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by Olaf von Voss | 5th June 2019
For this little review of the FeelWorld FW279 7″ LCD on-board monitor I compare it to my SWIT CM-55c 5.5″ LCD. In specs, it's 7″ vs 5,5″ and 2200 nits vs 450 nits, but real world experience tells us there's more to it. A camera is nothing without a monitor. Since the analogue, pure optical, days are gone, we need some kind of EVF or on-board monitor in oder to see what the camera is doing. This is a crucial part of our camera system of choice and that's why EVFs tend to be pretty expensive. On-board monitors, on the other hand, come in a wide range of sizes, features and price tags. Whether you need an additional on-board monitor for your director, your AC or for yourself might boil this list down a little bit but in the end you have to make a choice. For me the choice was price vs features. I needed an affordable, yet feature-packed LCD for my Ronin-S gimbal. Since both, the FeelWorld FW279 and the SWIT are well under $300, I thought it might be a good idea to compare them. Read my initial thoughts about the aforementioned SWIT CM-55c here. FeelWorld FW279 7″ Ultra-Bright LCD Two buzzwords speak for this FeelWorld model in comparison to the SWIT. It's 7″ rather than 5.5″ and it sports a 2200 nits display which might be a good choice when shooting in bright sunlight. Bright and big, but is it any good? For me personally, the size of the SWIT is a better fit for the Ronin-S, which is already pretty big on its own to be honest. I don't really need a 7″ screen for that since I'm mostly pretty close to the screen while operating the gimbal. 2200 nits in comparison to 450 nits might sound amazing but in reality I found that the 450 nit SWIT is sufficient for my work. Make no mistake, The FeelWorld is certainly much brighter but the screen is also super reflective which makes it hard to work in direct sunlight. The Swit comes with a flimsy sunshade but it's better than nothing, at least for me. I prefer attaching a sunshade rather than a super bright yet reflecting screen. The SWIT's sunshade is not great but at least you get one. The FeelWorld neither comes with a sunshade nor with any kind of mounting bracket for one. The image looks good on the FeelWorld, it has very little input lag and the colors look accurate to my eye. In bright sunlight, the 2200 nits play well above the 450 nits of he CM-55c but as stated above the screen itself is pretty reflective so it's still a bit hard to see what's going on while out and about. A sunshade would have been a great addition I think. Hardware In general, the chassis of both of these monitors feels plasticky and pretty lightweight. When mounting the SWIT to a Noga arm you have to be careful not to break the plastic. On the other hand, the SWIT comes with two 1/4-20 mounting points (one on the bottom, one on the side) while the FeelWorld only comes with one single mounting point on the bottom. Mounting an articulating arm to the FeelWorld FW 279. Both Monitors are HDMI only (There is another FeelWorld model with SDI in/out, but it's over $300). The SWIT only offers a HDMI in while the FeelWorld has a loop-through, too. It also comes with a headphone jack and, I really don't know why, a speaker on the back of the unit. Why would anyone want a speaker in their on-board monitor? It took me a while to figure out how to turn the volume down to zero because the speaker started to emit horrible feedback noise once it was connected to the camera and therefore to the built-in microphone. The SWIT does sport a headphone jack but there's no speaker to be found. Good. Furthermore the SWIT allows for either Canon LP-E6 or Sony NP-F batteries with its two-way battery compartment, which is pretty cool I think! SWIT CM-55C battery compartment. You also can juice another device with the battery attached to the SWIT, for example your camera. You just need a DC coupler which fits your camera and a cable to connect the coupler to the SWIT. The power output is not regulated, though, so make sure to check your cameras power input requirements before connecting it. A maybe minor thing is the dedicated on/off switch on the back of the SWIT. I'm highlighting this because the FeelWorld comes with 8 buttons on top of the unit and one of them is the power button. Press it once, even just for a split second, and the monitor will shut down. Or, maybe even worse, it might power up in your bag if a battery is attached to it and that button gets accidentally pressed. Speaking of power, the FeelWorld is powered by either a Sony NP-F battery or a DC 12V input via a standard barrel connector. The battery plate seems to be swappable but I couldn't test this. On the top plate of this monitor there are 8 buttons in total: The aforementioned power switch, 4 arrow buttons, 2 custom function buttons and a menu button. The arrow buttons are for navigating the menu system and this is a bit of a painful process. The menu system itself is pretty rudimentary and you will have to gain a lot of muscle memory in order to navigate it with these 4 buttons without looking.. I accidentally switched off the screen more than once. It might not look pretty but it does the job. You can customize values like color temperature, brightness, saturation and red or green gain for example. It's all there but sometimes it's a bit hard to get there. Since the FeelWorld sports a massive 2200 nits I found it interesting to check the battery life when set to max brightness (which is way too bright for indoor shooting, by the way). With an Atomos 5200mAh /38.5Wh NP-F style battery I could power the unit for just under 2 hours. The SWIT consumes only 5.5W in comparison to the 18W of the FeelWorld so you can run it forever with just one battery. Both units get pretty warm, the FeelWorld gets almost hot I would say. The SWIT only has one knob (plus the power switch on the back). That know is a four-way joystick plus a button. It looks quite similar to the SmallHD 500 series. Once we dive into the software, you'll know why. Right next to the joystick there's the second 1/4-20 mounting point. With it you can make use of the supplied swivel bracket for mounting the SWIT on your camera's hot shoe. Software What's even more important is the software running the screen. And in that respect the FeelWorld really feels a bit cheap. As stated before the menu system is really rudimentary. It's all there but it feels as you are operating some DOS on your computer from the 90's. The SWIT is way more intuitive although the joystick, especially the center button, is a bit wobbly sometimes. One major difference between both monitors is the SWIT's ability to load LUTs via SD card. The FeelWorld LCD doesn't sport a SD card reader and it doesn't support LUTs whatsoever. That's a bummer! The SWIT supports LUTs via SD card. The SWIT comes preloaded with a lot of Log->Rec.709 profiles for different cameras but you also can load your own LUTs of choice. Just like the SmallHD 500 series you can create pages with different sets of tools. For example you set up one page with 2.35:1 guides, peaking and 95% zebra, another one with just a LUT and another one with false color for checking exposure. Once the pages are set up you can flick through them with the joystick. The FeelWorld does offer these tools, too, but you have to come back to the menu system for each and every change. The only exception are the two F keys which can be assigned for the two most common tools, just like peaking or histogram. Specifications In order to compare these two monitors we need a few numbers. These are the most important specs of both monitors: FeelWorld FW 279 Display Size: 7.0″ / 17.8 cm Screen Resolution: 1920 x 1200 Aspect Ratio: 16:10 Viewing Angle: Horizontal: 160° Vertical: 160° Maximum Brightness 2200 cd/m2 Contrast Ratio: 1200:1 Power consumption: 18W @ max brightness Dimensions (W x H x D) 7.09 x 4.72 x 0.98″ / 180 x 120 x 25 mm Video Formats: DCI 4K (24 fps) / UHD 4K (up to 30 fps) / 1080p (up to 60 fps) SWIT CM-55c Display Size: 5.5″ / 14 cm Screen Resolution: 1920×1080 Aspect ratio: 16:9 (4:3 adjustable) Viewing angle: Horizontal: 178°; Vertical: 178° Brightness: 450cd/m2 Contrast Ratio: 1000:1 Power consumption: 5.5W Dimensions (W x H x D) 6.14 x 3.07 x 0.79″ / 156 × 78 × 20mm Video Formats: UHD 4K (up to 30 fps) / 1080p (up to 60 fps) So spec-wise these two monitors are not too much apart from each other, really. You just have to choose what you need. If you need a super bright, yet lightweight and relatively cheap, monitor