1. "Skateboard is not a fashion accessory " #GSDVAN13

    11:49

    from ch3f / Added

    1,004 Plays / / 3 Comments

    "Skateboard is not a fashion accessory". Short movie featuring Vancity's skaters on Go Skate Day Vancouver 2013 #gsdvan13. KEEP PUSHIN'!!!

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    • "Parking" - GH3 Panasonic - Low light test 2

      01:29

      from Emmanuel Pampuri / Added

      6,323 Plays / / 20 Comments

      Depuis que le firmware du GH3 est passé en 1.0 j'ai envie de filmer un peu plus ... Hier soir dans un parking souterrain, 2 voitures très différentes, une lumière blafarde mais intéressante ... un GH3, une optique leica ... l'occasion de tester vite fait l'image de ce petit boitier magique ... Since GH3 firmware is 1.0 I want to film more ... yesterday night 2 very different cars in a parking, opportunity to test GH3 high iso pictures with a 25mm f:1,4 Leica Shot with Panasonic GH3 + Leica 25mm Sumilux f:1,4 Iso 800 to 3200 mode perso Contrast -2 Detail -2 Color -5 Quicktime H.264 All I 72mb/s 1080p25

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      • Part2: NEX-7 vs. GH2 side-by-side video comparison (FullHD 50 fps version)

        03:30

        from Hacky / Added

        1,006 Plays / / 2 Comments

        After analyzing many comments to part 1 of the comparison here and on other places, it's time for an important update regarding resolution and moiré issues! Most of the comments critisized the stronger tendency to moiré of the NEX-7. On the other hand, many viewers remarked, the GH2 settings produced too much contrast, so that the GH2 video looked sharper but lost details in dark areas (shadows etc.). Some readers suggested to try different film modes on the NEX-7 as well as on the GH2 and to compare also to a hacked 720p50 mode. So I made another test with the NEX-7 set to "landscape" and to "vivid" film modes. The GH2 was set to "smooth". Another issue commented by many viewers was the remarkable difference in detail resolution. After a more detailed analysis of the source MTS files and the rendered output from Adobe Premiere Pro (CS5), I recognized that I was a victim of a misinterpretatation of the 1080p25 files by Premiere. The software interprets those files as interlaced footage and rendered only half of the vertical resolution to the output file resulting e.g. in much stronger aliasing. This happened only to the 1080p25 files (from NEX-7 as well as from GH2) but not to the 1080p50 or 1080p24 files. In order to avoid this when you create your own content, you will have to change the interpretation settings of the source files manually to "progressive" in Adobe Premiere Pro! This second video already takes into account that problem and the resolution of the rendered output (of the uploaded file) is now adequate to the original footage. The first part is replaced as well. Regarding the content of the second part: There were two cameras used, again the NEX-7 with Voigtlander Nokton ASPH 35mm/F1.2 (adapted with a Novoflex adapter) and one hacked Panasonic Lumix GH2 with Leica DG 25mm/F1.4 ASPH. There are two sequences in which the NEX-7 is compared to the GH2 mounted side-by-side on a tripod. The cameras were set to default contrast and sharpness but to different film modes at base ISO (160 for the GH2, 100 for the NEX-7), white balance was set to AWB. In the first sequence the 720p50 mode of the hacked GH2 (V1.0 with 36 Mbps) is compared to the 1080p50 mode (28 Mbps) of the NEX-7. The section of the GH2 video was subsequently upscaled up to 1080 lines. The shutter speed was set to 1/100s. The aperture was set at F5.0 on the GH2 and to about F4.0 at the NEX (due to its lower ISO sensitivity). The NEX-7 was set to film mode "landscape", the GH2 to "smooth". In the second sequence the 1080p25 mode of the NEX-7 at 24 Mbps is compared to the 1080p24 cinema mode of the GH2 patched to 32 Mbps. The shutter was set to 1/50s, aperture F7.1 at the GH2 and appxoximately F5.6 at the NEX-7. The NEX-7 was set to film mode "vivid", the GH2 to film mode "smooth". The interpretation of the 24p video was changed in Premiere Pro to 25 fps to avoid artifical frame inserts, as a result you see it sped up by 4%. Conclusion: The NEX-7 still produces remarkable more moiré as the GH2, the film modes "landscape" and "vivid" seem to have not influence on that. But as the GH2 video with film mode "smooth" looks less crispy and contrasty now (but preserves the shadows better), the NEX-7 videos gain some contrast and visible sharpness. In combination with the corrected interpretation of the 1080p25 footage, the 25 fps videos look much better now and the NEX-7 video quality comes closer to that of the GH2. Important note: The Vimeo video that you find embedded here is NOT applicable to judge the quality of the ouput of these cameras due to the fact that the original FullHD 1080p video was rendered with 32 Mbps to 50 frames per second (fps) and the video that Vimeo streams is re-rendered by Vimeo to 30 fps at about 4.5 Mbps. As a result, you will see a choppy video with less details and a lot more artifacts. So, to get a realistic impression, you will have to download the master file that was originally rendered and uploaded to Vimeo. If you are a registered Vimeo user, you find a download link on the Vimeo video page (please right click that link and select "Save to..." in order to download that file). This resolution and this high frame rate requires extremely powerful ressources from your playback equipment. Only systems that support hardware H.264 decoding on their graphics card will be able to play it without judder. The MediaPlayer included in Windows 7 supports many hardware accelerations of today's graphic cards, so chances are good with that player. VLC's support for H.264 hardware decoding are still experimental and must be explicitely activated in the VLC player's settings. You may switch to the 25 fps version of the video at: http://vimeo.com/36222761 (but please also download the source file there). For the sequences that were recorded initially in 25fps, the 25 fps version is fairly enough, only the 50 fps sequences loose some information accordingly. Please follow to the full article at http://3d-kraft.com/index.php?option=com_content&view=article&id=112:nex-7-vs-gh2-side-by-side-comparisonpart2&catid=40:camerasandlenses&Itemid=2

