As we discussed in Part One of this series of articles, art direction plays a huge role in a music video. It can be easy to come up with big ideas and tons of props when you are working for prominent artists. But how to still get a fantastic art direction when you are working with independent artist and less money? To gain more insights, I caught up with director Drew Kirsch who has directed videos for Lil Yachty, Valentino Khan and more. Could you introduce yourself briefly? My name is Drew Kirsch, and I’m a director based out of Venice, CA. In the past five years, I have heavily focused on music videos. I’ve worked with artists such as Lil Yachty, Blackbear, Gryffin, Louis The Child, Bryce Vine, Quinn XCII, and more. Have you seen a change in the music and music video industry in the past years? To be honest, I jumped in the music video game long after a big change in the industry. Back in the day before the internet took over (NAPSTER days), music video budgets were huge! We now get about a third of the budgets music videos used to get. Music videos also used to be huge on MTV and now they only really have a strong representation on Youtube. Other than the budget, what is different to work for a label vs. an indie artist? The difference is there are fewer heads in the kitchen with an indie artist. It’s just the artist and me making the calls. Also, an indie artist is usually still being developed so there is more room to be creative. A record label has multiple heads making notes about the video. There are so many restrictions with a record label, for instance, a legal team. A legal team has to flag certain shots, so they aren’t at risk in terms of copyright. I’ve had them flag something as dumb as a lamp because they are worried the designer of that lamp may sue them. They aren’t willing to take the risk, but an indie artist doesn’t have as much to lose. How would you define art direction and the importance of it in your job? When I pitch a concept, I usually tell the artist and producer “the most important aspect to me is the art direction.” I come from the art direction world myself, and I heavily rely on it. Pretty much like a painting, I want to make the image beautiful! I always make sure we put a certain amount of the budget aside for art direction. I am particular about color matching in my scenes, and little visual cues that I believe make an image beautiful. On set for “No Limit” – Photo courtesy of Drew Kirsch How do you work on a concept for a music video? Do you rely on the art direction of the artist (or the label)? The record label usually gives me a track, and I pitch a concept/treatment. A treatment is a PDF full of reference images that explains how the video is going to look. Inside the treatment, I usually have a page for art direction, describing how important it is in the film, and what direction it will have. Do you look at what the artist did in the past or do you treat every project as a blank canvas? Initially, I start with a blank canvas and try not to look at any past videos, photos, songs, etc. I want a fresh idea in my head. Eventually, I end up watching to make sure I’m somewhat in line with their brand. I usually take a risk and pitch something that’s completely different from their past videos. Where do you usually find your inspiration for the treatment? In the pitch, in the music, in the artist? Finding inspiration for a treatment can come from many different places. It can be inspired by the message of the song, the tone of the beat, etc. Sometimes it will just come right away, and other times it can take days. I’ve listened to tracks over 500 times before figuring out what I want to do. I drive or walk around in public with my headphones in, looking at people and places trying to find a lead. Once I sat inside a Costco for 2-3 hours in one of those massage chairs, until I finally figured out an idea. Photo courtesy of Drew Kirsch In your treatment do you insert pictures, text, or do you prefer drawing some of your ideas? Most of my treatments are full of images from the web used as references combined with detailed text. I don’t usually draw anything because I’m one of the worst sketch artists on the planet. I wish I were able to storyboard my treatments, but I typically don’t have the budget to do so. How do you choose your color palette for a music video? I choose a color palette based on the idea or theme of the video. Of course, I have favorite colors, and I try to use those as much as I can. I love warm colors so if I’m able to incorporate those I will. Again, it depends on your story or idea. What would be your advice to make sure your treatment is successful and gets you the job? It’s about the idea. Don’t stress how beautiful your treatment is, and focus on why your approach is different from the rest. If you could pick one music video you are really proud of in terms of art direction, which one would you choose and why? I really like “Fake Denim” by Quinn XCII. My chief art director, Aunny Grace, worked her butt off peeling 100’s of labels off mustard bottles for a scene. I knew from the start I was going to stick with a color theme, which in this case was yellow. After