter. “The pain was so intense, I couldn’t feel my foot.” Mr. Hernandez, 48, said he had been taken by ambulance to the Brooklyn Hospital Center. He eventually learned he had a damaged ligament, and has not worked or received a paycheck since the injury. He said his meager savings were nearly exhausted. Or of these two employees given documents to sign in English that said B&H was not responsible for their on-site Health issue: Ms. Mazzocchi also dropped off a letter addressed to Mr. Schreiber and Mr. Goldstein, asking that they act on complaints that employees had been subject to discrimination because they are Hispanic, had been pressured by managers to sign English-language forms releasing the company from medical claims and had been forced to work long hours in warehouses where emergency exits were blocked and noxious dust appeared to cause rashes and nosebleeds. She said that if she and other lawyers did not receive a favorable reply by Oct. 20, they would file 180 separate claims with the E.E.O.C. Mahoma Lopez, a co-director of the Laundry Workers Center, an advocacy group that works mainly with low-income immigrant workers, said they had begun meeting last year with B&H warehouse employees. The center’s organizers held workshops in which they instructed workers about their legal rights, he said, and explained that they would have more strength working together than they would as individuals. Eventually, Mr. Lopez said, the center helped the warehouse employees contact the Steelworkers union. One of the workers who said he had wanted to be represented by United Steelworkers was Mario Baten, 29, who said he had worked for B&H for six years but had temporarily lost his job in 2010 after he collapsed at work. Mr. Baten, who said he had suffered for years from cancer, said through a Spanish-English interpreter he had awoken in a hospital and received documents that had been delivered to him by a B&H manager. “He sent papers in English that I had to sign,” he said. “I didn’t know what they were saying.” In the main B&H warehouse located in Brooklyn’s Navy Yard, the walls and ceilings are insulated with fiberglass that fills the air and flecks off onto the worker’s skin, causing rashes, respiration problems and daily nosebleeds, employees say. Inside a second warehouse, on Evergreen Avenue in Brooklyn, employees say they have worked amid asbestos-insulated tubing. “They would tell us to clean the tubes,” recalled maintenance worker Miguel Angel Muñoz Meneses, “but nobody wanted to touch them.” The men, many of whom are undocumented, testify of suffering from kidney stones, dizziness and fainting after being denied access to water or bathroom breaks. They say there is often a lack of basic safety equipment. “If we ask for gloves, they answer that they do not have gloves, because gloves are too expensive,” said Isaias Rojas, a B&H employee. One man reported he was badly cut while lifting boxes, and the managers refused to call an ambulance, instead advising him to simply wait until the bleeding stopped. Another said a manager threw hot water on him and slapped his face. Others report those who complain are fired or threatened with deportation. “They treat us as if we were animals,” Florencio Salgado said. “We are involved in this because we are tired of being abused.” For many of the men, the most egregious offense occurred on Sept. 5, 2014, when two tractor trailers parked adjacent to the Navy Yard warehouse burst into flames, sending clouds of black smoke into the shipping and receiving section as the workers were inside. Silverio Cano Alberto, who has worked for B&H for seven years, said he was on the second floor as the flames licked the outside of the warehouse. “There was smoke and yelling and no one, including the manager, paid any attention,” he said. “Finally, they told us we could leave, but we each had to pass through the metal detectors, which took about a half hour. When I got outside, the parking lot was filled with firemen and police. Imagine — if the fire had spread, we would never have all made it out.” Stephanie Luce, a professor of labor studies at the Murphy Institute at the City University of New York, said that, if verified, these allegations would constitute violations of the “highest level of basic rights.” were they verified? is there a civil suit pending? or was it settled privately? Florencio Salgado, 37. Salgado has been employed in the B&H warehouse for 10 years, working long hours to support his parents in Mexico. “They are exploiting us," he said. "They are 'juicing us' like a fruit. Once they take all the juice from us then we will be thrown away because we are going to be good for nothing.”Jonah Markowitz“These are very serious,” Luce said. “That's one of the main things that happening in places like Bangladesh, where there have been fires and buildings have collapsed, and workers can't escape.” B&H declined to comment on any of the specific allegations, including the handling of the 2014 fire.

And a good day to you, sir.

Since Mr. Jones brought it up - As a follow-up story to B&H Photo Video and Worker Abuses - they have unionized. And this is partly because of people like you and me: "The workers received additional support on Oct. 22, when a coalition of photography and video professionals launched an open letter to B&H management, calling on the company to end the hazardous working conditions and discriminatory practices. They also called on the company to negotiate a fair labor contract. Within a week more than 1,000 signatures from artists, journalists, gallerists, educators, students and photo technicians were obtained. “We welcome the workers at B&H to the USW and look forward to addressing their concerns with the company at the bargaining table,” said Shinn." http://www.usw.org/news/media-center/releases/2015/bh-photo-warehouse-employees-vote-to-join-usw-union This is an example of social media activism being successful. The employees now have collective bargaining powers. Hooray!