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        • Part2: NEX-7 vs. GH2 side-by-side video comparison (FullHD 25 fps version)

          03:30

          from Hacky / Added

          6,723 Plays / / 8 Comments

          After analyzing many comments to part 1 of the comparison here and on other places, it's time for an important update regarding resolution and moiré issues! Most of the comments critisized the stronger tendency to moiré of the NEX-7. On the other hand, many viewers remarked, the GH2 settings produced too much contrast, so that the GH2 video looked sharper but lost details in dark areas (shadows etc.). Some readers suggested to try different film modes on the NEX-7 as well as on the GH2 and to compare also to a hacked 720p50 mode. So I made another test with the NEX-7 set to "landscape" and to "vivid" film modes. The GH2 was set to "smooth". Another issue commented by many viewers was the remarkable difference in detail resolution. After a more detailed analysis of the source MTS files and the rendered output from Adobe Premiere Pro (CS5), I recognized that I was a victim of a misinterpretatation of the 1080p25 files by Premiere. The software interprets those files as interlaced footage and rendered only half of the vertical resolution to the output file resulting e.g. in much stronger aliasing. This happened only to the 1080p25 files (from NEX-7 as well as from GH2) but not to the 1080p50 or 1080p24 files. In order to avoid this when you create your own content, you will have to change the interpretation settings of the source files manually to "progressive" in Adobe Premiere Pro! This second video already takes into account that problem and the resolution of the rendered output (of the uploaded file) is now adequate to the original footage. The first part is rerendered and replaced as well. Regarding the content of the second part: There were two cameras used, again the NEX-7 with Voigtlander Nokton ASPH 35mm/F1.2 (adapted with a Novoflex adapter) and one hacked Panasonic Lumix GH2 with Leica DG 25mm/F1.4 ASPH. There are two sequences in which the NEX-7 is compared to the GH2 mounted side-by-side on a tripod. The cameras were set to default contrast and sharpness but to different film modes at base ISO (160 for the GH2, 100 for the NEX-7), white balance was set to AWB. In the first sequence the 720p50 mode of the hacked GH2 (V1.0 with 36 Mbps) is compared to the 1080p50 mode (28 Mbps) of the NEX-7. The section of the GH2 video was subsequently upscaled up to 1080 lines. The shutter speed was set to 1/100s. The aperture was set at F5.0 on the GH2 and to about F4.0 at the NEX (due to its lower ISO sensitivity). The NEX-7 was set to film mode "landscape", the GH2 to "smooth". In the second sequence the 1080p25 mode of the NEX-7 at 24 Mbps is compared to the 1080p24 cinema mode of the GH2 patched to 32 Mbps. The shutter was set to 1/50s, aperture F7.1 at the GH2 and appxoximately F5.6 at the NEX-7. The NEX-7 was set to film mode "vivid", the GH2 to film mode "smooth". The interpretation of the 24p video was changed in Premiere Pro to 25 fps to avoid artifical frame inserts, as a result you see it sped up by 4%. Conclusion: The NEX-7 still produces remarkable more moiré as the GH2, the film modes "landscape" and "vivid" seem to have not influence on that. But as the GH2 video with film mode "smooth" looks less crispy and contrasty now (but preserves the shadows better), the NEX-7 videos gain some contrast and visible sharpness. In combination with the corrected interpretation of the 1080p25 footage, the 25 fps videos look much better now and the NEX-7 video quality comes closer to that of the GH2. Important note: The Vimeo video that you find embedded here is NOT applicable to judge the quality of the ouput of these cameras due to the fact that the original FullHD 1080p video was rendered with 32 Mbps to 25 frames per second (fps) and the video that Vimeo streams is re-rendered by Vimeo at about 4.5 Mbps. As a result, you will see a video with less details and a lot more artifacts. So, to get a realistic impression, you will have to download the master file that was originally rendered and uploaded to Vimeo. If you are a registered Vimeo user, you find a download link on the Vimeo video page (please right click that link and select "Save to..." in order to download that file). This resolution and this high frame rate requires very powerful ressources from your playback equipment. Only systems that support hardware H.264 decoding on their graphics card will be able to play it without judder. The MediaPlayer included in Windows 7 supports many hardware accelerations of today's graphic cards, so chances are good with that player. VLC's support for H.264 hardware decoding are still experimental and must be explicitely activated in the VLC player's settings. If you have very powerful ressources you may try the 1080p 50 fps version as well, that you find here: http://vimeo.com/36224110 (but please also download the source file, as the Vimeo rendering to 30 fps is awfully choppy with a lot of judder). For the sequences that were recorded initially in 25fps, the 25 fps version is fairly enough, only the 50 fps sequences loose some information accordingly. Please follow to the full article at http://www.3d-kraft.com/index.php?option=com_content&view=article&id=112:nex-7-vs-gh2-side-by-side-comparisonpart2&catid=40:camerasandlenses&Itemid=2

