Since yesterday I enjoy superfast internet in Shanghai. The upgrade was without any extra cost.
ADSL2+ or ADSL2Plus. Commercially it is notable for its maximum theoretical download speed of 24 Mbit/s. So my websites are significant faster as well !!!

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To solve the "unable to connect over PPPOE Error" from my Airport Express , I just downgraded from firmware 6.3 to 6.1.1... aaand Internet is back again :)

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Beside the big packages Coolux /PandoraBox and Dataton Watchout, there existing also FREE Tools:

Video Projection Tool (VPT) 6.0, a projection powerpack.

VPT is a free multipurpose realtime projection sofware tool for Mac and Windows created by HC Gilje.
Among other things it can be used for projecting video on complex forms, adapt a projection to a particular space/surface, combine recorded and live footage, for multiscreen HD playback, for interactive installations using arduino sensors or camera tracking ++

Manual.PDF

Download Mirror Mac Version

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Here comes a little visual PREVIEV of the Intro/ go-in----go/out and Extro of the Short Documentary: "M120 RE-USED"




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1. Any by Individuals, company, school or lecturers provided teaching material is strict confidential - equals real industry related productions and is provided only for improving the quality of given lessions!
( lecturers may provide real industry work assets and material to fulfill the success of learning as most practise oriented) � �

2. You are responsible by yourself to inform yourself about any Law related issues! �

3. The copyright holders of a picture, movie, soundtrack are the only persons who can decide to release the audio-visual completed version of their work anytime and anywhere they want!!!�

Only release YOUR OWN concepted and created content, �that means in case �you own ALL the rights to USE for Distribution to the public audience. Please note: Already made publishing�of 3rd party content is irreversible!

�Anyway,�you are required to get permission in form of licensing the work from ALL copyright holders in written and hand signed form.�
(authors, screenwriters, actors, extras, art directors, props department, other talents, DoP, everyone of the production crew, stunt teams and others) �

4. Never ever use 3rd party properties (as footage, stories, example scripts, still pictures, sound) without permission from the creators, �to exposure yourself as the copyright holder of the work you exposure. If you do so without getting the rights to USE from all participating copyright holders (talent releases, property releases, for any pourpose except personal use, you will face the consequences in form of force by law compensation payment according to local, national, continental or worldwide publishing( licensed right to distribute), also in relation to the production costs and lost of financial return of the production companies ; affected to the valid copyright holders.

Hope that helps you!

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Wednesday, April 27, 7pm
Koala Bar
280 West Huaihai Rd, near Panyu Rd
淮海西路280号, 靠近番禺路

One of the best Foosball Table in town and some 7 minutes per each performances of creative makers; so better you don't miss it :)



further informations:
http://www.beeorwasp.com


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Actually my proper field of activities contains Multi-Media. Touched all kind of senses. To view, to hear, to experience...., to decide, to go, to wear, to eat, to create, to buy..

What happen if someone you know say's: "Multi-Media" ? Oh i know, thats a CD Rom i've got as an give away from whoever. Or is it kankan xunlei? - the online movie site with embedded ad's. Or maybe that's the website in front of me on my screen.

In my opinion, "Multi Media" help/block or even force the complete way to make an psychological status of a thinking process named as "the decision".

For example, Advertising as we recognize as an AD, works well; but it does it just on half flame. Because "We know WHY things happen". We learned to predict: "What Happen". As so, we already EXPECT that we are able to predict all that virtual stories which we experience OUTSIDE of OUR SELF's mind.

I think, and that's my truly position: "Multi Media" will be "pure INFORMATION with easy NAVIGATION combined with joyful ENTERTAINMENT leading all of us to an easy to reach top level of KNOWLEDGE!

And thats the reason for me to work as "The Multi Media Guy"



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Artists Wanted : A Year In Review is an international, all-medium-encompassing open call for art. This is your moment to share your work with the world and have a chance at $10,000 in grants, international publicity and a feature exhibition in Scope Art Show during Armory Week in New York City. You did the hard part, making great work. This is your call to be discovered.


I submitted my 5 years timelapse edition.
Please click the picture and vote for me:)


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Feng Xian (丰县), X�zhōu (徐州 )30.Sep. - 08.Oct. 2010





Da Hong Quan 涂正道 and Taiji 太极拳李令化

I was lucky enough to follow "Tiger Brother's" footsteps; visiting the here located traditional chinese KungFu school, meeting up with his grand master 邹广超 and more martial artists.