for outdoor use: Go with the FeelWorld FW 279. If you need LUTs and 5.5″ is sufficient for you: go with the SWIT CM-55c. You want both? Go with the new SmallHD series 7 monitor, for example.. But that one is 7 times more expensive than the FeelWorld. You get what you pay for. Both monitors offer a bunch of software features in order to judge your image, of course. FeelWorld FW 279 Histogram Peaking Focus Assist (Red,Green,Blue three colors optional highlight over parts of the image in focus) False Colors / Zebra Exposure Nine Grid & Center Marker Scan Mode (Under Scan, Over Scan) / Zoom (4x,9x,16x) / Pixel to Pixel Anamorphic Mode (1.3x,2.0x,2.0x mag) Safe Area (80%,85%,90%,93%,96%,2.35:1) Ratio marker (4:3,13:9,14:9,15:9,16:9,1.85:1,2.35:1) Marker Color (Red,Green,Blue,White,Black) Check Field (Red/Green/Blue/Mono) Image Flip (H, V, H/V) Image Freeze SWIT CM-55c 2x 4x Quick zoom-in and Pan Focus assist and precision adjust Waveform / Vector / Histogram Build-in 20+ De-log 3DLUTs User DIT 3DLUT import by SD card 2-ch HDMI audio meters display Super False color, Zebra stripes, Anamorphic Image Flip Conclusion I personally like the SWIT CM-55c very much. It's lightweight, it's feature packed, it's cheap and it's perfect for my Ronin-S. The FeelWorld 7″ would have been a bit too bulky for that, I think. Plus, it lacks support for LUTs and that's essential for me. When shooting with my FUJIFILM X-T3 I set it to F-Log recording all the time. I don't really need a loop-through HDMI but it would have been nice to have. It's all about making choices and my choice is to use the SWIT rather than the larger and brighter FreeWorld. Both monitors lack built quality but that is understandable regarding the low price tag. The aforementioned SmallHD series 7 is a far superior monitor, no doubt about it but you will have to pay for that supremacy. An on-camera monitor should match the hosting camera and in the case of my FUJIFILM X-T3 the SWIT is a perfect match, in regards to both, features and price tag. links: FW279 Website | CM-55c Website What kind of on-board monitor do you use? Share your experiences in the comments below!Read more
by Scott Leslie | 2nd May 2019
A head-to-head comparison of the features, color rendering and light quality of the ARRI Skypanel S60-C versus the new Lupo Superpanel Full Color 60. This is a guest review by director of photography and longtime cinema5D fan Scott Leslie. Learn more about him below this post! When Lupo agreed to this head-to-head comparison, I thought it was a pretty gutsy request. The ARRI Skypanel is the industry standard with great feature sets and an excellent build quality. That's why it's been so widely adopted. While the Italian company Lupo has been around since 1932 and making lighting instruments since the 90's, it's relatively new to RGBW lighting. The Superpanel Full Color 60 is their first 2×1 RGBW LED panel and it comes in well under half cost of the Skypanel S60-C. The question is: does it measure up? So, with the help of a Sekonic C 800-U Spectromaster Color Meter, I put both lights through test with interesting results. Build Quality The ARRI Skypanel S60-C is built like a tank with an aluminum frame a heavy-duty yoke and a really well made disc break mechanism for locking the tilt of the light into place. Because of its weight, it has a Junior Pin connector, so you'll need a beefier stand with a Junior Pin receiver – like a combo-stand. Now the Lupo Superpanel Full Color 60 is made of technopolymer plastic reinforced with carbon fiber. Now, this isn't your typical plastic but it's a durable industrial material that is really robust. I've had a 1×1 Superpanel for about 2 years now and I haven't had a single issue with it. The Superpanel Full Color 60 has a solid, although not as beefy of a yoke as ARRI and its breaking mechanism works well, although it's not as heavy duty as ARRI's. BUILD QUALITY WINNER: ARRI Skypanel S60-C Weight Comparison The ARRI Skypanel S60-C is quite a bit heaver. The head of the unit weighs in at 28.2 lbs and the separate power supply weighs 7.7lbs bring the combined weight in at 35.9 lbs. The Lupo Superpanel Full Color 60's power supply is connected to the unit and the combined weight is just under 20 lbs. Having the power supply attached to the main unit is also much more convenient than having it separate. WEIGHT WINNER: Lupo Superpanel Full Color 60 DMX Support Both fixtures have the standard 4-pin XLR DMX in and out, but the Skypanel also has a LAN DMX port. DMX WINNER: ARRI Skypanel S60-C Front Diffusion While both instruments have a nice frosted front, the Skypanel's front diffusion can be removed and replaced by thicker or thinner diffusion or even an intensifier that increase the light output by 50%. The Skypanel has really cleaver release mechanism that makes changing out the diffusion a snap. It also has an extra slot for adding accessories, like a soft box. The Superpanel Full Color 60's front diffusion is not removable and there is no accessory slot. FRONT DIFFUSION WINNER: ARRI Skypanel S60-C Features: CCT, HSI and RGBW modes Both fixtures are basically identical with these modes. They both have a CCT mode, which is basically a dual color mode, where the Kelvin can be changed from 2800K all the way to 10,000K. Where most LED lights only go from 3200K to 5600K, the extra color temperatures on both sides are really nice. In the CCT mode, both the Superpanel and Skypanel also have a plus/minus green, which is really handy when matching to different fixtures or practical lights. The HSI mode allows you to quickly set the color of the light from red to yellow to green and everything in between. They each have a dial that adjusts the hue and a separate dial to adjust the saturation. The RGBW mode allows you to dial in specific RGB colors. FEATURES WINNER: Tie Special Effects Both lights have preset special effects but the Skypanel has many more to chose from, especially for film production. Lupo did inform me that they are currently working on more special effects, which should be out soon. SUPERPANEL FULL COLOR 60: Strobe, Party, Cop Car and Disco SKYPANEL S60-C: Party Effect, Candle, Clouds Passing, Club Lights, Color Chase, Cop Car, Exposition, Fire, Fireworks, Florescent Flicker, Light Strobe, Lightning, Paparazzi, Process, Pulsing, Television and Welding SPECIAL EFFECTS WINNER: ARRI Skypanel S60-C Additional Features The ARRI Skypanel S60-C does have some additional features that the Superpanel Full Color 60 doesn't have, most notably the ability to dial in specific Roco or Lee filters. If you're a DP or Gaffer that's use to using Roco and/or Lee filters then this can be super handy. You simply dial in the filter number and the light will emulate the color. The Skypanel also offers, at an additional cost, a wired remote or wifi controller through Art Net. You can also set up a Master/Slave mode where the units can be daisy chained so that one Skypanel can control the color and output of other Skypanels in the chain. You can achieve the same result through using DMX with either the Skypanel or Superpanel. ADDITIONAL FEATURES WINNER: ARRI Skypanel S60-C Pricing The ARRI Skypanel S60-C is currently going for $5,850 where the Lupo Full Color 60 is $2,598. That brings the Lupo in at $3,253 cheaper. PRICING WINNER: Lupo Superpanel Full Color 60 Metering I used a Sekonic C 800-U to test the color rendering and output of these lights. First, in CCT mode with 0 Green, I meter the 2 instruments at 3200K at 1 meter. Now if you look at the numbers from the Sekonic C 800-U you'll see that both lights are close to the 3200K color temperature. The Skypanel S60-C is almost 4,000 lux brighter, which sounds like a lot but equates to about a 1/2 stop. And they both have a tiny Green/Magenta cast. Lupo has a slightly better color rendering with an average CRI of 95.9 vs 95.3. Now when you look at the spectral distribution at 3200K, the Skypanel has a green spike where the Superpanel is much smoother and fuller. The Superpanel Full Color 60 looks much more impressive here. When we look at the color rendering by the numbers, for skin tone the important spectrums are R9, R13 and R15. It's interesting to see that the Skypanel does score higher on R9 & R15, while the Superpanel is higher on R13. In aggregate, the Superpanel does score slightly higher. I also metered at 5 feet, 10 feet and 15 feet and received similar percentages. The Skypanel hovered at 1/2 to 1 stop brighter with the color indexes basically staying the same. Now when I tested the lights at 5600K, these