I had filmed Ron when he was recovering from his cardiac surgery. This was submitted to the “Life in a day” project.

Life in a day will premiere at the 2011 Sundance Film Festival. Kevin Macdonald, the Oscar-winning director of films such as The Last King of Scotland,Touching the Void and One Day in September, will edit the most compelling footage into a feature documentary film, to be executive-produced by Ridley Scott, the director behind films like Gladiator, Black Hawk Down, Thelma & Louise, Blade Runner and Robin Hood.

Here is the email I got -

>>>

Dear YouTube User,

Thank you for sending us you video for Life in a Day, we loved it!

We will be sending you an email with details of where to upload your original footage soon. But in the meantime, please keep hold of your footage.

Best wishes,

Joe Walker

Film Editor of Life in a Day

>>>

A little known secret is that nearly any lens made for film cameras had enough resolution for video. The maximum video resolution is about 800 TV lines. Film has theoretically infinite resolution and DSLR have resolution over 10Mp. My interest is mainly in the out of focus areas – the DOF. Here is a review of some really cheap lenses that provide artistically brilliant footage.

Here are test images from some lenses.

c-mount 16mm

As an indie filmmaker, it has been a learning process. Since I worked for many years as a dancer, I have had various occasions where people expected me to work for free. I always resented this – its human nature to drop 200 bucks getting drunk on a weekend but complain about spending 50-100 for an artist. So, no one should work for free in any of my films.
Hence, I wanted a payment system that would be transparent and fair. To begin with, I was aware that starting rates for work as a dancer were 30ph for productions. The work involved was the artistic creation (script, storyboard, choreography) and execution (acting, dancing, camerawork). If someone choreographs a dance and dances in the film, they would work in the artistic creation + execution and would be paid for choreography + dancing.

First, I divided the work into these departments. I setup a payment system where crew members start at 30ph and go upto 40ph with more than 5 years experience in their field. This may not seem much, but it is 33% higher for people with experience. Also, due to the budgets involved, I cannot pay for travel or offer a cab charge, however I can work with the other team members to schedule pickups.

So far, the only people who qualify for the higher rate are Kotaro Honda and Connor Dowling. Both have over 10 years experience in their respective fields. If the film gets picked up for distribution, the individuals with greater experience will also receive more in terms of the discretionary bonus than the others.

Finally there were other crew members who were involved in lots of pre-production and preparation. For these members, I decided on a flat rate. These crew members were Ron Coker and Susanne Richter. Ron and I worked almost every second day since March to build equipment and test it various ways. Ron also came with over 20 years experience in photography and a bit less in video. Susanne has helped me with the script for the last 2 years, as well as the choreography for the Salsa and Rumba. She also has over 10 years experience as a dancer.

I also make it a point to make snacks and food available. Since I cannot afford a gourmet catering service, I bring fruits and nuts, and hot drinks if the weather is cold.

I have also become aware that I need to organize myself better. Suggestions came from Kotaro, Ron as well as Susanne. Accordingly, I make an effort to send out the script a week before, and sms and email people on the day of the shoot to remind everyone.

In terms of payments, I would prefer a system where the crew send me an invoice after the shoot (a simple email listing the hours, price and your bank details), and I will endeavour to send the payment before the next weekend. This will serve as a reminder to me that I need to pay.

During the shoot, I turn up before everyone else. There should also be a hierarchy during the shoot. Even if someone in the crew may doubt my ability as a director, you cannot question or argue about camera angles or what is required as an actor. You cannot direct the director! It is essential to execute what the director asks you to do otherwise the entire shoot gets wasted, and this behaviour will destroy the entire film.

Finding a wide angle fast lens for the GH1 is a problem. There are simply none available. Vivek from GetDpi played around with the Fujinon 12.5mm f1.4 and modified it to get full coverage. This is my attempt to do the same.

