Point #1: the AF100 was released September 2010. I imagine an updated version would ship around two years later much like the HVX200/A difference of 2 years and 5 months (2 years 1 month for 60hz crowd)

Point #2: Sony attacked with the FS100: inferior build, design and control layout, but an exceptional image due to the same sensor technology found in the F3 but at roughly the same street price as the Panasonic

Point #3: those with the funds will gladly purchase a Canon C300, Sony F3 or even a RED Scarlet instead of three or four AF100s because of the Panasonic’s inferior signal, poor lowlight performance and highlight clipping

Point #4: Panasonic’s R&D needn’t do too much to compete with the rest of the crowd: 10bit 4:2:2 50mbps might just do the trick at ~$7,000 for an AF100 big brother (Canon XF305, anyone?), but to keep the same ~$5,000 price point, it might have to be around 8bit 4:2:0 35mbps (same as FS100). Still, I’d like to see an increase in dynamic range, sexier noise in lowlight and better highlight clipping. Even if 10bit 4:2:2 50mbps were possible with a $1,000 price increases, I’d pay it and so would alot of other people. We wouldn’t have to buy an Atamos Samurai for that $1,000…I’d rather give it to you, Panasonic, for the out-of-the-box solution. What I think sounds extremely reasonable is 10bit 4:2:0 50mbps with the same 4:2:2 SDI-out solution as before, but now with the added bonus of 10bits and 50mbps…all for ~$5,000 to keep up the competition with Sony.

Point #5: it just seems obvious…but, maybe too obvious…

I hope an AF100A, AF150, or whatever, is announced at NAB this year. I decided the Panasonic is the camera for me (shy of the expensive Canon C300…or an Arri Alexa while I’m dreaming) and if I need to wait till September-ish to grab the next, better version and it still costs ~$4900 then you bet I’ll be aiming at saving up for then (it might take that long, anyway). And if not, I’ll take the AF100 vanilla at whatever a new one costs at the time.

Why?

I like the Panasonic’s tonality, the noise is organic…the way it renders skin tones reminds me of Kodak film…and it doesn’t look down on me. Meanwhile, the Sony is a Sony and it’s a little too antiseptic…well, I don’t care for Nikon, either. Or Fuji film. Or drum solos.*

* Bonham/Moon/Peart not withstanding.

So, the girlfriend got into an accident with her Grand Am a few weeks ago. Other than a burn on her right hand from the air bag, she escaped uninjured. The car, on the other hand, was a total loss. A few days ago, she secured a used 2007 Suzuki Forenza. Earlier today on Facebook, she thanked me and her daughter for support. I joked that all we needed to do was to break it in with some illegal street racing. She said, “not even a little cute!!!” to which I replied, “Imagine a teddy bear driving it.” After a few hours in Photoshop, now we don’t have to imagine.

Click here to see how I did it.

I was asked to cover the birthday celebration of a woman who had just turned 80-years-old. We were standing in the shadow of Koko’s, the restaurant building where the party was being held, and I had the birthday girl’s daughter hold the photo behind her. Simple and fun!

Linda and I visited the 24th Annual Sandcastle Days at South Padre Island, TX October 21. It was great fun. As the sun set, we ate seafood at Dirty Dave’s.

See the rest of the photos here.

It’s time now for The Great Monthly Acquaintance Purge. If you’ve reneged on business, flaked on photo shoots, or anything slimy along those lines, Ima delete you. My time is valuable and my skills are well honed; I simply can’t be associated with people who refuse to appreciate that.

By the way, Facebook: I just saw The Social Network…finally. It was less about how you were created and more about how the two guys that created you stopped being friends. And that’s technically what the Acquaintance Purge is about: un-friending people.

So, if it’s tomorrow, you’re reading this and are feeling weird about it, that means you didn’t get deleted…yet. So if we’re on schedule for something, be there on time. If you can’t make it, call me. But don’t be a worthless, horrible flake.

To quote the Joker: “Aaaaand…heeeere weeeeeee…go.”

P.S., I haven’t blogged in a while – been busy. I’m back.

To North America: happy Thanksgiving! To the rest of the world: have a pleasant day! And to the Native Americans: sorry about the whole Manifest Destiny thing.

I was already familiar with the phrase “my man” before watching American Gangster, but I found there was something cool about the way Frank used the words in multiple situations to mean multiple things and with multiple attitudes that I began to use it as well during principal photography on my first feature film as director of photography, Wasted Away.