are the results the Sekonic C 800-U gave me. Again the Superpanel Full Color 60 had a slightly better color rendering, but at 5600K it has a little more of a green shift than the Skypanel S60-C. The output of the Skypanel is now about 1 stop brighter than the Superpanel. I was disappointed by the Superpanel's CCT number. The Kelvin temperature read at 6317K where it should be close to 5600K. The Skypanel's CCT number was also a little high (5783K) but much closer than the Superpanel. At 5600K, the Lupo Superpanel's spectral distribution chart again looks much better the ARRI Skypanel. At 5600K at 1 meter the Superpanel Full Color 60 has a higher combined CRI and scores higher on the skin spectrums (R9, R13, R15), making it the clear color rendering winner. I also metered the lights at 2800K, 4500K, 8000K and 10000K. Here is the master chart showing the results. These results are a little bit of a mixed bag. While the Lupo Superpanel Full color 60 consistently scores higher in color rendering and has much better spectral distribution, the ARRI Skypanel S60-C has an higher output of ½ to a full stop and it has a more accurate Kelvin temperature at 5600K and above. Real World Tests While metering numbers are great, I wanted to see the quality of light these produced on a subject. I alternated both the ARRI Skypanel S60-C and the Lupo Superpanel Full Color 60 at exact same spot (about 4' away from the subject) and metered them both to the same output. For flavor, I added small bounce card, a backlight and a background accent light. Note: the background light is putting the projector shadow on the background, not the Skypanel or Superpanel key light. Here's a side-by-side test with the Superpanel Full Color 60 on the left and the Skypanel S60-C on the right. As you can see that the quality of the lights are very similar, with both giving a nice soft key. Snapbag Octa 5' Softbox I was also really curious to see how these instruments would work with my Snapbag Octa 5 soft box. This is a fantastic soft box that I really recommend for beauty lighting. Because the softbox is very large and is skinned with Magic Cloth, you need a pretty powerful instrument to punch through it. Both lights had plenty of out put for the job. Again, both instruments are very similar in light quality and they look great! Here's my final score card: Conclusion In conclusion, the ARRI Skypanel S60-C's specs and feature sets are a little more robust than the Lupo Superpanel Full Color 60 but the quality of the light is very similar. The question you need to ask yourself is: are you going to use the extra features, like dialing in Rosco or Lee filters enough to make it worth over double the price? Currently, B&H and CVP don't list the Lupo Superpanel Full Color 60. We will update this post once they do, we have reached out to them. Do you use RGB or RGBWW lights? What do you think of the ARRI Skypanels and the Lupo Superpanels Full Color? Let us know in the comments below!Read more
by Johnnie Behiri | 3rd April 2019
Canon just announced the release of Sumire – a new series of seven PL mount cinema prime lenses. Canon Sumire set Canon just announced a new series of prime lenses and we were lucky enough to put our hands on the Sumire 35mm T1.5, the first lens of the batch that was available for testing. By the way, if you've been wondering what the name Sumire (菫, すみれ, スミレ) means, then look no farther, it is a feminine Japanese given name and the name of a delicate flower. Here is the complete list of the new lenses, their focal length, model number, and T stop values: CN-E14mm T3.1 FP X CN-E20mm T1.5 FP X CN-E24mm T1.5 FP X CN-E35mm T1.5 FP X CN-E50mm T1.3 FP X CN-E85mm T1.3 FP X CN-E135mm T2.2 FP X Canon Sumire CN-E 35mm T1.5 But before sharing my observations, here is what's new: Sumire Prime Lenses – Overview Canon already has a set of (EF mount) Cinema Lenses, but obviously they were looking into giving DoPs something extra on top of delivering cinema lenses with a new PL mount. Something that can bring an even more unique feel and look into a creative production. Their new offering will come with an interchangeable PL mount first and we were told that modification to EF mount (and back to PL) can be done by Canon Service & Repair Centre or Authorised Service Partner. Like their original series of Cinema Prime lenses, Canon kept the Sumire with having a fast T stop values. Sumire will be compatible with any PL mount cinema cameras equipped with either a 35mm full-frame format sensor or a Super 35mm format sensor, including selective Cinema EOS cameras like the EOS C700 FF camera. Supporting an 11-blade iris ensures round and soft bokeh. All the lenses feature manual control and adopt the 0.8 pitch lens gears for both iris and focus rings. In addition to this, the lenses have the same front diameter (114mm) which also support 105mm screw-on filters. Focus adjustments can be made over a 300-degree rotation angle. Canon Sumire CN-E 35mm – Light halo effect and noticeable chromatic aberration Sumire 35mm T1.5 – First look For the last few days I have been using the new lens on a Sony a7 III fitted with a Vocas Sony E to PL mount adapter. (Unfortunately we didn't have a chance to stay within the Canon ecosystem and test it on a C700 FF, which would have been ideal, but we needed to stay small – and only the Sony E-Mount allows for adapting PL easily, not EF cameras). My most obvious initial observations: The new lens is very sharp across the entire image, BUT, when aperture is wide open there is a noticeable loss of sharpness especially at the corners. Stopping down a bit might be a safer bet. Breathing is really kept to a minimum. As Canon stated on their official press release, I can confirm that the image has a warm feeling to it. To my personal taste, it can be a bit too warm at times but it's not an issue if you are manipulating your image in post anyway. What really sets the new lens apart from the original CN-E is the way flares and light halo are handled. Again, in my personal taste, flares tend to be a bit on the "wild side", and this is something that has to be taken into consideration when on location. I'm very curious to see how other DoPs will react to that, but the lens certainly has a special "character" that many people are looking for. Chromatic aberration is certainly visible. A note about 300-degree focus rotation: If you are not familiar with shooting using such rotation, as a one-man-band this lens might be difficult to operate handheld alone. Follow Focus might be welcome here. I'm saying that just in case you find yourself working in the field alone with this lens… (People might be used to that kind of focus rotation from ZEISS Compact Primes.) The illuminated distance scale very welcomed and speaking of which, the lens minimum focus distance is reasonable at 28.5 cm (12ft). Should be straightforward to see all the markings in the dark. Canon Sumire CN-E 35mm next to Canon CN-E 35mm Sumire CN-E 35mm T1.5 in comparison to the Original CN-E 35mm T1.5 As I wrote above, flares are much more noticeable with the Sumire. (At times, and depending on the amount of lights entering your lens, the light halo effect can be strong). In regards to chromatic aberration, what really puzzled me is the fact that I could not come up with a concrete answer to which of the lenses have a stronger fringing. At times, the Sumire exhibited strong fringing and then on the next comparison shot it was the original CN-E 35mm lens that exhibited a noticeable chromatic aberration. When it comes to Bokeh, to my opinion both lenses show nice soft aesthetic blur mostly due to the usage of 11 blades which help keeping the aperture almost perfectly circular. We have to thank our dear friend and colleague Alexander Boboschweski for loaning us his original CN-E 35mm T1.5 lens for the comparison! Aperture design illustration – 11 blade on the right hand side. Image credit: Sony Key Features across the Entire Sumire Prime Series: Interchangeable PL mount with full-frame coverage Same unified colour tone as the Cinema Lens range Bright T-number and an 11-blade iris Reduced focus breathing 300-degree focus rotation Consistent filter diameter and gear positioning Canon Sumire 35mm sharpness – Left, T1.5, right T4.0 Pricing and Availability: Canon will start rolling out those new lenses shortly and one can expect to pay around $7400 per Sumire lens. While the price tag for many of the "original" CN-E lenses is around $4000, it is clear that Canon is targeting rental houses and not end users. Canon Sumire on the Sony a7III (With Vocas Sony E to PL mount adapter) Conclusion I applaud Canon for developing and delivering a lens which tries to be as sharp as possible yet has a very strong identity. When it comes to picture aesthetics, some will love the outcome while for others flare and general "light blooming" might be a bit too strong. I like the fact that the new lens is relatively compact, robust and its operation is very smooth. Its current price point means that it will be reachable for some via rental houses. If you are a Canon CN-E user, I do recommend testing the Sumire before choosing it over the original CN-E lenses. If you do so, please share with us your findings. I'll be very curious to hear your thoughts. The music used in the video above is courtesy of Music Vine. Get 25% off your next music license with code C5D25 (valid for one use per customer). Have you worked with any of Canon's CN-E Cinema Prime lenses before? How did you like the image and are you interested in trying the new Sumire lenses? Please share with us your thoughts in the comment section below.Read more
