The new Black Magic Pocket Cinema 4k camera is due at the end of the month. Black Magic have released some test RAW and Prores footage here.
I grabbed it and did a quick test grade (literally 20 minutes) last night. Results below. Video is only 1080p (as I have the free version of Resolve, although the full version comes with the camera). Overall I’d say it’s incredibly easy to grade – although the basic footage out of the camera is a little sepia by default and a little noisy prior to grading.
As you can see, the default LUT included for the camera in Da Vinci is way too strong, so you’d want to key it back if you were going to use it, which I wouldn’t recommend.
I graded about half the available clips, might have another mess around later with the other half if there’s any interest. Also might try a more ‘creative’ grade than the neutral one below.
This is an email sent to my MEPs (Lynn Boylan, Brian Hayes, and Nessa Childers) today, regarding the proposed change to copyright in the EU, known as ‘article 13‘. This change will endanger the ability of small production companies and artists to disseminate their work online. It represents the greatest threat to free communication and creative work online in the history of the EU. You can find out more here or send your own email here.
You are no doubt receiving a lot of emails about the vote on article 13 of the proposed European Union Directive on Copyright in the Digital Single Market tomorrow.
I am a small independent filmmaker and radio producer. I’ve been developing original programming for radio and web in Ireland since 2008. My website which provides free copies of all my programmes is http://garethstack.com
I wanted to explain to you exactly how article 13 would affect my business and creative output. As a radio producer all of my programmes have been funded through the Sound and Vision Scheme and developed using creative commons assets and public domain assets. These sound effects and music are created by a community of engaged creators who allow their work to be further developed by others for free. This means that when I write and produce a new radio drama, some of the sound effects are original, some are derived and remixed – legally and with blanket licensed permission – from other sources, such as the website freesound.org.
Similarly, when I release my programmes, they are available for others to remix as they see fit. When I record original sound effects foley, they are made available for others to use in their films, TV or radio programmes or in their hobby projects, such as short films. These flexible licences empower creators to decide exactly how their work may be used – remixed with or without credit, shared only when the derivative work uses a similar licence, etc etc.
My shows have been broadcast numerous times on RTE Lyric, Newstalk and local stations throughout Dublin. They have won international awards, and been rebroadcast in the United States. None of them would have been possible to produce or release under article 13.
The legal requirement for automatic upload filtering systems would place an undue burden on free public domain and creative commons hosting services like freesound. More seriously, these systems invariably operate on the assumption that the first uploader to lay claim to a sound or piece of video footage is the ‘owner’ of that footage – irrespective of who originally created it, or what the actual licence under which it is released was. Again and again it has been demonstrated, on youtube, on soundcloud and other platforms, that this leads to widespread abuse. That automated copyright enforcement is both intentionally and accidentally used to remove completely legal clips and programmes. This has already happened to me. In a situation where the delicate web of hosting companies that allow online distribution – from wordpress, to soundcloud, to freesound, to bandcamp; are forced to implement these filtering solutions, businesses like mine will be impossible.
Small media creators – every single one of whom is reliant on both purchasing samples and using free samples; whether sound effects, video clips or music; will be unable to reliably host and distribute their original, legally created content. This will enormously impact the following industries and many others – music production, independent music distribution, film post production, podcasting, radio production etc etc.
This is my personal experience – as someone who has already had content removed incorrectly by automated content system. Systems which cannot be challenged without endangering the creators access to the platform. Systems which operate as black boxes where decisions are made without fair and equal access for creators. Systems that ‘big content’ conglomerates have direct access to ‘take down’ content they do not own, without consequence merely by laying claim to it.
This is not even the primary danger of such systems – which can be abused to limit political speech and to target contentious individuals or political groups. It is not the primary danger of article 13 – which will limit the ability to freely disseminate news and information.
It is however the element of article 13 which directly and immediately affects my livelihood and the livelihood of ALL of those working in the Irish radio and film industry, whether directly or indirectly, from actors to grips, from radio hosts to newspaper delivery drivers.