This attempt was referenced in these places.

http://forum.getdpi.com/forum/showpost.php?p=230992&postcount=39

http://forum.getdpi.com/forum/showthread.php?p=234790#post234790

I have a non-working iMac G4 that a friend left with. Since its not working, and I have some mini-ITX boards lying around, I decided to install a mini-ITX system inside as a Media Centre to playback my movies. Especially the videos I have recorded. It uses a TMDS connector for the LCD and the inverter is right behind the LCD.
First, Google research. Here are details of similar projects.
http://forums.macrumors.com/showthread.php?t=224698&page=8
http://dremmeljunkie.blogspot.com/2010/02/completed-mod.html
http://discussions.apple.com/thread.jspa?messageID=11348961
http://forums.dealmac.com/read.php?4,2870386,2870386

Interestingly, this is a mod to convert the TMDS connector to DVI so it can go directly into the mini-ITX board.
http://hidekyan.cocolog-nifty.com/blog/2009/08/imac-g4-dvi-4-9.html?cid=68274206#comment-68274206
http://gifuken023.blog122.fc2.com/blog-entry-18.html

From this post, http://forums.macrumors.com/showpost.php?p=9950054&postcount=207
I got the pinouts to connect the inverter and TMDS to a DVI-D cable and power. I copied the pinouts for archival.

Since the indie film world has moved onto DSLR videos, I have been looking extensively for low cost lenses.
The best value is available from m42 mount lenses and some of them have a peculiar swirly bokeh. These are also called Adaptall mount, Pentax Screwmount, Exakta mount and screwmount.
The biggest attraction is the price – as many of these lenses are available for less than 10 bucks.
Here is a list of ultra wide and fisheye m42 lenses mainly from here http://www.camerapedia.org/wiki/M42

< 24mm. These lenses are often the more expensive types in the DSLR world.

• 20/2.8 Flektogon (V MC, V MC electric)]
• 20/4 Flektogon (IV, V), there is a version (finish IV) with special diaphragm transmission for the Pentacon Super
• Tamron 18mm
• Tokina 17mm f3.5 RMC
• Pentax Takumar 20/4.5 (II, III)
• Mamiya-Sekor SX 14mm f/3.5 Fisheye
• Mamiya-Sekor SX 21mm f/4.0
• MC Zenitar 16mm F2.8 Fisheye
• MC Mir-47 20mm F2.5 made by VOMZ
• MC Mir-20 20mm F3.5
• 19/3.5 EBC Fujinon SW wide angle
• Sigma 20mm f2.8
• Spiratone (Sigma) 18mm F3.2
• Spiratone (Sigma) 18mm F3.5
• COSINA 20MM F3.8 m42

Hudson has a similar mod here, but no description and the pictured lens is a Leitz.

EDIT: He is simply using a Leitz hood – lens is the same.
http://forum.getdpi.com/forum/showpost.php?p=189529&postcount=29

I got help from Vivek and Hudson. Check these posts.

http://forum.getdpi.com/forum/showpost.php?p=229372&postcount=2

http://forum.getdpi.com/forum/showpost.php?p=229547&postcount=8

Another excellent resource for lenses on the GH1/GF1 is Ayton.

http://www.ayton.id.au/wp02/?p=3540

This resource indicate how much the rear element can extend safely into the camera.

http://forum.getdpi.com/forum/showpost.php?p=63735&postcount=209

The Panasonic GH1 debuted last year with a sensor in between 16mm and 35mm Academy size. It is approx a 1.9x crop sensor related to SLR terminology. The short focal distance allows the usage of any lens built for cameras – except the CS-mount lenses. On the dvxuser forums, a Russian hacker tester13 figured out a way to modify the firmware to give custom recording rates – among other goodies. At this point in time, the GH1 has the best recorded image out of ANY camera less than 10K. Here is my article about installing the firmware for noobs.
The article also appears here.
http://www.dvxuser.com/V6/showthread.php?t=215526

This is a very simple tutorial that will attempt to organize everything for first time users. If you have an older copy of ptool i.e. v3.37d use the tutorial here.
http://www.dvxuser.com/V6/showpost.php?p=2040847&postcount=28

This is for the latest version of ptool 3.40d. If the menu items seems different and you do have 3.40d, then download again as tester13 has changed the firmware but kept the same version.

1. Create a GH13 Hack folder on your desktop – and all downloads/files go into this folder.

2. Download Ptool - http://www.gh1-hack.info/ptool3d.zip The version described here would be v3.40d

3. For Mac users only – Download wine and winebottler and install it.
http://winebottler.kronenberg.org/
The easiest way is NOT to make a Wine APP – just let wine startup everything ptoold.exe is executed since ptool keeps on changing regularly.