by Johnnie Behiri | 26th March 2019
The newly announced MicroPrime X-Mount Lenses from SLR Magic are already being sold (see our news post here), and as we got A LOT of requests from colleagues and people from our filming community to test and review them, we decided to go a head and do so. Although this review covers the X-Mount version of SLR Magic's MicroPrime Cine lenses, similar products with E and MFT mount options are available, too. For the complete list of lenses (and mounts), please take a look at the chart further below. SLR Magic MicroPrime Cine set – 12, 15, 18, 25, 35, 50, 75mm It's the middle of March when Nino and I have concluded to go on a very short trip to N.Y.. As we wanted to maximise our productivity during the stay, we've managed to "squeeze in" a quick review. The original plan was to concentrate and review the FUJIFILM X-T30, but as we had exactly 4 hours blank to shoot the above story before rushing to the airport, we made the quick decision to "join forces", use the FUJIFILM X-T3 as an additional camera and shoot this piece solely on SLR Magic MicroPrime X-Mount lenses, which we had brought with us. At the office, we have the entire set (12mm, 15mm, 18mm, 25mm, 35mm, 50mm, 75mm), but for that particular journey, we took only 3 lenses with us (12mm T2.8, 35mm T1.3, 75mm T1.5), as our packing space was very limited. I still hope to conduct a complete and separate review on the FUJIFILM X-T30, and before continuing, here are a few words about working with that new camera. SLR Magic MicroPrime Cine lenses on FUJIFILM cameras (From left to right X-T3, X-T30. X-H1) FUJIFILM X-T30 This small, portable yet capable camera might be a sign of what's ahead of us in the near future. It is very nice for what it is and for its price tag. Let me highlight some of its strengths: APS-C sensor size 4K up to 29.97P DCI recording (4096 × 2160) F-Log Eterna Film Simulation Up tp 200 Mbps Improved focus capabilities (Tested separately, as the lenses used for the above review are all manual) Capacitive touchscreen panel 120fps in Full HD Can record 4:2:2 10-bit via HDMI externally Direction lever (Or joystick in simple words…) Attractive price On the downside: Up to 10 minute recording time in 4K No H.265 recording option As the camera body is so small, there is no IBIS (In Body Image Stabilisation) A USB C to 3.5 headphone jack adapter is required to monitor sound and a 2.5 to 3.5 Jack adapter is needed in order to connect your 3.5mm mic If I had to summarise, the new FUJIFILM X-T30 is far more a mini X-T3 than the former X-T20 was a mini X-T2. A sentence about the FUJIFILM X-T3 It is our best mirrorless camera for 2018. On the bench: SLR Magic MicroPrime Cine 12, 35, 75mm SLR Magic MicroPrime Cine X-Mount Lenses (12mm T2.8, 35mm T1.3, 75mm T1.5) – Overview SLR Magic is known for offering our filming community well built, modesty priced lenses and the new MicroPrime Cine X-Mount lenses are no different. Any of the 3 lenses we've tested felt robust and easy to handle. Focus and aperture rings were both buttery smooth to operate. The markings (aperture and focus distance) on all lenses are clear and easy to read (those lenses have imperial measurements only and none are illuminated). If you have a set of those lenses, identifying the desired lens based on focal length is very easy, as the marking on the front part of the lens can't be missed. SLR Magic MicroPrime lenses chart As you can see on the above chart, weight and length are kind of similar but not equal between all lenses (the new 12, 15, 18mm lenses are a bit shorter), and depending on usage and type of operation, it should be fairly easy to change lenses while shooting with a gimbal for example. Speaking of lens weight: paired with any of the new cameras within the FUJIFILM range – be it the X-H1, X-T3 or even X-T30 – the package (camera+lens) felt very balanced and easy to work with. Back to the lenses themselves, one thing that does make life easy, is the identical 82mm front filter thread size (so for example, in case of using a Variable ND filter, you'd only need to pack one). If you fancy filming anamorphic style, you will find the MicroPrime Cine lenses to be a perfect match to SLR Magic's own Anamorphot 65 – an anamorphic lens adapter which we reviewed separately last year. The lens' 85mm front diameter allows for a perfect attachment to the Anamorphot 65 anamorphic lens adapter. Optical performance (PLEASE NOTE: Our resolution chart is out of the office, so I used a printed version in order to simulate my findings) The chart images within this article clearly demonstrate the differences in picture quality between fully open aperture and stepped down reading. If the results are not so clear, one should take a look down at the left hand-side, where the numbers are. This perfectly shows how the lens behaves. One should remember that these lenses are similar to their E-mount version siblings. The reason I'm mentioning it here is because the lenses are actually made for full frame sensor cameras. From my observation, those exact lenses (just in X-Mount) do perform better on APS-C sensor cameras. I can presume that this is due to the fact that more of the glass centre is being used and as a result, picture edges are less soft. In general, if you want to have these MicroPrime lenses perform optically better, try not to use them wide open. T/4.0 is kind of the sweet spot, where picture quality across the entire image gets better. The statement is valid for the 35mm and 75mm lenses we've tested. Unfortunately, the same cannot be said about the 12mm T2.8 version. I LOVE filming wide-angle shots and this particular new lens excited me and ignited my imagination, but in reality, it is noticeably soft and the bad news is, you will have to step down aperture as much as f/5.6 (or even more) in order to get acceptable across the image even results. Also, please bear in mind that the barrel distortion of the lens is rather noticeable. On a positive note: as this lens has a 12.5 cm (4.9 inches) minimum focus distance, it can serve well in some shooting scenarios. Speaking of which, the minimum focus distance of the 75mm lens is 79 cm (31 inches) and for the 35mm, it is 37cm (14.5 inches). To summarise, if you are aware of that lens' limitations and sharp centre vs. soft corners are not an issue for you, I guess you will enjoy using it. Note on the above footage: 12mm is very wide and my 82mm Variable ND filter was vignetting when attached to the lens. This is one of those cases where I wish I had the STC In Body Clip Filter to help! SLR Magic MicroPrime Cine 12mm MicroPrime 12mm @ T2.8 MicroPrime 12mm @ T4.0 MicroPrime 12mm @ T5.6 SLR Magic is certainly aware of the optical limitation of its new 12mm (and 15mm) lenses, so those 2 are sold for $100 less than the rest of the lenses found in the kit. SLR Magic MicroPrime Cine 35mm MicroPrime 35mm @ T1.3 (See how soft the picture is, especially on the edges) MicroPrime 35mm @ T4.0 (Lens sharpness is much better when closing down the aperture ring) SLR Magic MicroPrime Cine 75mm MicroPrime 75mm @ T1.5 MicroPrime 75mm @ T4.0 Lens breathing, Chromatic aberration and Focus throw All SLR Magic MicroPrime Cine X-Mount Lenses have a 150 degree focus throw. This allows for easy, single-handed operation. When it comes to chromatic aberration, it was very evident that the 75mm T1.5 was the one to suffer most from this phenomenon, while testing the 3 