I will work out an short with the footage I've shot in FengXian.



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What happen if you dock 2 identical professional HD cameras together... ?
Sure 1 x framing, 2x "whatever" footage clips as results. one is upside down.

Click on the picture, you will see the teaser trailer...



In Jakob Montrasio's upcoming Martial Arts Western SHANGDOWN, featuring Italy's No.1 Martial Arts Superstar Christian Bachini, you will see WHAT kind of TRICK SHOTS exactly we did. Please be patient .

To be continue...

Here is one of the most breathtaking terrace's in shanghai, a Muai Thai DOJO ... nice view to the shanghai bund area & pudong skyline. from right to left : Film Director & Cinematographer Jakob Montrasio, Director & Action Choreographer Richard Chung, Filmmaker & Martial Arts Actor Drago Lazetich originally from LA california ... its just a break within shooting a fighting scene ... around 2 weeks ago.





My wife hands on ... to "fly" the CINEALTA camera on Jakob's JIB . .

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If u looking for a masterclass design company; who kick asses in terms of STYLE, CREATIVE CONCEPTION and practise oriented REALISATION... check it out:


http://www.bolddesign.com.br

Based in S�o Paulo & Rio de Janeiro
... available around the world!

These guys really rocks!

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Imagine the Point of View of an 100 RMB Banknote on it's journey from hand to hand ...








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Promotion Video : THRIVE





Link to Thrive WebSite

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Issue 1:Film-like Shooting in Full HD - HQ 1080/25p Mode
Issue 2: Film-like Shooting in Full HD - Picture Profiles
Issue 3: Shooting Smooth Slow Motion in Full HD - Slow & Quick Motion
Issue 4:Adjusting Specific Colours in the Video � Colour Correction and Matrix Functions
Issue 5: Creating Stop Motion Animations - Frame Rec Function
Issue 6: Choosing the best Gamma Settings - gamma presets for standard video shooting
Issue 7: Choosing the Best Gamma Settings / Gamma Presets for Cinematic Shooting
Issue 8: Choosing the Best Gamma Settings / Adjusting Gamma Levels
Issue 9: Shooting in bright or backlit environments / Knee Functions and Knee Adjustments
Issue 10: Mastering XDCAM EX shooting techniques


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We keep looking for "shanghai based" sales experts, multimedia & advertising related partners, accountant's, visual artists & visual design freelancers (as we run as small design boutique for now).



Business scope:

- HD video production services
- Digital Photography
- Timelapse & Stop Motion movie production
- high tech multimedia integration for event's , exhibitions and industry shows
- Web Design & Development and Interactive Media / UI


Contact me via:
email: xride at gmx dot net
phone: +8613671959461
skype: linons

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Life On Air Productions(FOH):

In 1994-1996, I mixed the 70's UK glam-rock band Andy Scott's "The Sweet" , furthermore the Inchtabokatables, NDW Stars like Peter Shilling, Markus, Stefanie Hertel, also Jasmine Wagner (Bl�mchen) and more Stars & Sparkles...

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Within the last 10 years, I have done awarded HighEnd Multimedia Projects targeting international recognized industry show's , brands & products; and I developed handy and effective marketing tools both, for global agencies as well for clients from different industry sectors to rise their business.

Personally, I invested since 1995 in creative networking as well in equipment for my Multimedia Boutique Studios located in Changning Destrict AND in lujiazui, Shanghai, PRChina.

This result's in an compact and best value for price, modern hightech digital studio environment or also called TWO-MAN-BOUTIQUE ... fits most advanced customer needs.

haves : network relationships with production resources and top clients within ASIA (China, Taiwan, HongKong SAR, Singapore, Vietnam, Thailand) USA and EUROPE.

needs: STRATEGIC PARTNERS with international (intercultural) business experience with focus on future oriented markets in the SHOW and ENTERTAINMENT Industry and HIGHTECH MULTIMEDIA

contact me via
email: xride at gmx dot net

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I am happy to see what I can create today in 3D CG. There is nothing like this even real in reality.








