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Music video I directed just went live! Shot on Arri Alexa Mini with Cooke S4/i glass and it was a pleasure to use! I'm always taken by the Alexa image every time I work with it. Wish I could afford to use one every time I shoot! directed by Dave Altizer produced by Jarad Clement director of photography Chris Adams edited and color graded by Jarad Clement here are some BTS shots

Went to Pinpoint Muay Thai and shot some test footage with the Kinefinity Terra 6K. Shot in 4K with a helios44-2 modified by vidatlantic to have oval bokeh. Hope you like it...

Latest work shot on the Sony A7SII in PP5 due to indoor light restrictions. Time-lapse work via the A7II, all with Zeiss E-Mount lenses. Loxia 50mm and 35mm, final time-lapse with the Zeiss Touit 12mm in aps-c crop. Cut and graded in FCPX. Love to know what people think? THFKDLF headed out to Bright Tradeshow, Berlin to showcase their upcoming collections and produce a capsule over the 3 day show. Here is what happened. Bright is an original platform which conveys a snapshot of modern lifestyle within an atmosphere relevant to its target group. Since culture is in constant motion, and the influences of its trends are always evolving, the element of its perception fluctuates between art, sport and music. Above all, authenticity is the leading component. thfkdlf.com / brighttradeshow.com / ae-sewingmachines.co.uk Filmed on the Sony A7SII Rig: Movcam A7SII cage Timelapse: Sony A7II Lenses: Zeiss Loxia 35mm f2 / 50mm f2 4K / 1920 x 1080 HD / 16:9 / 24fps Music: Ember Island - Can't feel my face Album - 3 Roses x Ember Island Cover Label: Non

Canon cameras sell very well because they make people look great by creating very pleasing skintones. Apparently for technical reasons (silicon sensors, etc.), Canon makes skintones look great at the expense of color accuracy. ARRI is the undisputed* King of Color Science and reading about how to make a C300 somewhat match an Alexa may be helpful in setting up new cameras such as the GH4 and A7S to produce more pleasing skintones (at the expense of color accuracy): http://provideocoalition.com/aadams/story/color-matching-a-canon-c300-to-an-arri-alexa Art noted that digital cameras do the best in daylight (~5500K) due to sensor response to blue. While I too have noticed that Sony, for example, does much better in sunlight, I've found that cameras also do well in Tungsten (~3200K). While Tungsten doesn't have much blue, it is a continuous spectrum light, and that I believe is the most important issue. Cameras have the most trouble in mixed light (fluorescent + incandescent + LED, etc.) or light sources with large gaps in the spectrum (some fluorescent and many LED lights). I had no idea what kind of light this was, however AWB with the A7S wasn't too far off (minor WB adjust in post: still a bit magenta but that's the look I wanted): In the Art Adams article above, he had to make custom profiles (mostly the special Color Matrix) for each desired color temperature (two provided). This makes it clear that getting pleasing (and/or accurate) color for a wide variety of color temperatures and light sources is a very challenging technical problem. Face/skintone detection is one way manufacturers try to deal with the problem (regardless of race, all skintones have similar color properties (along the 'skintone' line on the vectorscope: ). It's not likely there's anything we can do to picture profiles on cameras to improve color performance vs. factory settings for general use. If we tweak colors for a particular WB and light source, it won't be correct for another light source with different spectral properties. Thus, if someone posts a tweaked color profile that changes WB colors or general color matrices, keep in mind those tweaks might not work correctly for your particular situation. * this is the internet, so the likelihood of disputing is much greater than zero. The Sony F35 and F65 can produce great color, and the new RED Dragon and associated color science is looking very good. The camera system most people prefer in terms of color is the ARRI Alexa (now +Amira).

Hi guys,   Purely an academic question but I'm curious about this lens: http://www.ebay.com.au/itm/LOMO-Arriflex-20-120mm-f-3-3-PL-Anamorphic-cinemascope-Panavision-Lens-RED-Arri-/121052730025?pt=Camera_Lenses&hash=item1c2f4e12a9   Ive been interested in anamorphic lenses for a fair while now but never pulled the trigger on buying one. I'm not planing on buying this one ether as its way beyond any price I could justify. But I was interested if any one had any info or opinions about it.   Is it really an Arri lens? Wouldn't something like this solve the dual focusing issue that many lens + anamorphic adapter combinations have? Wouldn't it also solve the problem of chasing down an entire set of prime lenses? Whats that "1,2,3,4,5" Bit behind the aperture on the barrel all about? Is it an attractive option to you guys? (ignoring the price)   Any thoughts...

http://www.arri.com/camera/digital_cameras/technology/arri_imaging_technology/alexas_sensor.html   That explains a lot- very cool.

Hi everyone!   Sorry if this is frowned upon, but we are looking to shoot a new short film, and have started a IndieGoGo campaign. We already have investors in place but are looking for that little bit extra to help us reach our full budget goal. If you could give but £1, or at least share/like the link,  that would be amazing. If you are as short of money as many are due to recent festivities, we fully understand! So if you could at least have a look, and share this link with everyone you know, just to help out, it would be highly appreciated. Here is the IndieGoGo link: http://www.indiegogo.com/twvfilm/x/126209/   Here is our previous film: http://www.youtube.com/watch?v=soNR4aZkaAg Regards, Owen

SOLD     I thought I would register and post here as I have been using these boards for advice and it seems to have quite a bit of clever anamorphic shooters around for sale now that my red camera software unsqueezes images is a viewfinder that I won't need to use: An Optically correct ANAMORPHIC VIEWFINDER for mounting on Optical viewfinder cameras like KONVAS 35mm motion Picture camera. UN-squeezes 2.35 image from anamorphic lens. ITEM is being sold inexpensively as only guaranteed to work with KONVAS style russian type viewfinders as is but A new collar could possibly be adapted to match other optical eyepiece cameras such as ARRI BL or others. Cannot guarantee fit but discussion from others have indicated that end shaft diameter might fit many other optical viewfinder prism or mirror mounts. With right mount it might also work with electronic viewfinders. It is pretty long but might work with a bracket onto a rear eyepiece or lcd...? Focusable for image of 35mm frame size from approx.3"-6" from end of front element. Eyepiece glass and front end clean WITH NO scratches or marks. Removable locking collar is for connection to Konvas cameras. anyway it's on ebay now here http://www.ebay.com/itm/ANAMORPHIC-DE-SQUEEZE-Viewfinder-KONVAS-Kinor-Arri-Eclair-etc-/140898896475?pt=US_Viewfinders_Eyecups&hash=item20ce3a8a5band thanks all for great info over the past year or so.. happy holidays any questions can be sent to info at alamofilms dawt com