lenses. Now, let's talk about focusing. All the lenses within the kit deploy an internal focus mechanism, but as you can see from the samples below, the tested 12, 35, and 75mm all suffer from some lens breathing issues. MicroPrime Cine 12mm lens breathing sample MicroPrime Cine 35mm lens breathing sample MicroPrime Cine 75mm lens breathing sample Lens Flare, Bokeh and Overall Picture Aesthetic A lot could have been written in this section, yet please allow me to summarise. The lenses I've tested behave in a different way when their aperture is being wide open, in comparison to when stepped down to T4/T5.6. If you are after the "creamy look" – look no further. Film with open aperture and the combination of a relatively soft image, strong lens flare and even chromatic aberration will give a unique (vintage?) look. As I wrote earlier, a more balanced and clean/clear image (modern look?) is achieved by closing the aperture ring. When it comes to chromatic aberration, in my observation, all the 3 lenses tested suffer from that phenomenon, but the 75mm was the one to suffer most. Bokeh-wise, it is rather sharp along the edges and kind of smooth in the middle. So, if you have lots of lights at the background, those might not blend smoothly and even be distracting, though this is really a matter of personal taste. Some won't like it, others won't even be bothered. SLR Magic MicroPrime 35mm – Bokeh SLR Magic MicroPrime 12mm – Lens flare SLR Magic MicroPrime 35mm – Wide open aperture "creamy look" Conclusion SLR Magic's MicroPrime Cine X-Mount lenses are very easy to handle and work with, and build-quality is impressive. In terms of picture quality: if you are looking for optical perfection or absolute sharpness, look elsewhere, yet if you are after a unique look and strong lens characteristics, these lenses certainly tick the box! For their price point, they are good value for money, BUT one has to remember that working with wide open aperture will result in a very noticeable deterioration of picture quality. If the maximum aperture of T4.0 is fine for most of the work you do, then those lenses might be right for you. My personal grief is the 12mm T2.8. As I wrote before, I love wide angle shots and although this particular lens brings interesting results, I still have to learn how to trust it while filming a real, paid project. Although FUJIFILM cameras are gaining popularity and momentum, X-Mount lens offerings are still limited and as I can't really think of any other brand, which produces modestly priced "Cine" alternatives (I'm not talking photo lenses here) – considering the price vs. build-quality and optical performance – if you are on a budget, those lenses might be worth taking a look at. After all, it is not that we are filming charts all day long… The full range of SLR Magic MicroPrime lenses can be found at B&H and CVP About the above video: Shot with FUJIFILM X-T30 and FUJIFILM X-T3 (H264, 200 Mbps, F-Log). Lenses used: SLR Magic MicroPrimes (12mm T2.8, 35mm T1.3, 75mm T1.5). Edited on Adobe Premiere latest edition. Color corrected with FilmConvert. Thank you Dan Reichard and Grace Eline for allowing us to cover your story. Please visit the VALERIE FUND page and consider donating. Grace's House will be open to the public April 25 through May 19, 2019. For tickets, visit Grace's House Tickets. The music used in the video above is courtesy of Music Vine. Get 25% off your next music license with code C5D25 (valid for one use per customer). What do you think about SLR Magic's MicroPrime lenses. Did you have a chance to use the E-mount or X-mount versions? Please share with us your thoughts in the comment section below.Read more
by Graham Sheldon | 18th March 2019
I resisted using Frame.io for some time. Did I really need another application in my life? Could it really be worth switching everything over and having my team learn a whole new platform? Frame.io had initially caught my attention at NAB last year. My producing partner (Rin Ehlers Sheldon) and I were given a demo, and afterward, we were both strongly advocating for the interface to win one of Cinema5d's "Best of Show" awards. It also took home awards from just about every publication and the exposition itself. A few stills arranged in the most common folder view you see in Frame.io. Note that both RAW .CR2 stills and .jpegs are present here. There are also a few images marked with "Needs Review" to avoid ambiguity. At that point, our company had a busy year ahead with huge post-flow headaches looming over us. Rin and I had a personal mission for NAB 2018, and it was to find affordable innovations that would ward off those headaches for our small company. On the docket was 6 hour long episodes for a documentary series and 12 episodes of a digital series, both shooting in 8K on Red Monstros and Heliums. We needed organization and retention. Above all, we needed a way to access and communicate with our teams while traveling. For us this meant coordinating between 6 editors and a slew of stakeholders and collaborators giving notes. Frame.io claims this is what sets them apart. After all, it was designed by post production pros who were fed up the tedium and frustration of failed uploads or hours of babysitting Vimeo queues. They knew there was a better way for the exchange of notes and content, and they set out to perfect it: the exact solution to our exact problem. It seemed too good to be true. Read on to see if it was. What is Frame.io? Frame.io bills itself as "solving video review and collaboration." It does this by giving multiple teams and viewers access to browser based project folders filled with a variety of your core assets, such as exported video drafts or images. The user can stack different exports of the same project to keep track of version history. Versions can even be played side by side for comparison. It accepts any and all media file types that can be organized into a folder structure, one that should feel familiar to both PC and Mac users… really anyone who has used a computer ever. (Editors may chuckle, but this intuitive structure is helpful when collaborating with less tech savvy clients and investors.) Frame.io encodes your video to HTML 5 for browser video playback, but it saves your core file for download at anytime without compression being introduced. This is HUGE as other online video services have a tendency to compress to the point where things might get pixelated or blacks get noisy once live and they'll even destroy your color grade on occasion (cough,Vimeo, cough, cough). The most alluring advantage offered is their proprietary upload tech. Their uploader slices your file into 20 MB chunks and uploads them concurrently in batches of five, resulting in a much faster upload that can be paused and resumed, even if your computer loses internet access, your drive gets unplugged, or your laptop turns off. This is where the company's origin story really shines through. It's something only editors really understand. Anyone working with 4K resolution or higher or who has had to upload content from remote locations knows what a lifesaver this is. Frame.io plugin window living within Adobe Premiere Pro CC 2019. Getting Started Diving into Frame.io is painless in my experience. Create an account, select a plan, create a project, then invite your team members to collaborate. Number of team members may be limited based on the level of plan you purchase. Determine what level of access and editing power each person has: whether or not they should be emailed as the project is updated, whether you want to be notified when they give notes, or if they're allowed to upload/download content. There is a distinction between collaborators and team members, which you can read about here. Download the app for phones and tablets, as well as correlating NLE integration. We're Premiere CC users at our company, so we installed the free Premiere plugin for Frame.io, which our editors love. After the plug-in is installed, head to Window -> Extensions -> Frame.io and your new Frame.io window pops up with your current project visible (see the above image). This integration allows you to set up watch folders for a timesaving peace of mind. Frame.io also offers plugins for Final Cut X, Adobe AE, Avid Composer, Slack, Vimeo and Watch Folders for macOS. Things start getting a little expensive when you move above the base plans. Giving Notes The timecode based discussion feature in action. Giving and taking notes can be tricky. The ability to give clear and concise notes without eliminating