Uh yes I am. Little things represent bigger things. If one town is found to be corrupt with their police and justice system, what do we think about other towns? About our whole government? About the NSA, police force shooting unarmed black men and getting away with it, about the big banks ruining lives, about Enron, about Volkswagon, about Exxon mobile. Where does it all stop? Can we assume that this is just one small incident? An anonmoly? Is the film heavily edited? Aren't all films? I don't see much feedback upon this. It seems pretty thoroughly researched. It's a 10 hour film! Most docs are 2 hours. Was the Thin Blue Line, one of the great classics of docs, heavily edited? Yes. Did it not give the side of the law justice? No. Did it release a man from jail? Yes. How about Paradise Lost? Was that heavily edited? Yes. Did it not get the side of justices perspective? No. Again, if you make a film about Enron, you don't need to fill it with their talking points. You have your perspective that you believe is true - your theory, and you explore it. Back to the Murderer - our justice is based on innocent until proven guilty. Is there is a reasonable doubt, the accused should go free. This is what the film is about. Not whether or not they solved the case. And in my mind, and everyone's mind, there is many flaws in the prosecution's work. Why did the Sheriff know the license plate and car before they "found it" - why were they allowed to be on the site for 8 days? If they forced a wrongful confession of a 16 year old slow-intelligent boy, what else are they capable of. This film shows it to you, right in your face.

You can - I mean would you give it a cinematography oscar? It's news footage and the interviews are framed sloppily. And I mean that in a good way - who cares - the interviews are completely compelling. I didn't care at all that they shot a guy literally 1 ft from a bookshelf and everything was in focus. I am hooked to the series. Fuzzynormal - on this note, if you do a doc on Enron, should you make sure to give them complete equal time in your film? Would that help your analysis of them? Or a film on Snowden, should you get the full NSA perspective? Would that get you closer to the truth? Should doc films pretend they have no "angle" from the filmmakers? Is there ever an editorial or investigative story in journalism that has no angle?

Gravity was terrible. The first 15 minutes were mind-blowing, the rest was a train-wreck. George Clooney comes back as a Ghost to help keep Sandra Bullock alive? Is that a plotline out of a soap opera? I think the film was supposed to have a different cast, but took so long to make, it was compromised. Another film recently that was a complete mess was Joy. I think directors who pump out films too fast make stinkers. Innaurtu had Birdman, which is amazing, and David O has been pumping out beautiful films really frequently. I haven't seen Reverent, but the trailer puts me off. I don't know why - I'm not a fan of the look. Feels digital. Wish it was shot on film.

Making of a Murdered on netflix, is probably the best doc I have seen in the longest time. And just an example of incredible storytelling. Amazing editing, and for us on EOSHD, a great example of how it doesn't matter what the camera is, how crappy the lighting is, as long as you tell a super compelling story. Having the latest and greatest camera means nothing without putting hard, painstacking effort into ones story. Granted, I rather be caught dead than have to shoot again on the Olympus EMii or whatever that camera was called, but in the end, if it was for a doc like this, no one would say watching it, "oh boy, why was it so noisy in the shadows." Please watch this doc - it's amazing. The criminal justice system is broken in America. Oh I am speechless about it.

the price on the f65 will probably be down to 5 grand in 1 year so don't worry !

because I have 3 f35s total. Also I just bought a sony f65. Much more expensive and a different kind of beast. It is quite a beautiful camera. The motion and color are absolutely beautiful. But I am also tired of owning so much gear. I'm spending more time on gear and gear purchasing than actually learning how to light and compose. I think it is the lowest strength - 1. I think shipping to NZ is probably fairly afforable since it doesn't weigh much. NX1 is sale pening. Classic soft - is one of their classic filters. Really beautiful.