I made that decision, we moved forward with developing aesthetics around the color yellow. Luckily, we found a location that fit in the same color scheme. I always wanted the camera to be moving because it matches the energy of the song. The scenes don’t have a ton of movement or action in them so moving the camera helps the video flow in my opinion. The lighting was a decision by my amazing DP Joe Butler. I told him I wanted “even” light and nothing moody or over the top. For this video, the point is to see the details in the art direction, so making sure everything is lit and not lost in the shadows was important. The editing was super simple for Fake Denim because I knew where I wanted everything in the edit before we shot. It was all mapped out beforehand and timestamped to the song. There aren’t any VFX or crazy editing tricks. It’s straightforward, minimal, and focuses on the performance. On the shoot, do you always stick to your treatment, or do you have room for improvisation? I mainly use my treatment as a blueprint, but there is always changes to the treatment on set. I’ve always looked at filmmaking as problem-solving. Depending on how the day goes, you have to be flexible with your initial treatment. If you could choose one artist to work with because you love his art direction, which one would you pick? In terms of an art director, I want to work with a guy named Brandon Mendez. In terms of music artists, I want to work with Tyler The Creator, but unfortunately, he directs all his own videos. Tyler’s videos are A+ when it comes to art direction. Photo courtesy of Drew Kirsch This second article is the last part of the “art direction in music videos” series. I personally want to thank Cole Walisser and Drew Kirsch for taking some time to answer my questions. What was your most creative independent project? Did you find this article useful, and would you like us to do more of them? Let us know in the comments down below!

Ollie Kenchington, cinema5D contributing writer, lead colorist at Korro Films and Blackmagic Certified Trainer at Korro Academy, has recently released his second color-grading course on MZed, called “Mastering Color” (reviewed here). We took the opportunity to ask Ollie a few questions about color grading, his start in the industry and some useful advice he would give to aspiring colorists. Here are his answers. Ollie Kenchington – Lead colorist How did you get into color grading? OLLIE: I’ve been professionally color grading for over a decade, but I knew that I wanted to be a colorist after I watched a making-of documentary for the Lord Of The Rings: The Fellowship of the Ring, back in 2002. There was a segment about Peter Doyle, who was the senior colorist on all of the Lord of the Rings films. I remember there was a scene in the mines of Moria, and Peter was color grading Legolas’ eyes, to make them look more blue. He tracked the eyes as Legolas jumped off Balin’s tomb, and I remember being absolutely amazed by it and just thinking to myself that that’s what I wanted to do. So I did some digging and found Peter’s email address and contacted him. Amazingly, not only did he reply, he actually offered me a job as his color assistant on the Return of the King! So I’m the idiot that turned down the Return of the King and the Prisoner of Azkaban. Not the most auspicious start to my career! Unfortunately, for various reasons, it didn’t work out, and I never got to fly off to New Zealand. However, about a year later, Peter came to London and contacted me. He said he had another big project coming up and it would be great if I could be his color assistant on this new project. Agonizingly, I decided to turn him down because, by that point, I had a well paid job working with Apple and also wasn’t sure if I wanted to limit myself to just color-grading, when I loved editing and shooting so much too. I later found out that the film he was asking me to work with him on was the Prisoner of Azkaban (Peter Doyle went on to color grade all of the rest of the Harry Potter films, and a long list of other huge films), so I’m the idiot that turned down the Return of the King and the Prisoner of Azkaban. Not the most auspicious start to my career! How did you talk Peter Doyle into actually giving you a shot? OLLIE: I think he appreciated the fact that someone gave a crap about color grading! These days everyone knows about color grading, but back then (2002/2003) digital color-grading was still in its infancy. I think he was just flattered that someone saw that DVD and was interested enough to internet stalk him and find out his e-mail address! I think it was as simple as that, just good timing. What would be the best way to get into color grading nowadays, in your opinion? OLLIE: I would say the best thing to do is just grade everything and anything you can! There will always be at least two or three short films, documentaries or passion projects being made somewhere near your location, at any one time. Anyone making a film on a shoestring budget will be desperate for people to color grade their projects. Building up a portfolio is the most important step in showing people what you can do. Whilst you develop