agency or enthusiasm is a real art. The mode of delivery can also be an issue. When notes start being delivered via text message, a personal detestation of Frame.io founder Emery Wells, lines can be crossed in all sorts of places. What's on the record? What's off? Disrespect of an editor's time (or anyone's, for that matter) accompanied by the blurring of expectations for when your team members are on and off the clock is major consideration most producers and directors need to make. An email of 500 notes in a list can be demoralizing and can often lead to a break in your editor's pace that is now entirely avoidable. Additionally, all parties work more effectively in specificity, so it is very clear for one side how to take notes and very clear to the other side when they have been taken. Errors in feedback cost money and time in the midst of a busy production schedule. Nothing frustrates a producer like giving the same note twice, and nothing infuriates an editor like working on something for hours that ends up getting changed or cut. Everyone needs to know which way to row, so the boat doesn't spin in circles. While Frame.io won't necessarily make your captain more decisive or magically engage your team in some fulfilling reciprocity, it does remove a great deal of the common obstacles that prevent your ideal post "atmosphere." As the content plays in a review window, one simply has to start typing a note when so inspired, and the playhead will drop a marker at the exact point where it's needed. At this point, the viewer can even utilize a pen tool to draw on the frame for the most visual note possible. Did you catch a corner of a boom pole in your frame and need it masked out? Circle it! Need an asset moved to the left? Draw an arrow! Obviously, timecode is a given at the moment the note is typed, which is incredibly helpful. With the integration into Premiere, the markers will even drop right onto your editor's timeline, so there's no need to open and close the browser. Frame.io will also email you (depending on your settings) when a collaborator or team member has commented, updated, or changed something, a feature I am particularly fond of. (There is currently not an option for in and out points to define a range of timecode, but Frame.io says us this feature is coming. At present, you have to write IN and OUT in two notes, which is a little obnoxious, but having the desired changes tied to exactly the right moments is still a better option than an emailed communication of the same thing. My guess is this wasn't a priority because editors hate blanket notes, but they are necessary from time to time.) Post Issues fixed by the Frame.io Interface One party could be referencing an old version and giving incorrect timecode. Tasks/notes are dropped because a note is buried on a 100 count email thread. Two notes are in conflict with one another and the editor or post team isn't sure which to take. One party gets annoyed because a note wasn't taken prior to going live. You now have a written history on if this did or didn't happen with the exact time in print. Pricing Here is really the biggest drawback, and it's not a small one. Look, I'm not saying it's not worth it. They've done a great deal of work to give us something we really need, but if you are used to paying $34 for a Vimeo Pro Unlimited membership, which allows for 3TB/year and unlimited weekly uploads, you're going to have major sticker shock switching to or adding Frame.io. It feels like a pretty big kick to the gut for those of us that aren't Buzzfeed, BBC, VICE, etc, because if you're working with high res content, which most of us are, 1TB of storage isn't going to last. When I pay for a subscription for my business, I don't want to have to choose between which projects I put on this new great platform and which team members get to use the better tool. The only factor I want determining how many projects I'm working on at a time is my own ambition, not my app's limitations. I find it a little hard to stomach paying a comparable amount to what I spend for my company's Creative Cloud Subscription that gives me multiple apps for actually creating the work. Most reading this would likely opt for the tier that allows a small team of three for $44/monthly or a single member team subscription at $17/monthly. The Frame.io rep at NAB last year talked to us about scaling back membership at times you have less collaborators, but this isn't really an option if you're working on a feature or another long-term or large scale project. It's not a realistic option for most companies… most likely you will sign up at one tier and either stick with it or upgrade. It's just the nature of the beast. That being said, if it really came down to cost, I would cancel my Vimeo before I let go of Frame.io, because once you've had the advantage, you won't want to work without it ever again. Add in the ironclad file encryption, the use as a final delivery service, the lack of compression, along with being able to use this platform in pre-production for the exchange of storyboards, design renderings, etc and you'll find the two services aren't even really comparable. Mobile Version The award-wining Frame.io iOS app is free and intuitive. As a producer, I use the app more frequently than the site. Managing the post of multiple projects across different teams within the app's clean and efficient UI design has saved me a great deal of time. I use the "Save to Camera Roll" feature frequently to review for flights or to transfer to social media in a pinch. There is one odd quirk of the Mobile version currently tied to sharing your work. There are two option in sending off your content from Frame.io. Sharing a "Presentation" provides a link where you can view but can't give notes. This option can be sent to any email address, quite helpful when you need to extend viewing outside your network of Frame.io users. Sending a "Review" link, with which note giving is possible, is limited to those who have created accounts on Frame.io. Here's where the quirk comes in. When I go to send a Review, I follow the prompt to"Add Recipients." Whatever name I type, greets me with that first name I typed–followed by a list of all the users on Frame.io that contain the name I typed. Meaning if you are trying to send a link to Ben Hasselblad, after you've typed ben, you will have access to Ben Freud, Ben, Howard, Ben Pitt, Ben Garcia…you get the idea. These are real names of real people, not social media handles. This is a privacy concern in my opinion. If one were a career-hungry camera op, he or she might get the gumption to send the old reel out to anyone that comes to mind (and also has a Frame.io account). I reached out to Frame.io about this, and this is how they responded: "When adding Collaborators via the iOS app, it will show the different options for people, similar to social networks. Per requests that have come in, we are reducing this to display only people that have already been added as Team Members or Collaborators within the account. This will be adjusted on the web app soon. I don't currently have an ETA when it will be adjusted on the iOS app, however, we have many updates for the iOS app coming soon as well." – Frame.io Team File Delivery As I mentioned earlier, the ability to deliver the final un-compressed file to the end user or client is a big draw. With other services (Dropbox *cough) I've had issues uploading lengthy video files over 8gb and I've experienced none of that here. With the $44/monthly and above plans, you are also able to customize the client review window with your company branding and color scheme — which is another nice touch. Note the green color cast on the .CR2 Canon RAW files. This color change isn't present with .jpg. Cons for delivery: There is an aqua color cast on RAW stills in the Frame.io window. This does not remain when the files are downloaded, but it is a problem if you are a photographer using the system for review with your clients. Of course, you can just choose not to upload RAW images, but if you want review and delivery to be in the same place, it may not be an attractive explanation for you to give to your clients. When I asked, the Frame.io team said my browser was causing the color cast. Frame.io sent me a comment on this: ".CR2s won't be absolutely color accurate since Frame.io is creating the browser-friendly version as a .jpg. Also, each browser would display it differently too." – Frame.io Team I had one project that involved uploading hundreds of images to Frame.io