If anyone wants a Sony F35 or the Sony F3 at really good rates, I'm selling the stuff. email me please at ed.david@gmail.com Hello friends! Round 2 - Even more stuff for sale! I'm trying to raise dough to make my film and help Lily's film raise some dough and also help me get out of having way too much gear and my gear addiction. Also these are good rates so you can get started doing whatever you need to do. CAMERAS 2 x Sony F35 wiih IF interface box, top handle, PL mount. 444, 12 bit rgb, ccd - $6000 each 2 x Sony F3 with Nikon mount, 2 sxs cards, thunderbolt reader with 444 rgb upgrades - $1500 each Samsung NX1 with nikon mount- does 4k internally - $650 PL LENSES Sony older PL glass - cheapest PL glass to get 1. Sony SCL-P35T20 35mm 2.0 PL glass - $700 2. Sony SCL-P50T20 50mm 2.0 PL glass- $700 3. Sony SCL-P85T20 85mm 2.0 PL glass - $700 New Sony Cinealta 4k PL glass - basically an ultra prime mixed with a cooke s4 - creamy and sharp and natural. Heavy, but cheap as hell. Beautiful construction - smooth. 1. Sony Cinealta 4k 180mm t/2 lens - $1750 2. Sony Cinalta 4k 25mm t/2 lens - $1750 Still Lenses 3. Sony 28-70m - lens e mount - works with a7s for underwater housing kits - $200 4. Nikon Zoom-Nikkor 28-70mm F/2.8 AF-S D IF M/A ED Lens - $550 5. Nikon Nikkor 70-200 f/2.8 - $900 6, Tokina AT-X PRO 116 11-16 mm F/2.8 DX AF Lens For Nikon - $300 CAMERA Support Sachtler Video 18P Head and ENG 2 CF - $2500 Manfrotto 509HD Video Head w/ 545BK Tripod Legs, Mid-spreader & Bag - $750 Aluminum Tripod 150mm with Spreaders - $600 Manfrotto 529 Hi-Hat with 100mm bowl - $130 underwater housing for sony a7s - cam dive 140ft - works with 24-70mm sony lens (lens not included)!! $200- does not with with sony a7s ii AJA 3G HD-SDI MULTIPLEXER $300.00 AJA LUT box - $600 ARRI FF-2 Studio 15mm Follow Focus - $500 Marshall 7' HDSDI V-LCD-70XP-3GSDI - HD-SDI - $350 FILTERS Tiffen 4 X 4 Clasic Soft 1/2 - $50 Tiffen 4 X 4 GlimmerGlass - $50 Tiffen 4 X 4 Polarizer - $50 Tiffen 4 X 5.65 85B - $50 4 X 5.65 Black Magic 1/4 - $60 4 X 5.65 Black Pro-Mist - $115 4 X 5.65 Classic Soft 1/4 - $60 4 X 5.65 Smoque TM2 - $70 Revar Cine Rota-Tray 4x5.65/138mm Variable ND Kit with Circular Polarizer and 4x5.65 Linear Pol MC - $600 RECORDERS and monitors 1. Sound Devices PIX 240 with 2 drive caddies — Comes with 2 ssd cards. Sony l batt and charger. 2 p tap cables 1 USB 3 cable - $900 2. Atomos Samurai Recorder - Very light cosmetic wear screen is in great shape with only two hairline scratches that are pretty invisible unless really looking. Couldn't get them to show up in photo. Comes with a Sony l batt with charger p tap adapter, AC adapter, 3 mini sdi cables. 1 extra long thin sdi cable. 2 120 gb ssds in caddies. - $300 LIGHTING chimera birdcage later - $200 Litepanels 1x1 tungsten great cosmetic condition. With AC power and mounting plate for battery power. $200 2 x Lowel Rifa exchange 55 LC-55EX- $200 each rifa light 44 - (250watts) - $100 - Kino Flo 4ft. 4-Bank Lighting System w/ ballast - $650 Chimera Extra Small Video ProPlus - $200 GRIP 4 Matthews Hollywood 20" C+Stand with 20" Riser, Turtle Base, Grip Head & Arm - $160 each Combo Stand Ultra Low Boy - $200 each Combo Stand Low Boy - $200 each CASE 2. 8-hole hard case for pl glass - $300 RED accessories red dmsc skin tone highlight - OLPF - $120 red station red mini mag - $140 - never used, just opened. Thanks!

The Reverent's Comments on Vimeo: "Amazing job!" "Really good stuff" "This is amazing!" "This is so good!" "Alexandro does it again!" "What camera was this shot on?"

yes aces - i need to get to aces

The F35 looks the most natural, like it was shot on 35mm film. It pops - it gets the blue highlights in skintones right - it gets the motion right. It handles light like film handles light. But the Red One has a certain feel that is also quite beautiful - as you see in Mattias's test - there is something lovely about it. But, the f35 handles color as naturally as possible, so I would go for the F35 for most stuff. Unless well , if the director likes the red one look - and some days I like it better. Depends I guess on the project, but I wouldn't rule either out. I guess, for darker, sci-fi or horror type stuff, the Red One feels really good. For drama, narrative, historical, indie, etc, the F35 feels the best.