your own style and build up your showreel, you also need to thoroughly study the tools and the theory behind your craft. I’m not saying bury your head in books and forget to work, you’ve got to get the balance right, but you need to develop your technical understanding and creative flair at the same time. …if you can find a really good DP, someone that you really admire, that would be helpful. If you can get a relationship with them and get into the position where they want you to grade their work, and they’re shooting high quality content, that makes you look great, then that’s a real bonus. Once you think you’ve mastered one aspect, take it up a level, dive deeper, research more, look what other colorists are doing and refine your skills. Get out there and network and meet other filmmakers and, if you can find a really good DP, someone that you really admire, that would be helpful. If you can get a relationship with them and get into the position where they want you to grade their work, and they’re shooting high quality content, that makes you look great, then that’s a real bonus. Because, unfortunately, you could be the world’s best colorist, but if you only work on really low budget productions and poor quality footage, it doesn’t look good in a showreel and it doesn’t look good as a showpiece for your talents. Which actually is ridiculous, as it takes more skill to make something poor look good, but unfortunately that’s the reality of it. So the better looking the footage that you can work with, the better your work will look. So yes, finding a good DP or director to buddy up with is a great step. How would you weigh the importance of technical knowledge vs. aesthetic feel and experience for a colorist? OLLIE: I think, although in other areas of filmmaking experience may trump technical skill – certainly I know loads of great DPs who aren’t very technically minded – I do feel that a colorist’s job is to be that person in the production and post-production workflow that is the technical person. They are the one that needs to know everything there is to know about gamuts, gammas, compression, how additive color works, how the human visual system works – a professional pixel peeper! I do feel that a colorist’s job is to be that person in the production and post-production workflow that is the technical person The thing that appeals to me about color grading is that it is such a nice blend of technical and creative. I enjoy both elements of it and I do think that a colorist, more than possibly anyone else, has to straddle that divide. They must be able to create depth in an image and richness and vibrance and support a narrative and all those creative things, but also understand the tools and the mechanics of it all. I don’t think you can be a colorist if you don’t have a grasp of both parts of that. What is the best way to keep up-to-date as a colorist, apart from reading 1000+ pages of ITU specifications? OLLIE: I think a lot of reading, a lot of following certain people and what they put out there. I read a lot of white papers. When I started out I read loads on Wikipedia about what the difference is between gammas and gamuts etc. I really want to stress, though, that I’m not talking from the point of view of somebody who now knows it all! I’m acutely aware that I know a small percentage of what there is to know and there are other people out there who know a hell of a lot more than I do. I am constantly learning from those people and relish the chance to be in a room with someone cleverer than me! For me personally it’s a culmination of lots of different sources over many, many years I think it really helped me, studying photography at college, to gain a good understanding of basic photographic techniques, particularly around exposure. There’s also a lot of understanding about color theory that I learnt through my fine art education. So for me personally, it’s a culmination of lots of different sources over many, many years. Going back to doing color theory sessions on my foundation course at art school in 1999, and everything that’s happened between then and now. And I’m aware that there’s so much more for me to learn, but it’s not like there’s one book that you can buy or there’s one course you can follow, it’s about tackling it all in stages and then slowly, over the years, connecting the dots and putting that into practice. See what happens when you try these things out. When you try and color grade for HDR for example, you can read endless sources of information about HDR, but until you’re actually doing it with an HDR monitor, it doesn’t make a huge amount of sense. What distinguishes a good colorist from a bad one in your opinion? OLLIE: I think that, overall, the most important thing is how good are they at taking a step back and seeing how their work affects and supports the narrative. A good colorist understands narrative structure, understands the impact of color on that structure and understands the importance of continuity within that structure. In a way, it’s the stuff that’s less obvious, it’s the stuff that’s more hidden and certainly it’s the stuff that’s less sexy. When you see those really cool