http://songwriter.revimage.com/channels/JoannaStClaire

If the music video wins for Joanna, it means a chance to work with Don Was (one of the most prolific and acclaimed producers out there) and money to help create additional music. She spent years on the album this video comes from and is an incredibly warm and talented person, so your help would be really appreciated by both of us.

Now here's some more text for everyone else about a project I worked on at various points from 2007 to last week. :)

Quick intro: I'm Per Lichtman, the guy that found the audio settings values now used in the majority of modern GH2 hacked settings, thanks to @Vitaliy_Kiselev making it possible to test and modify them. I've also participated in a lot settings comparison tests and talked way too much over the years. :)

Last year I directed a music video for a song I also worked heavily on the music side with. It was called "Listen to the Sound" by Joanna St. Claire and it finally got put up at http://songwriter.revimage.com/channels/JoannaStClaire in conjunction with a contest Joanna St. Claire recently entered. I wanted to help her out in the contest and share some of my experiences with the GH2 community at the same time.

The video is shot using a mixture of GH2 with the Driftwood Canis Majoris Night settings, as well as a RED Scarlet and Cooke lens courtesy of OnTheMarkMedia.net. There are also one or two shots with a Canon HV30.

The grading was done by Dimitrios Papagiannis ( @Bueller) in DaVinci Resolve using the Cineform codec as a digital intermediate. Ashley Nunn and Karla Usagi provided additional support carrying things as well as behind the scenes photography for one or two of the days. In other words, shooting often consisted of just me and the artist.

The shoot was done entirely using natural light, without reflectors or any other aids, on an extremely tight schedule and filmed almost entirely around sunset over the course of multiple days. The shots featuring water were done in a region where there is not normally a body of water: it was there for the first time in about a decade due to unusually high level of precipitation. The lake evaporated in a matter of weeks.

The lenses used on the GH2 were a Rokkor Minolta-mount 58mm f/1.4 and a Tokina 28mm Minolta-mount f/2.8. Various Tiffen contrast filters were used at certain point on the GH2. To the best of my memory, no filters were used on the Cooke lens for the Scarlet.

I will be posting more information (such as which shots are which) depending on what the interest level warrants.

The re-mastered album that the video goes with is "Stream HD Master", which we recently released in full-fidelity 96 KHz at 24-bit depth dynamic range. You can find it at https://joannastclaire.bandcamp.com/

It's been one of my favorite musical experiences so far. It also one of the ones were I've worn the most hats (recording engineer, mixing engineer, mastering engineer, creative consultant, album cover photographer, music video director, editor, etc.) that I can think of so far. :)

I was browsing the net, for some glass, and came across some super 16 Cooke glass, i know the panchro's, and love their hazy look. Now i stumbeld upon a ebay seller claiming the arriflex (PL) lenses fit and work on a GH2 M4/3 Sensor, without problems.

Does anybody know the display diameters of the Kinetal, and has someone tried em on the GH2?

Examples: http://www.ebay.de/itm/ws/eBayISAPI.dll?ViewItem&item=181009292902&clk_rvr_id=451708640700 http://mkoptics.net/m/product_info.php?cPath=22&products_id=3139

{edit} also considering if the Panchro's work? {/edit} http://mkoptics.net/m/product_info.php?cPath=23&products_id=6489

Cheers!

Now you can find out what cameras, what lenses, etc were used to shoot certain films, also if they were strictly DI, or transferred to film for their final master/negative.

Very interesting to see what lenses were used on certain films. I wish they had more details, such as which camera used which lenses when listing the cameras.