Vicariously on the set, the words would describe affection, respect, verisimilitude or just straight up joy. Members of the cast and crew even began saying the phrase in their own ways as photography pushed on as far as I now have a hat signed by cast member Captain Ya-Ya expressing the term to the point.

But nowhere else in the wonderful collection of people I worked with on the shoot can I describe with complete admonishment than my gaffer and key lighting technician Marcus Sanchez who was instrumental in delivering my lighting setups in a timely and efficient manner. With such a shoe-string budget and zero time to sweeten the shots, the lighting and composition had to be perfect from the start and I couldn’t have done it without Marcus skimming along the rafters of warehouse ceilings with hot lamps and walking bounce cards against salty, sandy winds.

Another key player who helped me describe the visual language of the film was production manager Mike Contreras. A former police officer, competitive marksman and resident jack-of-trades, Mike found most of the great locations, strange props, colorful wardrobe and rigged the pyro and other special effects featured in the film. Being a micro-budget crew, Mike also assisted Marcus as a genie. With his clear, methodical attention to detail and scurvy persistence, I couldn’t have shot this film as beautifully without Mike.

Assistant director Albert Mancha was a force of nature. At once emotional and level-headed, Mancha focused the production and straightened out the curves on more than one occasion. He was also a lead factor in story analysis and helping make sure the largely improvised film would make sense and engage the audience later down the line. Our meetings were always concise and creative and I can’t help but think where the film would be right now if Albert hadn’t been a part of it.

Joel Keith, our lead actor, had to endure so bloody much on the set. Though always prepared, consistently hilarious and a great sport, I really don’t know how he was able to put up with everything. Joel has a rock solid head on his shoulders, is a total class act and takes direction well. I see nothing but greatness on his horizon. Also, Joel was a great foil for me at the karaoke bar and it’s a rancid shame we never did that duet. Imagine: I’m Joe Cocker and he’s Jennifer Warnes. Next time!

Kristi Smith is beauty personified. From the dry sense of humor to her playful attitude, Kristi brought a lot of spunk and energy into the character of Joel’s muse. Charming, wonderful and a gracious host; hanging with you and Jonathon on Halloween was an absolute delight! I’m glad I drove back.

And the rest of the cast! One of my most fond memories is Linden Dalecki arguing with the director! Keep him straight, brah! To Charlie Clark: you display some damn fine acting work; it was great photographing you again. To the real life Bobby Zuhn: I didn’t know that was your actual name! To the hilarious Martin Garcia: a handful of awesome, and a joy and pleasure to work with. To The Brothers Pequino: Edward and Joseph, may your sandcastles stand tall against the tide. To Danica Rae Bird: what a sport! I wish we could have had more scenes with you. To Nathan Hubble: thanks for keeping us all sane for a few hours waiting for the sun to go down. To Captain Ya-Ya: I’ve never seen Marcus happier than the day he was on your boat! And to Melanie Arlt, the brave German country music singer who happened to be at the Island on holiday: the movie is almost done!

Then there are the Davids: Garcia and Rice, the director and producer of Wasted Away, respectively. Without them, I would not have had the opportunity to DP a feature film so early in my career and I thank them both for their creativity, leadership and constant arguing. If one can tell the caliber of a friendship by the decibels in their verbal smattering then, let me tell you, these guys are close. With much love, I wish them each the best in their new careers. Remember, cameras and microphones may be sullied or ruined, but film is forever. Let nothing get in the way!

And to the rest of the crew: Michelle Garcia, who brought us all food the one day I wasn’t on set: I’m sure it was delicious! To scenic artist Ricky Mathews, make-up artist Rebecca Hernandez, additional photographer Manny Rodriguez and the many shop keepers and store owners who donated their time and businesses to our film, you all made Wasted Away the rich and (hopefully) entertaining film it deserves to be.

To my friends and comrades, you are, each of you, My Man.

I won an award for my work on a short film called Coming Home: my first cinematography honor. I finished my show reel and I have some potential jobs lined up. Things are happening.

So now I may have an opportunity to shoot another feature in California in November, with a music video in December. I’m very willing to pick up and leave but I also don’t want to abandon my friends. At the same time, I gotta look out for #1. So when the time comes and it is in my best interest to move away, I will.

Meanwhile, my IMDb continues to get more distinguished.