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Resolution		ProRes422(Proxy)	ProRes422 (LT)	ProRes422	ProRes422 (HQ)	ProRes4444 (no Alphakanal)
		Mb/s	Mb/s	Mb/s	Mb/s	Mb/s
720 x 576	50i,25p	12	28	41	61	92
1280x720	25p	19	42	61	92	138
1440x1080	50i, 25p	32	73	105	157	236
1920x1080	50i, 25p	38	85	122	184	275
	50p	76	170	245	367	551
2048x1024	25p	43	97	140	210	315
	50p	86	194	280	419	629
2048x1152	25p	43	97	140	210	315

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Some "General" EQ rules. Pretty usefull stuff!


Kick Drum

Any apparent muddiness can be rolled off around 300Hz. Try a small boost around 5-7kHz to add some high end.

50-100Hz ~ Adds bottom to the sound
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
5-8kHz ~ Adds high end prescence
8-12kHz ~ Adds Hiss

Snare

Try a small boost around 60-120Hz if the sound is a little too wimpy. Try boosting around 6kHz for that 'snappy' sound.

100-250Hz ~ Fills out the sound
6-8kHz ~ Adds prescence

Hi hats or cymbals

Any apparent muddiness can be rolled off around 300Hz. To add some brightness try a small boost around 3kHz.

250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness

Bass

Try boosting around 60Hz to add more body. Any apparent muddiness can be rolled off around 300Hz.If more presence is needed, boost around 6kHz.

50-100Hz ~ Adds bottom end
100-250Hz ~ Adds roundness
250-800Hz ~ Muddiness Area
800-1kHz ~ Adds beef to small speakers
1-6kHz ~ Adds presence
6-8kHz ~ Adds high-end presence
8-12kHz ~ Adds hiss

Vocals

This is a difficult one, as it depends on the mic used to record the vocal. However...Apply either cut or boost around 300hz, depending on the mic and song.Apply a very small boost around 6kHz to add some clarity.

100-250Hz ~ Adds 'up-frontness'
250-800Hz ~ Muddiness area
1-6kHz ~ Adds presence
6-8kHz ~ Adds sibilance and clarity
8-12kHz ~ Adds brightness

Piano

Any apparent muddiness can be rolled off around 300Hz. Apply a very small boost around 6kHz to add some clarity.

50-100Hz ~ Adds bottom
100-250Hz ~ Adds roundness
250-1kHz ~ Muddiness area
1-6kHz ~ Adds presence
6-8Khz ~ Adds clarity
8-12kHz ~ Adds hiss

Electric guitars

Again this depends on the mix and the recording. Apply either cut or boost around 300hz, depending on the song and sound. Try boosting around 3kHz to add some edge to the sound, or cut to add some transparency. Try boosting around 6kHz to add presence. Try boosting around 10kHz to add brightness.

100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6Khz ~ Cuts through the mix
6-8kHz ~ Adds clarity
8=12kHz ~ Adds hiss

Acoustic guitar

Any apparent muddiness can be rolled off between 100-300Hz. Apply small amounts of cut around 1-3kHz to push the image higher. Apply small amounts of boost around 5kHz to add some presence.

100-250Hz ~ Adds body
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness

Strings

These depend entirely on the mix and the sound used.

50-100Hz ~ Adds bottom end
100-250Hz ~ Adds body
250-800Hz ~ Muddiness area
1-6hHz ~ Sounds crunchy
6-8kHz ~ Adds clarity
8-12kHz ~ Adds brightness


NOW IN GENERAL!!!!

50Hz

1. Increase to add more fullness to lowest frequency instruments like foot, toms, and the bass.
2. Reduce to decrease the "boom" of the bass and will increase overtones and the recognition of bass line in the mix. This is most often used on bass lines in Rap and R&B.
__________

100Hz

Increase to add a harder bass sound to lowest frequency instruments.
Increase to add fullness to guitars, snare.
Increase to add warmth to piano and horns.
Reduce to remove boom on guitars & increase clarity.
__________

200Hz

1. Increase to add fullness to vocals.
2. Increase to add fullness to snare and guitar (harder sound).
3. Reduce to decrease muddiness of vocals or mid-range instruments.
4. Reduce to decrease gong sound of cymbals.
__________

400Hz

1. Increase to add clarity to bass lines especially when speakers are at low volume.
2. Reduce to decrease "cardboard" sound of lower drums (foot and toms).
3. Reduce to decrease ambiance on cymbals.
__________