Pro gamut is nice - I use this. Didn't know they had this on the fs5 - that's awesome! just mess around with all of them and a color chart and in resolve, boom, see what is the nicest and quickest to make good skin tones.

I second with Mattias decision for a red one mx . I own two of them, and three sony f35 - about to put up a test - f35 vs f3 vs red one mx vs a7s ii The Red One MX, Ebrahim, has a pretty good sensor. I also think of it as 12 stops. But has really good resolution. It also has the best looking skintone out of the bat in daylight than, in my eyes, the Red Dragon sensor. I think Shane Hurlbut did a comparison of how each optical low-pass filter affects skintones. I haven't done tests to see, but I notice that the motion on the red one mx feels better than the Epic MX - also David Fincher agrees with me and Mattias, he said he prefers the look of the Red One MX over the Epic - on his interview for AC about girl with the dragon tattoo. I used the BM4k and wasn't a fan of its highlight roll off - the CION doesn't look that appealing to me. The Red ONE MX is a workhorse. Mine has been going for over 2 years now after going thru some long, intense shoots. In -20 F weather in north Alaska. Also it has less fan noise issues than the Red Epic. It's compression is pretty good - it's clean and sharp and has nice motion. Red Customer support is HORRIBLE! If you break anything, even a SSD reader, they won't do anything but charge you. And reduser - a lot of them including the President are really mean to people on their boards. So they are a mixed bag. I still want to do a red one mx vs alexa mini vs fs7 vs f55 vs ursa 4.6k test vs c300 ii test if I ever have time or money - maybe someone else can do it.

The Sony F3 with a samurai blade and battery weighs about 3.5 Kg. Really not that heavy at all. But yes, after one year, the prices come down now about 30-50%. And the camera has all the kinks out of it. It is fun to buy early, but it's even more fun just to borrow the camera from a camera house in exchange for a video . That's how I got the Sony FS7 when it first came out. And how I returned it right away when it first came out.

if you have 2 batteries up, then the red one mx is good for the whole day really. it's slightly annonying but not, because the thing will always be there, on. And it doesn't overheat like the red epic, dragon bla bla bla

Sit back a few years, then you get a camera that's usually 50% off the first price and has no more bugs. You can leap frog from older camera to older camera. You can right now use the Sony F3 and own it for $4k or so used, and then when you are ready, switch to a F5 or F55 or FS7 when it comes down in price. With the savings, invest in lighting, glass, and tripod, and camera movement. Find your niche - are you good at lighting? Composition? Movement. Invest in that. The Red One MX still has probably 90% of what you need vs a Red Dragon or Weapon or bla bla bla. Do tests. Sorry Andrew about the FS5 issues. But you get what you pay for.

the red one if you kit it out pretty small - just the camera, 15mm rod system, variable nds, and 2 batteries on a 15mm brick back will weigh about 7 KG. it's heavy but not the end of the world if you have an easy rig. It's really quite managable. The reason a lot of these cameras aren't smaller are probably heat issues, however the Alexa Mini, even though I haven't used it yet, probably doesn't overheat, so I guess it's a matter of time for more smaller and powerful cameras. But I think for now, the Alexa Mini is what you want, just for a lot cheaper. So wait five years

hell yea I shot that Running Brooklyn thing on the f35. Also I use the Red One MX a ton and swear by its image, more than the Red Epic, Dragon, bla bla bla. It's only weakness is highlight roll off and also it takes 2 minutes to boot so you need to have two batteries on it, and hot swap them.

Well on the trailer for Teenage Mutant Ninja turtles - https://www.youtube.com/watch?v=dwXFsrp6WBs Which is probably shot on the Alexa XT or something there seems to be both blue and red channel clipping in this shot of the headlights. I attached a screengrab from the trailer. So it's a common problem with all cameras. I think as well as film, but I don't know. Shooting police sirens is a way to test. I think if you can, just avoid these super saturated deep lights with any camera.

https://www.blackmagicdesign.com/press/release/20151223-02 Boom! What’s new in DaVinci Resolve 12.2Decode support for HEVC/H.265 QuickTime video in DaVinci Resolve Studio on OS XSupport for HDR Hybrid Log Gamma using Resolve Color ManagementInclusion of Hybrid Log Gamma conversion LUTsUpdated ST 2084 HDR color scienceACES IDTs for Canon C300 MkII clipsImport support for NewBlue Titler Pro titles using Media Composer AAF sequencesReveal in Media Storage now supports mattesProRes 4444 with alpha channel now defaults to straight modePower Window opacity and invert settings are now retained when converting to Power Curve WindowsImproved QuickTime render performance on Linux