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          • Panasonic GH2 V. 1.1 PAL HBR 1080p25 with Konica 50mm F1.7 low light

            00:16

            from Joscha van Bree / Added

            337 Plays / / 4 Comments

            (very) Quick Panasonic GH2 firmware version 1.1 low light test. Finally we have 25p! PAL HBR (1080p25) Shutter speed: 50fs ISO 640 Unchanged .MTS-file upload, No Noise reduction, no color correction Lens: Konica Hexagon AR 50mm F1.7 lens

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            • Golden Glow - The Cure

              03:20

              from BIG RED little red / Added

              614 Plays / / 0 Comments

              Artist: Golden Glow Song: The Cure Label: MushRecords Director, Camera, Film Editor and Grade: Mark Stokes Additional Direction and Camera: Matt Huxford Special Thanks to: Tim Royle: Whitenosugar Matt Hilton: Quarter Blue A Jolly Good Show Production © Pierre Hall & Jolly Good Show MMXI

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              • RSJ - Collectively We Are Tall

                02:37

                from Mark Stokes / Added

                16 Plays / / 0 Comments

                Artist: RSJ Song: Collectively We Are Tall Label: Copro Records, Hangmans Joke Currently #3 on the Scuzz video charts. Sky 374 and Freesat 503 rsj-noise.co.uk myspace.com/​rsj ______________________________________ Shot, Directed and Edited by MATT HUXFORD Online Edit and Grade: MARK STOKES A Jolly Good Show Production. ©RSJ & Jolly Good Show MMXI

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                • RSJ- Collectively We Are Tall

                  02:37

                  from BIG RED little red / Added

                  4,882 Plays / / 0 Comments

                  Artist: RSJ Song: Collectively We Are Tall Label: Copro Records, Hangmans Joke Peaked at number 3 on the Scuzz video chart and YouTube most watched at #20 www.rsj-noise.co.uk www.myspace.com/rsj ______________________________________ Shot, Directed and Edited by MATT HUXFORD Online Edit and Grade: MARK STOKES A Jolly Good Show Production. ©RSJ & Jolly Good Show MMXI

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                  • Beat the Radar- Animals

                    03:41

                    from BIG RED little red / Added

                    78 Plays / / 0 Comments

                    Artist: BEAT THE RADAR Song: ANIMALS Label: AKOUSTIC ANARKY Format: 1080p25 DSLR CANON 550D Offline: AVID MEDIA COMPOSER v4 Online: AVID SYMPHONY DX Director, Concept & Offline Editor: MATTHEW HUXFORD Online Editor: MARK STOKES Camera: NICK 'The Eye' Performance Lighting: ALBAN THOMSON © Akoustik Anarkhy & Jolly Good Show MMX

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                    • Happy New Year 2011 - Ein frohes Neues Jahr 2011

                      00:51

                      from Eric Deyerler / Added

                      633 Plays / / 0 Comments

                      Happy New Year 2011 - Ein frohes Neues Jahr 2011 A short test-videoclip made with my EOS 550 with Tamron 17-50 2,8-IS-lens. Ein paar Impressionen vom Jahreswechsel mit Feuerwerk in Schwabach OT Limbach www.ed-media.de

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