tutorials about grading on YouTube, often the footage is really beautiful and fantastically well lit and they’re often working on just one shot, almost treating it like a photograph. Yeah, it may be impressive in the end, but that doesn’t tell me very much about that person as a colorist. It doesn’t tell me how well they work with the director and the DP, or how well they communicate with clients. Those are the sorts of things that I see in other colorists as a sign of their pedigree, far more than actually the look of their work. A good colorist understands narrative structure, understands the impact of color on that structure and understands the importance of continuity within that structure. In a way, it’s the stuff that’s less obvious, it’s the stuff that’s more hidden and certainly it’s the stuff that’s less sexy. Can a colorist have a style? OLLIE: There are definitely things one can do with contrast and colors, playing with skin tones and other ‘memory’ colors, where everyone knows what it should look like, as well as working with certain palettes of colors, to establish a style. But, going back to what I’ve just said, if that style is arbitrary and it exists across multiple films for no reason, other than so you can say, ‘here is my style’, then I would argue that they’re not a particularly good colorist. If I think back, across all of the stuff I’ve graded over the years, there are very few of them where I’ve used the same style. In fact, most clients just want the image to look its best, they don’t want a style pushed in at all. The clients that do want a style, tend to have very specific notes about how skin tones are treated, how blacks are treated, how whites are treated, how greens and reds are treated, or how skies are treated. They don’t come in saying “I want orange and teal” or, “I want the Wes Anderson look”, because that’s arbitrary. It would be like creating a script by throwing in dialogue that you’ve taken from other films, and hoping that it makes a unique and original script. It doesn’t work that way. What was the intention behind your ‘Mastering Color’ course for MZed? OLLIE: My goal was to create a series of modules that identified and broke down the broad steps a colorist would take when developing an image. I wanted the concepts and workflow to be the star of the show, rather than the software, hardware or demo material I was using. I hope that these lessons can be used as a solid grounding in the art and science of color, upon which amateur colorists can build and develop their software skills, no matter which software they use. It is not intended to be a DaVinci Resolve course, as there are already tonnes of tutorials out there that show you which buttons to press to do x, y or z in Resolve. In my opinion, before you learn how to press a button, you should learn why you are pressing that button, and that’s exactly what ‘Mastering Color’ sets out to do. Thank you for your time Ollie! Ollie’s course is on MZed now. There are 7.5 hours of lessons (plus over 20GB of downloadable resources) in the course, and the first lesson is free to watch. FULL DISCLOSURE: Ollie Kenchington is my fellow contributing writer to cinema5D. However the interview given here, was not influenced by that. Are you a budding colorist? Does this answer some of your questions? Would you like more interviews like this, explaining different nuances and areas of the industry? Do you have other questions for Ollie? Let us know in the comments!

We watch and listen to music for hours every day, and music videos are everywhere. As content creators, some of us also film/direct/edit music videos, may it be for fun or for a living. I caught up with director Cole Walliser, who has directed videos for P!nk, Katy Perry, Laura Marano, and a bunch more. We discussed one aspect of a music video we don’t always think of: art direction. Photo courtesy of Cole Walliser A Quick Tour of the Music Industry Today it’s hard to really stand out as an artist in the music industry. New songs and new trends come and go, but music is now a consumer good. You listen to an artist’s album and just move on to another artist on a daily basis. Also, it’s difficult to draw attention without a video to go with a song. With YouTube being the second most popular search engine after Google and one of the biggest music streaming platforms in the world, new music videos pop up every minute. Of course, it’s amazing because you can now easily discover new artists and new music. With these new content marketing needs, an entirely new era of young directors came out. At the same time, a new “trend” also came in with all the cuts in budgets allocated to music videos. Thankfully, technical costs, i.e. film equipment for making a music video that looks “cinematic” also dropped drastically. It started when Canon introduced the DSLR revolution in 2008, thanks to the Canon 5D Mark II. The production costs continue going down, and the technical possibilities are still expanding. It’s an amazing time to work on music videos. Photo courtesy of Cole Walliser What It Takes to Make a Good Music Video I ask myself that question a lot: What distinguishes a good music video—one