4. Download the latest firmware for GH1 here – http://panasonic.jp/support/global/cs/dsc/download/fts/dl/gh1.html
and for GF1 here – http://panasonic.jp/support/global/cs/dsc/download/fts/index2.html
After unzipping, you will end up with a *.bin file.

5. At this time, you can refer to the thread here for a visual Getting Started Guide
http://www.dvxuser.com/V6/showthread.php?t=212263
and here for a Ptool manual
http://www.dvxuser.com/V6/showthread.php?t=213692
Alternatively, you can continue -
Start Ptool and Click on Load Firmware.
For GH1 select the *GH1*.bin file and for GF1 select *GF1*.bin file.

For the first firmware upgrade ONLY
Click on Version Increment. Select it and in the entry box at the bottom enter 3. (See Step 6. why I suggest this. It is easy to remember your increment this way)

Click on Prevent Version Compare -

ptool 3.40d has two regions – one for testers and one for end users. Double Click the Patches for End Users.

Click on Battery -> Third Party Battery
Click on Interface -> Interface Language in case you bought a grey market product and select your favourite language.
Select Movie Related Restrictions -> 30min limit removal if you bought this camera in the Euro zone and cannot record more than 30 mins.
Select Movie Related Restrictions -> PAL->NTSC menu this allows you to switch between PAL and NTSC in the menu. Select NTSC or PAL from the Video Out section of the menu.

*Optional* Select Movie Related Restrictions -> Manual Movie modes if you have a GF1 model and want to shoot with full manual control in video.
From this post.
http://www.dvxuser.com/V6/showpost.php?p=2064162&postcount=2
>>
1. switch the top dial on the camera not to M, but to the icon with the movie camera with the P

2. go back into the menu and change Exposure Mode from M to something else, and then back to M again

3. go back to take the video, and the settings will show up not

You’ll have to do this every time you turn on your camera!
>>
For the settings – look at this thread.
http://www.dvxuser.com/V6/showthread.php?t=213486

This is 1 setting that works on a 16GB Patriot Class 10 card as well as a 8GB Sandisk Extreme 30MBps Class 10 card. If it does not work, buy a Class 10 card and stop whinging.
Here is what I use.

Click on MJPEG Size Restrictions.

Select 720p30->1080p30
Select 720p30 width. In the box at the bottom enter 1920
Select 720p30 height. In the box at the bottom enter 1080

MJPEG Settings :- Click on MJPEG Compression.

Click on MJEG E1 Quality. In the box at the bottom enter 384
Click on MJEG E1 Table. In the box at the bottom enter 24
Click on MJEG E2 Quality. In the box at the bottom enter 330
Click on MJEG E2 Table. In the box at the bottom enter 24
Click on MJEG E3 Quality. In the box at the bottom enter 300
Click on MJEG E3 Table. In the box at the bottom enter 24
Click on MJEG E4 Quality. In the box at the bottom enter 276
Click on MJEG E4 Table. In the box at the bottom enter 24

Click on MJPEG Color
*optional* Click on 720p30 420->422 color sampling. (*NOTE* THIS IS KNOWN TO CAUSE PROBLEMS)

AVCHD Settings :-
Click on AVCHD Movie Mode

Click on AVCHD Compression
Click on Video Bitrate FHD/SH. In the box at the bottom enter 50000000 (*NOTE* COUNT THE ZEROES. ITS 50 million)

Click on Video Bitrate H. In the box at the bottom enter 50000000. (*NOTE* COUNT THE ZEROES. ITS 50 million)

Click on Video Bitrate L. In the box at the bottom enter 32000000. (*NOTE* COUNT THE ZEROES. ITS 32 million)

Click on Overall Bitrate. In the box at the bottom enter 60000000. (*NOTE* COUNT THE ZEROES. ITS 56 million)

Here are additional options to allow the Gf1 to act more or less like a GH1.
Click on Patches for Testers -> Middle Level Research -> Menu Related -> FHD Mode
This gives 1080p 25P with 1/50 shutter ONLY on GF1. No other settings work at this moment.

