1. BitterSweet Teaser Trailer | Short Film

    00:32

    from James Davis / Added

    604 Plays / / 0 Comments

    We all have that typical, simple or sophisticated relationships in our lives but in Jessica's story, she has her own way of dealing with these emotions. A cliché love story... Cast: Yunee Kim and Dan Gilbert Crew: Ryan Bustamante, Paul Lazarra, Joe Cruz, Vei-Len Grantham, Ben Holloway Canon 6D with VisionColor Picture style profile Duclos Carl Zeiss Cine Lenses and Sigma 24-105 Edited in Adobe Premiere CS6, Filmconvert 50% Film grain, Impulz

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    • Night Light

      03:02

      from Namar Burton / Added

      300 Plays / / 0 Comments

      A time-lapse of the night's lights. Featuring the music of Brennan Villarreal https://soundcloud.com/brennanvillarreal

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      • Zeiss Otus 85mm f/1.4 Comparison Test

        01:42

        from Matthew Duclos / Added

        2,016 Plays / / 2 Comments

        A quick test comparing the following lenses, all shot at f/1.4 Rokinon 85mm f/1.4 Zeiss ZF.2 85mm f/1.4 Zeiss Otus 85mm f/1.4 Canon CN-E 85mm T1.3 (shot at f/1.4) This test shows some pretty obvious differences in bokeh, but really doesn't do the vastly superior performance of the Otus any justice. Check out some more details on the Otus compared to other lenses here: http://duclos.tv/otusreview

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        • Vintage Lens Test on Red Epic-X

          09:00

          from C-Side Productions / Added

          3,733 Plays / / 2 Comments

          Test of a series of Vintage lenses to see their inherent qualities and specifications in comparison with each other. Were tested: Lomo anamorphics 35 (square front), 50 and 75mm T2.5, Cooke 20-200 T3.1, Angenieux 25-250 T3.9, with and without a Schneider/Century Optics PL doubler Nikon 80-200mm T3 (Allstar PL rehousing) Tokina 11-16mm T2.8 (Duclos PL rehousing) Song credit : "1959" from the movie Intimate Enemies by Alexandre Desplat So as to have a measure of comparison, the Lomos were shot in Anamorphic and all the other lenses were shot in WideScreen mode 5K, except for the Angenieux which does not cover and was therefore shot at 4K. All shots had an identical color setting applied to them in DaVinci Resolve on a DCI WideScreen timeline (2048x858) before being exported in 1920x1080 letterbox. The camera settings are specified below each shot. We discovered the aspect ratio was different between the three different formats. 5K 1.22 Ana is 1:2.37 while 5K WS is 1:2.44 and 4K WS is 1:2.39 which matches the DCI specs. So as to have matching sized frames, the top and bottom of the 5K WS images and the sides of the 5K 1.22 Ana image had to be slightly cropped. Side note: No filters were used. The PL doubler causes a loss of 2 stops and softens the image somewhat like a Soft FX filter (we confirmed this on other lenses). The shot with the Nikon 80-200 has a change in exposure due to an operation error. All other shots were done between T4 and T5.6

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          • Michelle Pier: Tip of the Brush | Artist Spotlight

            03:33

            from James Davis / Added

            1,098 Plays / / 3 Comments

            Michelle Pier is a talented artist who loves to paint. This is her quick highlight, the person behind Creative Indeed. It was an honor to work with one of Guam's finest artists. Special thanks to my girlfriend Maryann Benavente for helping me. Also Theo and Danielson for the last minute grip work. Thanks to iFit for location. Locations: Agat Marina, Talofofo Mt. Layon Filmed, Edited and Directed by James Davis Camera: Canon C100 Lens: Duclos Lenses Carl Zeiss ZF.2s, Canon EFS 17-55mm and Canon EF 100mm Macro NLE: Adobe Premiere CS6

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            • Gremsy H10 gimbal on FlyLine cable trolley

              00:32

              from Dale McCready / Added

              418 Plays / / 0 Comments

              A first quick test to check the remotes were both working well on the H10 gimbal and FlyLine camera trolley. I've come to really like the Spektrum DX8 controller on the trolley as the joystick spring and tension is so configurable. I'm hoping to get the rig up in the air shortly, but it's all working very well together.