you’ll want to watch over and over—from just an average one? Of course, there are a lot of aspects involved and also personal tastes. The number one factor is probably the concept or story behind the music video. But for this article, let’s just focus on the more artistic part. So you wrote your treatment, and everyone is happy with it. The day of the shoot, you have a lot of things to think of, especially with small crews, because low budgets usually mean fewer people on set. You are on set, and you try to focus as much as you can on your lighting because as everyone knows, it can really make or break a music video. It goes the same way with camera movements, acting, editing, color grading, and so on. But there is one thing we usually don’t think of because we are too much “into it.” And I have found that all those components—lighting, camera, editing, etc.—have one thing in common: art direction. Photo courtesy of Cole Walliser Why Art Direction Is Crucial Personally, I think the art direction is one of the most important parts of a music video. When I talk about art direction, it’s not just a color theme or some outfits for the artist. It’s a comprehensive package that will drive you through the entire project. You have to think about it in the early stages of your project & treatment, and your proposal about art direction should definitely be in your treatment. If you have doubts about your type of lighting, your choice of gels, your camera angles, or how your editing should look, you can always come back to the art direction that you defined at the beginning of your project. But again, that’s just my point of view. In order to gain more insights about it, I asked Canadian director Cole Walliser what he thinks about art direction in general. Could you introduce yourself briefly? My name is Cole Walliser, I am a Canadian director living in Los Angeles. I’ve directed videos for Pink, Katy Perry, Tinashe, Laura Marano, and more. I work a lot in the beauty space and also direct commercial and digital content for CoverGirl, Pantene, Almay, Revlon, and others. For you, what differentiates a “good” music video from an average one? That’s a good and very subjective question! Typically, videos that I find “good” are the innovative ones. They do something a little different. That’s probably why I think videos by the Daniels are always so amazing, but I also find myself liking very simple videos that just hit the nail on the head as far as tone and style that match the music well. You don’t need to be all fancy and crazy—if the visuals match the emotion of the song, I find I’ll label it as good. Have you seen a change in the music and music video industry in the past years? Absolutely! The advent of smaller and cheaper digital cameras changed no other aspect of filmmaking more than music videos. Suddenly everyone is a director, and everyone has a music video. I actually view this as a good thing (despite budgets also getting smaller and smaller). Photo courtesy of Cole Walliser How would you define art direction and the importance of it in your job? For music videos, it is paramount. A music video can be called good with zero story but amazing visuals. The same cannot be said for films, TV shows, or even commercials. Defining art direction is a little harder—it’s anything that denotes what the video should look and feel like. How do you work on a concept for a music video? Do you rely on the art direction of the artist (or the label)? It varies with every job. Sometimes labels or artists have a very specific vision, and it’s up to you to repackage that vision into feasible and creative production. Often it’s very loose, and they want you to interpret it. (We want an unconventional love story, or strictly a performance on a beach, for example.) And then sometimes they just give you the song, and you gotta come up with it all! For you, what aspects of a project art direction are most influential? Camera and lenses selection, lighting, camera moves, editing, color grading, or all of these? Personally, I view art direction more like the overall look and feel and production design. It can involve lens selection (if there are specific shots that pertain to the concept’s creative direction). It also can denote the choice of a camera: maybe the idea is to creatively shoot a whole section on 16mm. It all boils down to this: if the visual idea denotes what camera, editing, or color need to be used in order to execute that concept, art direction can dictate what those should be. Do you think new directors should focus more on art direction nowadays to improve their work? I think directors can do a lot of things to improve their work! Not that I think we are generally sub-par in any way, but because it’s always an evolution. You are always learning as a director, so I would say art direction should not be excluded from that, but it’s just as valuable as any other aspect of production. If you are asking specifically about music videos, though, I would say it’s marginally more important, as MVs lean heavily on the art direction. Photo courtesy of Cole Walliser Do you give tips or insights to artists who are just starting out in the