A regime like this will enable a small number of large conglomerates to lay claim to content they did not create, and to serve as gatekeepers for what is disseminated online. It will not help creators. It will not protect jobs. It is copyright law run amok in the service of corporations that exist explicitly and exclusively to exploit the creative work of others.
I ask you as my MEP to please oppose this legislation. As a voter, I will remember your actions on this issue which threatens my income, and more importantly the continued availability of every piece of work I have created in my adult life.
Shot and directed this music video for American anti-folk artist Ray Brown recently with the stunning Nicole O’Connor.
Two years back I was visiting New York, and didn’t have anywhere to stay. I put “friends who live in New York City” into facebook, and messaged everyone who came up, asking for a couch. Ray Brown, a guy who I’d met for thirty minutes at a yard party years before, said he couldn’t put me up but offered to take me out on the town. That night we visited the legendary Sidewalk cafe, the East Village anti-folk bar where Ray has been a regular for over thirty years. Ray introduced me to a cute girl and I fell head over heels in love.
Ever since, Ray and I have been friends, and on his most recent trip to Ireland (where I live) to record a record, I did some shooting in the studio, thinking to one day make a documentary about his extraordinary life. Only afterwards, with the album already in pre-production did it occur to me that this footage might make a cool music video. So I’ve been hacking away at this for the past week or so. It’s shot on my humble Panasonic G85, with the Sigma 18 – 35, just in whatever light we had in Alfionn studio – a tiny independent space in Dublin; and graded in DaVinci with Red Giant Universe.
Recorded at Alfionn Studios, May / June / August 2018.
Performing – Ray Brown, Myles Manley, Nick Boon, Chris Barry, Brandon Perdomo, and Ali Byrne.
Producer – Chris Barry.
Download: Are Psychedelics good for us? Psychology in Mind EP5
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Read: Show Notes
A new series in which psychologist Dr Andrew P. Allen and writer and broadcaster Gareth Stack, turn to psychology for answers about our minds, brains and personalities.
Todays Question: Are Psychedelics Good For You?
Psychedelic drugs, are they the gateway to greater self knowledge, an enhanced appreciation of the natural world, and deeper empathy and interpersonal connections? Or merely a risky doorway into schizophrenia and mental illness? Today we look at some of the psychological research into psychedelics and speak with Alexander Lentjes of the Irish Psychedelic Society. Can we have a productive discussion, or will the incommensurability of academic psychology and psychedelic consciousness reduce us to gibbering stoned apes. Find out in the latest episode of Psychology in Mind.
Links to Things Discussed
- David Nutt Controversy
- New Thinking Allowed
- Stephen Wolfram’s New Kind of Science
- Alexander’s Blog
- History of Psychedelics in Medicine
- Metta-Bhavana (Loving Kindness)
- Graham Hancock – Plant Consciousness and Psychedelics
- What Psychedelics really do to your brain
- The Power of Myth (now on Netflix)
- Cynical 4D Cinema Review
- Psychedelics & Psychosis
- Set & Setting
- Eternal September
Logo rendered in Blender, based on Brain by dgallichan, Bulldog smoking pipe beyondmatter and Felonous Fedora by Jacob Ragsdale.
Roger Gregg’s ‘The Music Unbidden’. a moving and surreal musical exploration of the world of performance poetry, has just brought home Silver in the Fantasy category at the 2018 Mark Time Awards. Congratulations to Roger and all the Cast for a well deserved win. The play was broadcast in late 2017 on Newstalk and was funded by a grant from the Broadcast Authority of Ireland. It was produced by Dead Medium Productions, and recorded at Crazy Dog Studios in Dublin. Sound engineer was Collette Kinsella. Below you can stream or download the award winning production. Congrats to Roger & all the cast and crew!
Download: The Muse Unbidden
CREDITS: ‘The Muse Unbidden’ was executive produced by Gareth Stack, writing / direction by Roger Gregg, recording by Colette Kinsella. The cast were Morgan Jones, Tiernan Kearns, Angel Hannigan, Sinead Fox, Katie McCann, Karen Ardiff and Roger Gregg. Music by Roger Gregg.
Funded by the Broadcast Authority of Ireland with the television license fee.