800Hz

1. Increase for clarity and "punch" of bass.
2. Reduce to remove "cheap" sound of guitars
__________

1.5KHz

1. Increase for "clarity" and "pluck" of bass.
2. Reduce to remove dullness of guitars.
__________

3KHz

1. Increase for more "pluck" of bass.
2. Increase for more attack of electric / acoustic guitar.
3. Increase for more attack on low piano parts.
4. Increase for more clarity / hardness on voice.
5. Reduce to increase breathy, soft sound on background vocals.
6. Reduce to disguise out-of-tune vocals / guitars
__________

5KHz

1. Increase for vocal presence.
2. Increase low frequency drum attack (foot/toms).
3. Increase for more "finger sound" on bass.
4. Increase attack of piano, acoustic guitar and brightness on guitars.
5. Reduce to make background parts more distant.
6. Reduce to soften "thin" guitar.
__________

7KHz

1. Increase to add attack on low frequency drums (more metallic sound).
2. Increase to add attack to percussion instruments.
3. Increase on dull singer.
4. Increase for more "finger sound" on acoustic bass.
5. Reduce to decrease "s" sound on singers.
6. Increase to add sharpness to synthesizers, rock guitars, acoustic guitar and piano.
__________

10KHz

1. Increase to brighten vocals.
2. Increase for "light brightness" in acoustic guitar and piano.
3. Increase for hardness on cymbals.
4. Reduce to decrease "s" sound on singers.
__________

15KHz

1. Increase to brighten vocals (breath sound).
2. Increase to brighten cymbals, string instruments and flutes.
3. Increase to make sampled synthesizer sound more real.

...AND this might help too!!!

And this too might help.

Low Bass: anything less than 50Hz

This range is often known as the sub bass and is most commonly taken up by the lowest part of the kick drum and bass guitar, although at these frequencies it's almost impossible to determine any pitch. Sub bass is one of the reasons why 12" vinyl became available: low frequencies require wider grooves than high frequencies - without rolling off everything below 50Hz you couldn't fit a full track onto a 7" vinyl record. However we do NOT recommend applying any form of boost around this area without the use of very high quality studio monitors (not home monitors - there is a vast difference between home nearfield and studio farfield monitors costing anywhere between �5,000 and �20,000). Boosting blindly in this area without a valid reference point can and will permanently damage most speakers, even PA systems. You have been warned!

Bass: 50-250Hz

This is the range you're adjusting when applying the bass boost on most home stereos, although most bass signals in modern music tracks lie around the 90-200Hz area with a small boost in the upper ranges to add some presence or clarity.

Muddiness/irritational area: 200-800Hz

The main culprit area for muddy sounding mixes, hence the term 'irritational area'. Most frequencies around here can cause psycho-acoustic problems: if too many sounds in a mix are dominating this area, a track can quickly become annoying, resulting in a rush to finish mixing it as you get bored or irritated by the sound of it.

Mid-range: 800-6kHz

Human hearing is extremely sensitive at these frequencies, and even a minute boost around here will result in a huge change in the sound - almost the same as if you boosted around 10db at any other range. This is because our voices are centred in this area, so it's the frequency range we hear more than any other. Most telephones work at 3kHz, because at this frequency speech is most intelligible. This frequency also covers TV stations, radio, and electric power tools. If you have to apply any boosting in this area, be very cautious, especially on vocals. We're particularly sensitive to how the human voice sounds and its frequency coverage.

High Range: 6-8kHz

This is the range you adjust when applying the treble boost on your home stereo. This area is slightly boosted to make sounds artificially brighter (although this artificial boost is what we now call 'lifelike') when mastering a track before burning it to CD.

Hi-High Range: 8-20kHz

This area is taken up by the higher frequencies of cymbals and hi-hats, but boosting around this range, particularly around 12kHz can make a recording sound more high quality than it actually is, and it's a technique commonly used by the recording industry to fool people into thinking that certain CDs are more hi-fidelity than they'd otherwise sound. However, boosting in this area also requires a lot of care - it can easily pronounce any background hiss, and using too much will result in a mix becoming irritating.