music industry about the art direction they should follow? I really love having these conversations with artists, and especially new artists who are defining themselves for the first time or redefining themselves. The only tip I have, really, is to look at the big picture—how does one want to be represented? Think about what makes an impact and will last, not just about what’s hot today. If you could pick one music video you are really proud of in terms of art direction, which one would you choose and why? I think it would be the first Tinashe music video I directed. She was just starting out as an artist, and we had very little money. We bought a bunch of Home Depot lights to recreate Maxi-Brutes and shot a dance video in a single warehouse location. Tweaked the color a lot in post-production. I thought it came out really dope! If you could choose one artist to work with because you love his art direction, which one would you pick? Hard to say! I love working with women artists because I feel like you can do more with them. They can be bright, dark, strong, soft, beautiful, fierce, etc… For better or for worse, the range can be so much more dynamic for female artists these days, and with that said, I’d say of course Beyonce. One last thing you’d like to add? Thanks for giving me the opportunity to share my thoughts about art direction… I’m going to go think about it a lot more on my next projects now! Photo courtesy of Cole Walliser Part Two is coming with another interview and more insights about art direction in the music video industry. Do you work on the art direction treatment at the early stage of your project? Did you find this article useful, and would you like us to do more of them? Let us know in the comments down below!

At Photokina, we talked with Mister Dayong Li – chief lens designer of Venus Optics, the company behind Laowa branded lenses. Well known for their unusual unique lenses, they recently introduced their first cinema zoom lens. The company wants to further specialize in deveolping unique lenses for photographers and filmmakers. The company Venus Optics (full name – Anhui Changgeng Optics Technology Co., Ltd) was established in 2013. Their headquarters and manufacturing facility is in Hefei, in the eastern part of China. They are mostly known for their line of lenses called Laowa. We previously reviewed some of their popular lenses. Last year, we took a look at their micro four thirds ultra wide angle 7.5mm f/2 lens (link to our review). This summer, my colleague Nino reviewed the unique 24mm f/14 snorkel macro lens, which took Kickstarter by storm and it should ship this fall (link to our review). The widest full frame zoom lens for E-mount – Laowa 10-18mm f/4.5-5.6 These two examples are somewhat communicating, that Venus Optics focuses on unique and unusual lenses rather than introducing classic focal lengths. This year’s Photokina was a very important show for the company behind Laowa lenses. They announced many new lenses. We reported about their first cinema zoom lens – The Laowa OOOM 25-100mm T/2.9 and four new lenses for micro four thirds (MFT) and Sony E-mount. We had an interview with Dayong Li – the chief lens designer and engineer from Venus Optics. Mister Li told us about the birth of the company. Their team of optical designers has more than 20 years experience and previously designed lenses for japanese and german manufacturers. Dayong Li himself has more than 15 years of experience designing lenses in Japan. He did not like the fact that the decisions about new lenses were coming from the management only and therefore he decided to start the Venus Optics. The widest circular fisheye lens for MFT – Laowa 4mm f/2.8 Laowa lenses are being mainly designed based on the ideas from the photographers community. Mister Li tries to keep in touch with the community, listens to their needs and ideas and transforms them into new unique lenses designs. We talked about new trends in the lens industry. Mister Li acknowledges there is a big growth in smartphone photography nowadays. He still sees a high demand and bright future for professional cameras with bigger sensors and Laowa will continue to produce unique lenses for these cameras. Especially, Mister Li sees big potential in the mirrorless cameras. They are getting smaller and better and Laowa will focus on this segment of cameras. Laowa’s first cinema zoom lens – Laowa OOOM 25-100mm T/2.9 Another core trend for the company is growing cinematography market and therefore Laowa will further focus on development of cinema lenses with high quality and high resolution. The OOOM 25-100mm T/2.9 cinema zoom lens is Laowa’s first try to position themselves in the area of high quality parafocal cinema zooms with no focus breathing and great build quality. In the future, Laowa wants to develop a wide angle and telephoto cinema zoom lenses as well. The company also wants to develop a good autofocus technology for their zoom lenses. Do you own any lens from Laowa? How are you satisfied with the optical quality and overall usability of the lenses? What do you think about their newly announced products? Let us know in the comments underneath the article.

