D.M.Weiss

Sean Nohrenberg says," Thank you." IMDB has to approve it first, but it should show up in the next 24 hours. Thanks!

Updated the IMDB page as well. Thanks again Iron Film for the heads up! http://www.imdb.com/title/tt5989056/

Amazon switched it over today. Hopefully everyone enjoys it, or at least sees the many possibilities of the the camera and lens adapter. If you like it, please leave a review. Thanks! David

Distributor just got back to me. It is streaming for free to Prime members in US, UK, Canada, Australia, South Africa, New Zealand, Norway, Sweden and Finland. I hope this helps. Let me know if it isn't working tomorrow. Cheers! David

Hey thank you Andrew! I really appreciate all of the work you have done creating this website. It was incredibly helpful and secured my addiction to anamorphic lenses. Yes, evidently it is US Amazon only, for now. I wasn't sure if it would play in Europe, but evidently each country has it's own distribution rights which includes Amazon, so the distributor will either open that up or sell those rights. Since you have contributed so much to my knowledge, I could possibly send you a private link to the film or a BluRay for free. Just let me know. Best! David

Yeah, it does look very empty. We have a lot of film festivals and talent that should be on there. Withoutabox is supposed to connect everything, for some reason it's not happening. Thank you for the heads up!

Thank you Trek of Joy! Appreciate it!

I agree! I still use these cameras for commercial interview shoots. They were so far ahead of their time.

Thank you Salim! Best of luck with your future endeavors! David

Hey Salim. Thank you! I will do my best to outline some of what I experienced. First off, I looked at making the film as my film school. I had done short doc work and commercial work before, but nothing as big and complex as this. We are fortunate in the middle of America that a lot of people love to be involved in filmmaking. We had a ton of volunteers, but we signed contracts with each of them offering everyone a piece of the pie, if the film made money. For me, it's really about creating enough revenue, so that I can keep making films and share with the people who help make it happen. When we first started we had many delays, we would shoot one weekend and then it was two weeks before we could get back together. Everyone had their regular jobs, so it took us about 6 months to complete the film. If I had any type of budget I would have everyone take off two weeks and we would knock it out, but I didn't have that option. The cameras were great, but I did have a few issues with the lenses and NX1 manual mode when I first started. We finally got it down properly and it was good to go. We only had a Arri 1K and Arri three light kit when we first started. I bought a ton of c-stands and 2 Digital juice Flag kits. That really helped control our lighting setups. Most of the lighting on actors is bounced light, which I love the most. I wish I had known more about actually directing talent. That was something I have studied ever since. Jason Levering and I co-directed and that was complicated as well, but we both adapted and kept pushing each other. When it comes to festivals, I would say enter the festivals that you think the film will fit in the best. Have people watch it and have them give you their honest opinion. I had a fantastic editor give me some amazing insights and I ended up re-cutting part of the film. It's nothing personal and you have to look at it that way. We were fortunate to sign with Circus Roads Films who is a sales agent. They reviewed the movie and liked it. I would recommend them if you have a solid film. They took it out and got us a couple offers, but they didn't fit what we needed, so we went back to the festival circuit to build the film. Then we signed a deal with Indie Rights. They have a fantastic reputation with treating their filmmakers well, so we were happy to sign. There is never any guarantee on money. I think if you are going to make any kind of money you need someone taking your film to AFM and Cannes, which Indie Rights will do. They will sell the rights to different countries and that can be a nice revenue stream. On the other hand, if you have a massive following, it could be better to self distribute online. It just depends on the film and where you want to go with it. I hope this helps out. It is a little vague, because I have no idea how much money the film will actually generate. Best! David

Ok, so how does that all add up? Simple, I started reading Andrew's site a few years ago and learned everything I needed to know about the Samsung NX1 and SLR Magic Anamorphot 1.33x adapter. I decided to use them on our first feature film. After numerous film festivals and special events our film, Black Luck, signed an International distribution deal with Indie Rights. Yes, we probably would have done the film without this knowledge, but I'm not sure it would have had the same look or feel. The camera and adapter worked amazingly well and proved that a no budget indie thriller can still have a high production value. I can't thank Andrew enough for educating me and so many other filmmakers about the possibilities of shooting a feature film with these great tools. Cheers! David P.S. If you want to check the film out, it just launched on Amazon Prime. Read the reviews as well. This isn't some masterpiece of cinema, but it is a satisfying movie created with passion. https://www.amazon.com/Black-Luck-Garrett-Sheeks/dp/B0764KD2K8/ref=sr_1_2?s=instant-video&ie=UTF8&qid=1507185936&sr=1-2&keywords=indie+rights

No, unfortunately we didn't have his log lut yet and we finished principal photography in May, so we didn't have all of the updates either. I did purchase Andrew's e-book though and it's been great. We used the gamma DR for more dynamic range. We occasionally went to 800 ISO, but we were lighting to the subject not the room, so we hardly ever had to go that high. We took sharpness to -7. I found that the -10 sharpness to be too low on a few shots making it hard to find focus. Yeah the 30mm can be a pain, but I really liked the imagery with SLR Magic adapter. We never racked focus, so it wasn't too bad finding the sweet spot. Agreed. It looks like a great lens. Thanks Marco!

Absolutely Marco. We used the Samsung 60mm and 30mm lenses. These two worked the best out of everything we tried. Which honestly surprised me a bit. We used the Blackbird for stabilized motion shots. Manfrotto tripods for our locked down shots. I graded in AE using a combination of Magic Bullets Colorista II, Film Convert, and Adobe lumetri colors. We are pushing things more on the feature and we are using Resolve for some of that. For lighting, Aaron my gaffer used two Arri 300, 650, and a 1k plus Switronix TorchLed lights and Rosco gels and diffusion. Hope this helps.

Thanks Sekhar! We're looking at doing a festival run first and then hopefully some sort of distribution if all goes well. I will get info out as we go. EOSHD really had a big influence on me and I can't thank Andrew enough. All the best, David

Thank you Marco! We really appreciate it. We're starting with film festivals and then hopefully distribution. We'll keep everyone up to date as we go along.

Thank you Andrew for all of the knowledge you've passed along over the years. We chose the NX1 and SLR Magic Anamorphot adapters, because of your reviews. After some simple tests with different lenses we were able to really dial it in. Here is a link to the trailer. https://vimeo.com/138589715 Check it out, if you get a minute. All the Best! David

Cool. We actually shot a feature film with the NX1 and the SLR Magic anamorphic adapters. Here is a link to the trailer: https://vimeo.com/138589715 I hope the rumors about Samsung getting rid of the NX camera division are untrue. I love the imagery of the NX1.