for review and we labeled each "In Progress, Needs Review or Approved". You are able to sort by status, but not filter. That means I still end up scrolling through hundreds of photos to get to the clump categorized as "Needs Review." Photos are not the main pull to Frame.io, but if this is truly to be a one-stop shop, there's some progress to be made with different types of file organization. Not an issue when you have five assets in a single folder, but definitely an issue when we're talking about assets in the hundreds to thousands. All in All Frame.io streamlines the note giving process with innovation and efficiency. The application has made a strong case for being a singular workflow interface, and they are nearly there. Frame.io solves problems I didn't even really know I had. After utilizing its features in post production over the last year, my company won't be going back to the TL;DR days of bullet point laden emails and countless back and forths containing the phrase "Did you mean…" With the very few criticisms my team and I have of Frame.io, we unanimously find it an invaluable tool. This is a company that is innovating in leaps, not steps–and we can't wait to see what updates that implement next. Have you used Frame.io in the past? Comment below!Read more
by Graham Sheldon | 28th February 2019
The new RED DSMC 2 shoulder rig from Zacuto promises to be an ergonomic and light weight option for shouldering any RED DSMC2 body. I spent some time with the rig over a ten day digital shoot and my full review video is above. There's not a great deal of innovation in the progression of the shoulder rig. Once you've found the one that has the balance you need, that gives you the assist you want, you stick with it. However, then your go-to camera manufacturer decides to retool their entire line into one body style, and you're back to figuring it out again. In response to RED's transition into the DSMC2 line, Zacuto produced this rig. If you've used Zacuto products in the past, you've most likely been drawn to their price point, but a little (or a lot) disappointed with their heft. The major selling point however has always been their reliable quality– everything metal, not piece of plastic in sight. The new Zacuto RED shoulder rig delivers on that all-metal promise, while taking itself lightly…literally weighing in at a little over 2.0 lbs, so what had deterred me previously is no longer an issue. When I'm shouldering a camera for many hours at a time, my primary concern beyond weight is simply balance and ergonomics, the overall feel of the rig. The balance of the Zacuto rig is excellent. I never had to mess with moving the rig forward or back on my shoulder. There also isn't a steep learning curve here — we popped the whole kit out of the box and had it rigged up in under 10 minutes. Zacuto RED rig paired with the DSMC2 Helium S35. Image Credit: Chuck France – Copyright: Legendary Digital Networks The kit Includes: VCT Pro Baseplate 2 x 6.5″ 15mm Rods RED Top Plate 3″ Z-Rail Top Handle with Z-Rail and Cold Shoe Mount Shorty Trigger Grips In terms of price point, you're looking at $1,330.00 for everything listed above. The price feels right for what you're getting, but it is worth noting you'll need a VCT Tripod plate to really take advantage of the quick release functionality of the VCT Pro baseplate included in the kit. The included RED top plate is also a standout and allows passthrough communication between the camera and the DSMC 2 monitor for mounting directly on top of the camera body. I also loved working with the thumb button on the shorty trigger grips for repositioning. Thankfully, gone are the days of strong-arming tightened knobs to move the grips around between shots. Image Credit: Chuck France — Copyright: Legendary Digital Networks In general, this rig does exactly what you need it to do. If you work with RED DSMC 2 cameras, this is a good buy. I would like to see another pivot point on the wrists, but that is a small bit of feedback for a system that otherwise works very well. My biggest takeaway from working with this system, is I never felt like I was fighting the design during any stage of shooting and that is a big plus. The music used in the video above is courtesy of Music Vine – Get 25% off your next music license with code C5D25 (valid for one use per customer). What shoulder rigs are you using? Let us know in the comment below!Read more
by Graham Sheldon | 12th February 2019
The Daylight Zylight F8 200 is admittedly a strange light to look at. It has about the same physical footprint of a 1×1 panel, but to compare it to a simple high output flood light would be a mistake. There is more here than meets the eye. I took the Zylight F8 200 into the field recently in a documentary project in Europe to really put this LED fixture to the test in a wide variety of situations. Does it hold up? Find out below: The Zylight on location in Basel, Switzerland. Out of The Box When you open the box, it is clear that a ton of thought went into this light. It's dimmable from 0-100%, runs quiet and isn'y over-designed, but the ability to accordion (for lack of a better word) out the lens to focus the output works marvelously well. Simply turn a knob at the back of the fixture and the beam angle narrows from 16 degrees to about 70 degrees as the lens extends. This simple design feature gives you a more versatile light and keeps it compact for travel (it fits in a small Pelican case with all the accessories). The build is superb; it feels bullet proof. In 6 weeks, we never encountered any issues. I do think it will hold up over longer shoots, but we put it through the paces at a month of using it for several hours a day. In The Field The manufacturer claims a CRI of 93 and in my experience, that's accurate. I paired the light with several other brands of daylight LED fixtures, and it matches color perfectly without the need of minus green. The light also has an IP54 rating, which means that rain, snow and dust shouldn't effect the operation of the light much. We did use it in the rain with no problem. You can power the light through the wall obviously, but Zylight also makes a dual V-mount or Gold Mount battery adapter (available separately for $350) that affixes to most C-stands. I will say that the light is battery hungry. I'd say two new Dionic 90's will get you about an hour of use in most situations. Not a big deal for us as we use Dionic 90's with everything. The ability to travel all over the Alps with this light in a run and gun doc style project was exactly what we were looking for. I will say the light weighs a little over 10lbs (4.5 kg), so you'll want to make sure you have a properly sandbagged C-stand to use for mounting. Zylight F8 200 Output and General Usage The output is where this light really shines. Think around a 2K, if your head still homebases in tungsten. That output allowed us to punch the light into rooms from outside windows in some cases, as a bounced key light or to fill in dark portions of backgrounds as motivated sunlight. There where even moments where we used the light outside (with some diffusion) to fill in shadows on the face of talent during long interviews. The Zylight raking the background of an interview in Lucerne, Switzerland. Accessories and Pricing The price point of $2,499.00 puts the Zylight significantly cheaper than comparable (in terms of output) HMI fixtures, but more expensive than an equivalent intensity tungsten fixture. However, as you know, Tungsten burns hot and pulls a ton of power. A whole line of accessories exist for the light including a softbox and various types of cases, but the barn doors are included in the kit. The Zylight F8 200 is also available in dedicated 3200K form as well. Conclusion I'm always looking for the one light that works in all situations (spoiler alert – it doesn't exist) but you really can't go wrong with a high CRI/high output source like the Zylight F8 200. It is small enough to take along in a small crew, has minimal power draw for use in homes and the ability to focus the beam without attaching complicated accessories is fantastic. Since using the fixture in Europe I had the opportunity to use it during a PSA shoot and a longer 6-episode digital series and it is steadily becoming one of my go-to lights. The LED market is becoming more crowded these days, but the Zylight F8 200 is a true standout for me. Did you have a chance to use the Zylight F8 200? Do you prefer working with Daylight/Tungsten fixture? Please share with us your thoughts on the comment section below.Read more
