Sigma FP Test Shots with the Nikkor lenses.

Orange and Teal

Took me a while to acquire a Nikon G mount to Leica L mount adapter; the leica mounts came first, as always. But the Nikkor lenses took me by surprise — not only are the larger barrel sizes made it easier for me to manually focus, the slighly larger lens makes the camera system a lot more balanced.

I will touch on these on my VLOG.

These two screengrabs are direct-from-camera files, recorded via HDMI to a Blackmagic Design Video Assist recorder, with Prores RT codec; not the best in the world, but looks pleasant and promising.

My widest Nikkor is a 10.5mm crop-sensor fisheye lens, subsequently 12mm, 20mm, 24mm, 45mm, 50mm, 80mm and a 105mm micro.

Cinemic colour

IMHO. Nikkor and Leica are still the best.

A Guy Who Asks Me for a Story and a Girl Who Tells Me a Story.

developing a mini series is tough.

This is one of those projects that was initiated by someone who asks if I can develop a story so he can help produce it but later turns out to be just another empty promise. I have met many of these people, and along the way, new ideas were spawned, money spent, time invested, and efforts made, but they disappear in thin air.

Not being in Malaysia for almost 15 years has its disadvantage; it takes time to identify trustworthy people, and sometimes people can be really convincing. “My company works very closely with XYZ, this will definitely work!” they often tell you.

But they are either not in the position to make decisions, or they are just fishing for new ideas.

Though like many film projects, what’s meant to be often are not to be. As storytellers, we should just focus on the story, and when all the stars are aligned properly, miracles will happen.

2020 Golden Horse Award

If Only Pigs Can Fly…

Some say it’s the pinnacle of Chinese Cinema, cheering for it while jeering at the other film festival across the Strait, but a dead silence among others, those who take a slightly different approach to the world of cinema indeed will have a different view, and their silence is deafening.

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Make Movies, Not Wars!

13 more days and counting down to the political drama at the White House. This has been my primary source of entertainment for the last 9 months — yes, life under lockdown is painful.

The Pandemic has given me a new revelation in how many of us make a living, mine especially. I live in Kuala Lumpur, but I have not derived a single cent of income in Malaysia for the last 14 years. Being lockdown in Malaysia has amplified this fact more than tenfold, and the feeling is painful.
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Where’s the Cavalry When We Need Them?

TIFAF Director’s Salon for Upcoming Talents

Where’s The Sincerity?

When MyCreative announced a grant as part of it’s initiative to help reboot the film industry, I was elated to see a quasi government body finally doing something to help small production houses and projects to at least make the first steps towards producing a film.

Continue reading “Where’s the Cavalry When We Need Them?”

翻唱歌曲當然要付費啦!

MACP 突然跳出來要代表詞曲創作人收取數字表演版稅的做法有點耐人尋味。傳統上 MACP 收取的是 Performing Rights Royalty,任何公放音樂(公開播放和現場表演牽涉到的版權有點不同,但也算是 public performance 的一種)的公開場合如餐廳電影院機艙內,甚至公交車內原則上都得繳交 Royalties。

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網絡無國界

最近在網上泡的時間比較長,覺得「網絡無國界」這句話一點道理,現在地球上的人有這種「國籍認同」的概念:一個是身分證護照上寫的國籍,另一個是心理上覺得自己應該是甚麼國籍的身份。感覺有點像性取向的概念,你的生理特徵是一個性別,心理上可以是另一個性別;當然跟性取向一樣,有些人也會在這兩種身份之間徘徊。

我想說的不完全是「膠」的現象,有些人特愛日本、義大利、法國,認為自己心靈的故鄉不在本地,如果能有來生,希望能投胎到這心靈的國度中,生為其人,死為其鬼。在沒有網絡之前,這現象不會特別的明顯 — 以前要收集其他國家的信息的資訊成本太高,不論買的是正版的還是盜版的 CD 或雜誌報刊小說,都沒有現在網上下載廉價,所以現在的人能很輕易地讓理想國籍附身,在網上橫行。

這個現象本來應該是很個人的事情, I am a closet Japanese, 沒甚麼錯,我愛日本並不表示我需要為二戰洗白。藏在櫃子裡,不論有多深,都是自己在和自己對話,有時候需要思考的,是左手好還是右手好罷了。但是網絡上躲在一個匿名帳號後面的偽出櫃很能滿足這些人的心理需求;他們很愛國,雖此國非彼國也不會是很大的問題,但是有些人仗著「反正你咬不到我」的心態在網上毫無忌憚的文字暴力卻令人不齒。

於是網絡上無形的楚河漢界縱橫交錯,於是我們因立場的不同互相攻擊,直到拉黑方休。非黑即白的幼稚道理充斥著整個色彩繽紛的網際網絡;道理掌握在複製粘貼最強的對手裡,這種生存空間有意思麼?我不禁在想,這還不如躲在自己的小櫃子裡自爽自嗨。

網絡無國界本來是好事,現在卻似乎成了壞事。難道說我們要搞得每個國家都把自己的國民圈養在防火牆內才能提高「國民意識」麼?

五年災,五年情。

五年前地震的那一刻,我人在廣州,各方朋友打電話/微博/短訊通知我有關日本發生地震時,我還不知道事情的嚴重性。慌張地打電話給胡嫂,她對我說了一句話:『這裡很安全,你不要過來。』而這句話堅定了我想方設法飛東京的決心。
Continue reading “五年災,五年情。”