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Here now my guitar exercise "80ies //Sisters of Mercy// style" recording online:


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As lots of my friends & customers know, I like to do TIMELAPSE photography.
Right now out the window i shoot sky-clouds in 4k, every 15 seconds.
shutter: 1/2000 sec
aperture: f/5.6
ISO 200

This fast moving sky i can use as replacement for boring sky backgrounds later... maybe as background behind a super city back plate.


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Almost in post production, there some tasks to do like : "layering moving pictures over others" or embedding 3d content into real shooted footage. In fact anamorph HDV material in interlaced formats is just a joke and gives nothing more than an SD resolution key even with so called HD footage. Ok, to pull a key from HDV material is possible but extremely painful and you need to make huge compromise to the quality of the results even if YOU ARE A CRACK on FLINT/FLAME/INFERNO or FUSION or COMBUSTION , NUKE or SHAKE. I know, there exists some other Software solutions out there like AFTEREFFECTS or apple MOTION and the basic key solutions in AVID or FINALCUT or EDIUS or whatever edit stations.

With footage what is really aquired in an PROGRESSIVE format like XDCAM EX HD 1080p24/25... you can pull the blue/green screen key without any compromise. But thats only possible with an WORKAROUND to blurr the red & blue channel, because XDCAM EX HD means full luma and 960x540 chroma resolution. It is just 4:2:0 subsampled footage. But it seems good enough to get the job done. In an STUDIO you can use the HD-SDI out to capture the pictures in front of the greenscreen in 10bit 4:2:2 directly into your EDIT SUITE. That would mean you get out 1920x1080 pixel luma resolution and 960x1080 pixel chroma resolution.

So if you shoot PERSONS, you can rotate your cam -90 degree to get the whole picture into MORE pixel space.

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A complete Music Studio inside my MacBook Pro. This is all what I ever needed. Thinking back 2 decades, there was an complete different workflow for audio(sound) recording. Digital Recording was "Science fiction". Because the Computer Hardware was just able to play 4 different colors and regulary NO SOUND on an 8000 $ IBM compatible PC. With an expensive midiboard it was possible to run the first Digital MIDI Sequencer Software Cubase (Steinberg) and Notator Logic on that kind of personal computer.

For an young student like me, it was just not affordable. I remember as my one year older brother Matthias showed up with an IBM compatible PC, loaded with the first Midi Sequencing System from the german company STEINBERG. Please Imagine, the fat computer just runs on 25MHz CPU Speed, it was one of the first x386 Processors inside. The 800kb/sec Harddrive was with 200MByte smaller than YOUR USB Drive 5 years ago!!!

There was no way to even record an Voice Over, or an Lead Vocal track. As so, we had our workarounds with this... because what WE DID... WAS ALREADY the FUTURE.

I for myself choosed to buy an "inexpensive COMMODORE AMIGA" computer. It was an integrated system including the complete A500 plus an CDRom Drive and integrated MIDI interface. But an HARDDISC was not even an OPTION at this time.

To boot that proprietary machine from FLOPPY DISK tooks around 6 minutes. And the ONLY available compatible MIDI Music Software "Bars & Pipes Professional" needed also around 5 minutes to get done.

Here comes an screenshot from the last and most advanced Bars & Pipes version:


And here it comes: As I was able to feed / record my Commodore CDTV with MIDI DATA... I could manipulate them and play out the MIDI tracks in real time.
So I decided to buy an analogue cassete tape based 4track recording/ mixing system. the Fostex XR5:


So my question to all "OLD SCHOOL" Audio Engineers around there: How did I syncronize the MIDI Playback with the Tape Playback to play BOTH MACHINES in SYNC & TIME?

Right, I needed some equipment TO CONVERT the MIDI Signal in an (later)readable AUDIO SIGNAL ... to record this FSK (Frequency Shift Key)MIDI Timecode on ONE of 4 tracks on the analog tape recorder.

So i also bought the Roland TR 626 Drum Computer from a second hand shop. Because this machine was an ideal MIDI > FSK(analog audio) Timecode converter.



Please Remind... NEVER EVER the MIDI MACHINE controlled the ANALOG TAPE Playback.
BUT: if i recorded that continous running TIMECODE audio signal to ONE of my available 4 Tracks.... I was able to SYNC the COMPUTER to the TAPE.

Yes, 16 MIDI Tracks feeded 16 different Instuments(Drums/Bass/Piano/Keyboard/Synthesizer) with control data... and 3 additional ANALOG audio tracks played Lead Voice , Backing Voice and real GUITAR.