SIGMA has announced interesting news at Photokina: The development of their own SIGMA full frame camera, joining the L-mount alliance and is introducing five new lenses. We interviewed SIGMA’s CEO Kazuto Yamaki and asked him about the future of the company. During Photokina, SIGMA  announced joining the L-Mount alliance (our article here) together with Panasonic and Leica and they released five new lenses (here’s our post). Furthermore, they are developing their own full frame camera. The CEO of SIGMA, Kazuto Yamaki, shared some interesting information with us, about the current and future projects of his company. SIGMA Full Frame Camera Having a full frame camera in the portfolio kind of became fashionable for big camera and lens companies this year. So many companies are either releasing their full frame camera or announcing the development. It was interesting to hear that even SIGMA will be joining the full frame segment. Kazuto Yamaki told us, that SIGMA already started this project three years ago when they decided to develop their own full frame sensor. The sensor is still in development, but it seems like it will be used in the upcoming L-mount cameras. In regards to the video capabilities of SIGMA’s new camera, we were not able to get any information due to the early stage of development. It is, however, planned to be released in 2019. L-Mount Alliance For their upcoming full frame sensor, SIGMA initially wanted to develop their own mount with short flange focal distance (for slim mirrorless bodies). In the end, SIGMA decided to join forces with Panasonic and Leica and work on the L-Mount together. All three companies of the L-Mount alliance – Panasonic, Leica and SIGMA – are manufacturers of both, lenses and cameras. We were informed that each company in the alliance is in the process of developing their products separately, not disclosing their product roadmaps to each other. However, they work together on making the L-Mount robust and providing enough lenses and accessories for it. In regards to new Nikon and Canon mirrorless mounts, SIGMA is interested in producing lenses for those in the future. For now, the L-Mount lenses are a priority for the company. New SIGMA Lenses Last but not least, SIGMA announced five new lenses here at Photokina 2018. Three prime lenses – 28mm, 40mm, 56mm and two telephoto zooms – 70-200mm and 60-600mm. We published a separate article about them with more information (link here). What do you think of SIGMA developing their own full frame camera? Do you plan on buying any of SIGMA’s new lenses? Let us know in the comments underneath the article.

cinema5D and Olympus Europe are proud to present the 5th out of six episodes of Perspectives on Filmmaking: a discussion between leading filmmakers who endorse working with compact tools in their film productions. This time: is too much technology enabling or preventing creativity? In case you missed the first episode, please watch it by clicking here, the 2nd one here, the 3rd one here and the 4th one here. Does too much technology prevent us from doing things? We start off this segment by talking about how overwhelmingly overused some pieces of technology are in filmmaking when they come out – Steve Won mentions the omnipresence of sliders when they were first released. Janne Amunet and Florian Lein mention how limitations actually make you better. As Janne points out, when advanced technology becomes available to everyone in the future, the only thing that will make you stand out from the rest will be your skills. I threw in how more equipment actually slows you down, and how more gear often means shooting less and missing more opportunities to produce content. Smaller cameras are definitely more versatile in terms of how fast they can be deployed and where you can shoot. Noaz Deshe points out how larger crews and bigger resources make you slow – unless you move onto REALLY big sets where also big cameras can float around. Florian adds that the same is true for post production: a lot of people neglect it and don’t see how heavier files slow everything down massively, often without any additional benefit for those kinds of productions. Janne mentions the importance of having a good plan when shooting: limitations and proper planning can actually make you much more creative, and help you build a film language. “If you have a plan, you can improvise.” Steve Won mentions his experience with shooting on film in film school, and how much it forced him to plan a shoot meticulously. Stay tuned for the next and final segment of Perspectives on Filmmaking coming next week, where we will discuss the future of filmmaking technology and the future of each of the guest filmmakers at the table. 