6. Click on Save Modified Firmware and save the new firmware as your increment in the Version Change i.e. GF1__123.bin (for 3 Version Change) or GH1__139.bin (for 9 Version Change) etc. DO NOT OVERWRITE the original firmware.

Save everything the GH1 Hack directory. Note that the modified GH1 firmware will only work on the GH1 and the modified GF1 firmware only works on the GF1.

I would recommend not overwriting the previous firmware versions as the Version Compare hack allows you to use swap between different versions. Once you start playing around, you could have different firmware versions on different SD cards and you could swap between them in the middle of a shoot.

7. Start your GF1 or GH1 and format the SDHC card. Shut down the camera and remove the SDHC card. Copy the GF1__123.bin or the GH1__139.bin to the root directory of the SDHC card.
Eject the card and place it inside your camera. *NOTE* Use a fully-charged battery. Start the camera and press the playback button.

8. Finally, at this time, the cameras work thus.
GH1, 720P at 50p/60p. 1080p at 24p/25p/30p
GF1 1080P at 25P ONLY, 1080p at 30p.

If you are Using the GF1, tester13 has added manual control with a mod. Here is an excerpt from his post.
http://www.dvxuser.com/V6/showpost.php?p=2053148&postcount=2740
>>
Manual movie modes work now on GF1 same as on GH1 (with latest “Movie modes” patch).
This includes all M, A, S modes.

You need to go to menu and set appropriate mode.
Also if you go to menu in picture shooting mode it’ll convert to corresponding movie mode, just turn wheel one click and return it back to go to back to normal picture mode.
>>

This is being discussed in this thread. http://www.dvxuser.com/V6/showthread.php?t=217519

You may also consider reading a thread where I organized settings for the GH1 and GF1 for video. Though the GF1 settings are not needed after the 3.40d Manual Control mod.

http://www.dvxuser.com/V6/showthread.php?t=215536

Now save as G*1__1**.bin – Dont forget the double underscores.
Put the card in your camera and press the playback button – if the firmware upgrade window does not come up there is a problem hopefully with the Version Increment.

If the camera does not load the firmware, try again with Version Increment 10.
This explains why -
http://www.dvxuser.com/V6/showpost.php?p=2057689&postcount=4

9. Finally you want to test stability, download the Star Chart by PappasArt from here
http://www.sendspace.com/file/scn6oz

Open it on your computer and fill up the screen, use the fullscreen or slideshow mode.
Now use your hacked camera handheld and record footage in both AVCHD and MJPEG. MAKRE SURE THAT THE CHART FILLS THE CAMERA SCREEN.
Dont use a tripod as the handheld shake will keep the image changing continuously.

Shoot for a 1 minute – get at least 1 AVCHD and 1 MJPEG at max. bitrate settings. i.e. FHD/SH
Shut down the camera and bring the SDHC card into your computer.

10. Download MediaInfo – http://mediainfo.sourceforge.net/en/Download
Install it. Start it. From MediaInfo open the .mov or .mts file to view the bitrate.

MJPEG .mov file is in SDHC card -> DCIM -> *_PANA
AVCHD .mts file is in SDHC card -> PRIVATE -> AVCHD -> BDMV -> STREAM

Check the bitrates BEFORE you bring it into your editor. For example, before you do a Log and Transfer into FCP as FCP automatically converts the footage into its Intermediate Codec called ProRes. Most HD Editors do the same as the AVCHD codec is not meant for editing.

The .mov file will play in Quicktime. The .mts file will (kind of) play in VLC Player but showing pixelation and blocking artifacts.
Dont worry about the artifacts as they are a problem with VLC NOT your videos.

If you post any issues with the recording on these forums, post your settings, screengrab of MediaInfo showing the bitrate and the camera i.e. GF1/GH1
The hacked cameras are now called GF13/GH13 due to the screen name “tester13″ used by the main developer Vitaliy.

__________________

Thus far, I have managed to shoot 4 scenes. Two of these are shot in public. If there is a small team of 4-5 people including the actors and no intrusive props, it becomes really easy to film. The camera of choice has changed from the 7D+5D combo to the GH1+5D combo. I have also learnt the benefits of proper storyboarding. It is absolutely essential to take some basic drawing lessons and sketch out on paper what you plan to achieve.