This all was happen from 1989-1993. And at this time i was really proud of the results...
In 1992, I was one of the first people in europe who ordered an Philips DCC 900 as my personal DIGITAL MASTER RECORDER.


As digital high- end recording systems became more affordable for everyone; this was in 2002... I switched to the MOTU 828 firewire based multitrack recording interface.

Very long time I used also the following analogue & digital music synthesizer: Korg Poly800, Casio CZ201s, Yamaha DX11, Korg 05R/W and the external analog studio effect systems: Alesis Midiverb3, Digitech DSP16, also the superfast and cool sidechain stereo gate/compressor/limiter "DoD866SeriesII" together with an inexpensive 16 Channel console from "behringer". I preferred to use high end Condenser microphones (from the american company CAD) for singing lead voices, acoustic guitars, violins and every kind of real existing noise.




Today I use just Steinberg or Apple Logic Software to create approximately 128 different Audio Tracks, who playback simultan and completely mixed SURROUND ENSEMBLES with EQ, AUX, SENDS, INSERTS, in incredible 24bit/192khz, unlimited SUBGROUPS/BUSSES up to Dolby Digital 5.1, 6.1, DTS, CINEMA SURROUND, THX /Sony SDDS.
The SOFTWARE follows now the HARDWARE: hands on real 100mm Motor faders MIDI Console .

Welcome in the (already existing) FUTURE of Audio and Video in High Definition!




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For nearly every movie project in 2009, Heno & me worked together as production team. Heno also acted as Solution/Service provider for Leo Burnett, RedLounge, Mc Donalds & others for shooting/production & postproduction.




Heno is MULTI-MEDIA Artist (BA of Arts,University of Northumbria at NewCastle/UK). She is top in graphic design, animatic motion pictures, special morphing sequencing animation and film editing. Also she is an excellent Producer, Camera Operator and Photographer.

Documentaries:
Leo Burnett "2009 - A summer like no other",
"McCafe Campaign Launch 2009", "Zero Generation", "eARTS 2009", Dewars: "A Day of Billy's life" and much more... to be continue!




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there is a reason about why i like to do all that movie things .... i love to make some SFX.



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My friend & colleague Antonin Lelievre came up with an nearly finished script just few weeks ago. We decided, to bring that STORY to life on screen.

When? Right NOW! Yes... some people rotating in pre production already, to find partners, helpers, actors, props, locations, technical support, crew.... all for free/unpayed... of course. We are working to build an community/network to get this FILM done.

Planned for shooting is definitly august 2009.

We will shoot with SONY's CineAlta PMW-EX1, used as main camera for all shots in full HD resolution: 1920x1080 @ 25p. I painted PictureProfiles for all INT/EXT situations to feature the scenes with amazing 10stops of possible sensitivity. I love to work with footage from this camera. At all my expirienced times with HD cameras in the last couple of years always I preferred to use the SONY HDCAM F750/900 (well known as the first digital camera used for cinematic pictures in STARWARS), to reach state of the art quality & aquire amazing pictures for industry & show content.

Now I face, the XDCAM EX1 gives IMHO even a bit MORE of usuable picture quality and flexibility in difficult shooting situations as well.

Here an example still picture from a movie sequence, shot with standard settings:




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Edit the proper variables to reflect your configuration then by typing the command you'll see which system is attached to which framestore and who is using it.


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...thats gonna be alright





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For an FULLDOME Film projection exists rules: HOW to do it. Please use the
"related link" - attached comes an inofficial pdf about that multimedia theme

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recommended panning speeds. You can download the pdf by click on related link.

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images/muine_windsurf.jpg

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I found out that catch a moment and edit it on the (flying)plane or taxi can outperform big planned productions by far!
Using just an iPhone4s, trying to shoot and edit a short film with nothing more than a iPhone4s and an attached standard headset(microphone)! Since technology reached to provide a super small production crew plus gear just in my pocket... I am curious to create a worth to watch result just with my mobil phone abilities.

Cons: just the iPhone 4S camera and 2 apps
Pros: just the iPhone 4S camera and 2 apps

I will use only available light and NO tripod!
Just the phone with attached headphones/mic headset, the FilmicPro app, and iMovie for iPhone.

I gonna post the result here soon! Stay tuned





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