cinema5D together with Olympus Europe is proud to present the 4th out of six episodes of “Perspectives on Filmmaking”. A discussion between leading filmmakers who endorse working with compact tools in their film productions. This time: Are film festivals still relevant, and how can you find your audience?  In case you missed the first episode, please watch it by clicking here, the 2nd one here and the 3rd one here. Finding an Audience for Your Films In the beginning we are talking about how to actually find an audience for your films in this day and age – is it not enough anymore to be a good filmmaker, what do we (filmmakers) have to do to stick out of the crowd. Noaz Deshe thinks that good content – if you do your best – will find its audience automatically. Dirk Wilutzky says mass audiences aren’t important – it should just find the audience it’s intended for, and you can help by making the best film you can. He thinks that surrounding structures should do the marketing work, filmmakers should be able to focus on the filmmaking alone. Noaz thinks the film needs to “get his own life” and be good enough to take care of itself, through word-of-mouth and other measures. He says crowd sourcing in dangerous, because you show something in a very sensitive time when it’s probably not ready to be presented – to which Dirk replies that you don’t actually have to be honest about your final product when looking for crowd funding, you can always alter your plan and make something differently. Dirk thinks there is a lack of education for people who want to go into marketing for films, and there should be universities specialized on that. Jannes Amunet chimes in and says that passion is addictive, and that this passion that you radiate when making your film can radiate to your audience and excite the audience about that. Are Film Festivals Still Relevant? I raised the question if film festivals are still relevant – and if they aren’t actually preventing the film to be seen by a mass audience because often films can’t be online or available for people to see while they are still in the festival loop. Noaz replies that a film will “tell you” where it wants to be seen, and that it often is kind of clear where the film will end up ideally and find its audience. Putting Your Work Online We talk about how Vimeo offers the an incredible amount of great filmmaking work for everyone to see, and so much inspiration. Janne mentions the “fear of rejection” that filmmakers often have, and he himself has, because he is a perfectionist. And that’s why a lot of people actually don’t put their work online, which in my opinion is a mistake. There are countless ways in which “free” passion projects that I put online in my career have let to big jobs and other shoots, connections and people that I would otherwise never have met. It’s a classical example of gaining more through sharing. In next week’s episode, we will be talking about whether technology is more enabling or more preventing from creating content in new ways. 

cinema5D together with Olympus Europe is proud to present the 3nd out of six episodes of “Perspectives on Filmmaking”. A discussion between leading filmmakers who endorse working with compact tools in their film productions. In case you missed the first episode, please watch it by clicking here, and the 2nd one here! In this 3rd episode of “Perspectives on Filmmaking”, we talk about how some manufacturers seem to “neglect” their “small cinematic camera” market completely, because they were almost created by accident in the early days, 8 or 9 years ago. We go on to talk about shooting music videos – and the way of making them work financially as there usually isn’t a lot of budget. Florian Lein talks about shooting an improvised music video for the major artist Macklemore. Noaz Deshe mentions how the challenges, restrictions and accidents – being technically or otherwise – are actually gifts for the final product. He likes to work the tools until they break apart, to find their limitations. The journalistic piece he saw shot on a DSLR when they came out impressed him, because he saw a kind of access that he didn’t see before because of the look and the size of the tool. OLYMPUS DIGITAL CAMERA Dirk Wilutzky mentions how he was preparing big Hollywood films like Mission: Impossible 3 and similar projects, but then found it a more interesting challenge to work on smaller projects as a producer – and he really always wanted to work as a director. Then he started with very small projects because of the availability of small tools, and he says there are no limits to filmmaking anymore. I posed the question of the “cinema form”, whether it’s something everyone is only obsessing about? Dirk agrees that right now, people should focus on the shorter form which becomes more prevalent in our world, and is actually a bigger challenge than shooting long films. Noaz disagrees that people do this job to put food on the table – he says that people do it because they “hate not doing it” – the filmmaking process. “It’s good if the things that are weighing you down don’t anchor you, and you can be light and deal with people instead of things that drag you.” In the next segment of “Perspectives on Filmmaking”, we talk about marketing for films – do filmmakers have to be their own marketers for their films?