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              • GA SNOW 1/28/14

                01:29

                from MATTHEW MACCARTHY / Added

                Originally shot in 4K, converted to 1920x1080 for Vimeo. It was snowing in GA on 1/28/14. I had a 4K camera so I shot and edited this pointless video. Enjoy! Below are some specs for camera geeks: Camera: Canon 1DC Format: 4K Motion JPEG converted to Apple Prores 422HQ Lenses: Nikor 80-200mm Zoom, Zeiss ZF 85mm 1.3 ISO: 400 Shutter Speed: 1/48 White Balance: 5600k Gamma: C-Log No your eyes do not deceive you. I used a Nikor Zoom and a Zeiss ZF lens on a Canon Camera. I had them converted to EF mount and had focus gears put on as well as an 82mm diameter front ring at Duclos Lenes in LA. http://www.ducloslenses.com Check out their Cine Mod service. It's awesome. The aperture ring for EF mount Zeiss Lenses cannot be de-clicked which is no good if you want to finesse your exposures with true precision so I had a set of ZFs converted. In addition to the ability to de-click the aperture ring, Nikor Zooms are better than Canons in my opinion. I know everyone loves their Canon 24-70 zoom but I much prefer my Nikor 28-70. Here's a video I shot with it, make sure you watch in 4K: https://www.youtube.com/watch?v=a--Wq-Zd6X4 All of the shots in this video used the Nikor 80-200 except for the very last shot which was the Zeiss 85mm opened up to a 1.3. I kept the ISO at 400, you would not believe how dark it really was. That Zeiss is a light tunnel! I hope you find this info useful.

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                • MoVI JIB Test

                  03:32

                  from Dylan Law / Added

                  2,318 Plays / / 3 Comments

                  RED Epic Duclos 11-16mm T2.8 MoVI M10 w/ Ninja Star Adapter Porta-Jib

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                  • WONDERBLOG 'DUCLOS MULTI-MOUNT'

                    01:30

                    from Andrew Wonder / Added

                    942 Plays / / 0 Comments

                    DP Joe Victorine (http://joevictorine.com) shows us just how easy it is to use the Duclos Multi-Mount on the Canon 30-105mm Compact Zoom (http://ducloslenses.com/collections/canon/products/canoncompactcombo) As you can see in the video changing the mount is simpler than most household chores. We tested both EF and PL mounts to see if back focus was maintained when switching in the field and with our copy it was dead on. This is a huge deal for us because previously we've had to deal with having different camera bodies with different mounts for our shoots. On our first spot together for NX Level, Joe turned me on to the beauty of the Leica R lenses. After a few days with them on an Epic I was in love and bought a set. I always pull by hand (years as an AC made me hate follow focus wheels) and at Joe and AC Soren Neilsen's suggestion I had the lenses cine-moded by Duclos. It was great to have an expert put on the EF mounts and collimate the lenses for me. Though I'm not using a follow focus, having the focus gear means less of my hand fumbling as I find focus. I chose not to have my lenses de-clicked because since I am usually making changes from behind the camera I use the clicks to see which stop I am at on the lens. It's a handy trick to make it so you never have to take the camera off your shoulder. One small note on the Canon Compact Zooms. The colors on these zooms match the Leica R lenses and other older lenses very well. It also has the smoothest zoom ring I've ever used on a lens. With my hand I can pull a zoom almost as smooth as if I had a Micro Force controller. The only problem is that it's so smooth that I can't get a fast snap zoom with it. My only criticism of the Canon Compact Zooms is that the distortion can be kind of off putting. It's not extreme but if you get wide and close to someone's face or try to shoot a monitor straight on it's definitely there. Still the lens is very convenient and light, making it the perfect B Roll lens for down and dirty shoots. Combined with a Leica R 19mm or Zeiss ZE 21mm the 30-105mm will cover 90% of your shooting situations.

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