by Nino Leitner | 7th February 2019
The iPad Pro has been on the market for a while now, yet the "Pro" in its name still has to live up to expectations. I talked to Pedro Hofmann, a videomaker from Vienna, in how he is making the iPad Pro into his fast turn-around editing machine using the LumaFusion app. The iPad Pro-ish Apple's most recent upgrade to the iPad Pro line was impressive – with a processor that is exceeding the speed of many laptops in its line-up, it became clear during the Keynote introduction that it's a sign of things to come. The iPad was finally powerful enough to be the Pro machine they promised a year earlier. With one huge caveat: the lack of a a proper file system and the incompatibility of the consumer-oriented iOS with the professional Mac OS makes the "Pro" in iPad Pro nothing more than a shallow promise. LumaFusion on the iPad Pro In comes Pedro Hofmann, a videomaker based in Vienna, who creatively specialised in producing fast turn-around one-minute films for his clients. He's shooting the films on his Sony a7s II, his DJI Mavic drone and other gear, and then he edits right on the spot using his iPad Pro using the app LumaFusion. In fact he sold his MacBook Pro and considers the iPad Pro the best "selling tool" for his productions he's ever had. I agree with him that showing edits to clients on an iPad often gets them more excited than showing them something on a conventional laptop – somehow the experience feels more haptic and organic. File Access in iOS & WD My Passport Wireless Regarding his workflow, it isn't completely straightforward simply because Apple is limiting the way you can access files in iOS. He's working with Apple's USB-C SD reader as well as a Western Digital My Passport Wireless, which also has an SD reader built in, and it enables him to read and copy every file system of any camera (on the SD card) while Apple's own reader ignores the folder structure of Sony cameras, for example, effectively showing an empty card despite the fact there's data on there. The My Passport Wireless becomes a media hub that can serve the data into the editing app LumaFusion. SD Reader in the WD My Passport Wireless LumaFusion Now of course it's not ideal that there isn't an Adobe Premiere or Final Cut Pro for the iPad Pro yet, meaning, it is impossible to move projects between your desktop and iPad so far. However, the LumaFusion editing app is truly impressive in what it's capable to do: You can have up to three layers of video at 4K 50 playing simultaneously without any hick-up. And believe it or not, but it also plays H.265 extremely smoothly due to the graphics chip in the iPad Pro, something that even the biggest desktop machines can still struggle with these days. LumaFusion seems like a very capable editing app at first glance, with proper editing shortcuts, layering, proper typo handling and many advanced functions. It's definitely worth a closer look and seems to work quite well for these fast turnaround edits. iPad Pro Editing – the Way of the Future? Enjoy this workflow video above, peeking into Pedro's way of working. I personally can't wait until we can finally use an iPad Pro or any other laptop for professional editing because I think it will totally change the way of working. Direct interaction with your footage feels a lot more natural than the indirect way of working we're used to with keyboards and mouses, and nothing has changed in that way in the last 30 years. It's time for a revolution in professional interfaces. What do you think about editing on an iPad Pro? Have you worked with LumaFusion before? Let us know what you think in the comments.Read more
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text:
7 May 2019
Hi Everyone!
My name is Kate Archibald and I am a Year 6 Classroom Teacher at Treendale Primary School in W.A.ŌĆÖs South West, and I am a participant in the Alcoa Maths Enrichment Program: Champions of Maths (ACoM). Over my career, IŌĆÖve always found Maths the hardest subject to teach. I spend many frustrating hours analysing PAT Maths Assessment results, often repeating to myself ŌĆśthey know how to answer thatŌĆÖ (something IŌĆÖm sure many teachers can relate to!). And I found myself wondering if I had actually taught my students how to confidently apply the skills and content they were learning into these types of questions?
Too often we can easily fall into the trap of teaching children a sequence of steps to memorise in order to arrive at the correct answer. As participation in AcoM has highlighted to me, the problem with this is that many students do not know why they are following this process, or what each step ŌĆśrepresents.ŌĆÖ Students see maths as a set of disconnected ideas and it becomes more about memorisation and less about mathematical understanding. Most students are satisfied with getting the right answer, rather than analysing a different way to get there or, more importantly, an efficient way to get there supported by convincing reasoning.
My contribution to this blog will walk you through how I have begun to emphasise the importance of mathematical efficiency in the classroom and invest time in meaningful discussions following the ŌĆś5 Practices for Orchestrating Productive Mathematics DiscussionsŌĆÖ to highlight efficient methods.
When Shyam Drury first came to watch one of my lessons at the beginning of the year, my students had been learning about the ŌĆśBridging throughŌĆÖ strategy for addition and subtraction. I had given them the sum 329 + 57, and they were working with a partner to explain their answer and process. Most students in the class had chosen to split the 50 in to 30 and 20, an inefficient strategy and unnecessary step. Only one student shared the efficient method of 329 + 1 + 56, which would have been the ideal time for me to discuss which method is more efficient and why. This was a missed opportunity to encourage students to be more effective and show them that what matters is making good choices for good reasons, rather than whether they get the question right or wrong. Having someone else watch my lesson and deconstruct it with me brought my awareness towards the need to address the concept of ŌĆśefficiencyŌĆÖ with my class.
As a result of ShyamŌĆÖs debrief, my students and I brainstormed what efficiency was, why it was important and how to get there. I thought it was important to emphasize that what might be the most efficient for some, may not be the most efficient for others and that was okay. As a class, we decided on our own definition of efficiency and created the following poster as a reference to display with our other expectations.
Over the following weeks, students continued to engage in a variety of meaningful problem solving activities in their randomised groups of 4 with our discussions targeted at pulling out the most efficient methods.
An example of a recent lesson scaffolded for a strong discussion on efficiency to take place was when students had been given the task to work out the sum of every odd number between 1 ŌĆō 99. I had completed the lesson proforma and anticipated the solutions students would be using as seen in the lesson plan below.
During the working time, students were initially quite stumped. Only one group began to write down every odd number and add systematically each time. Most other groups began by adding rows or columns of odd numbers together in a hundreds grid format, an approach I hadnŌĆÖt anticipated. After 15 minutes of productive struggle and with no group moving towards a more efficient strategy, I called them all back down to give them a levelling prompt, ŌĆśHow can you group these numbers into pairs?ŌĆÖ. One group then found pairs adding to 100, but with no routine or idea of where to next.
As students were working on their solutions, I was monitoring the use of strategies to help in selecting the order in which to present their ideas. Many students had used the columns or rows addition approach, some slightly more effectively than others. The order in which the ideas were presented and discussed were;
1) Systematic Addition - the least efficient method
2) Multiplication Pairs ŌĆō an efficient strategy, but used inefficiently in this case. (The group shared their explanation before I led a class conversation about how we could build on what this team had done to make it a more efficient strategy.)
3) Addition of 100ŌĆÖs chart columns - breaking down place value
4) Addition of 100ŌĆÖs chart rows- noticing pattern of adding 75
5) Multiplication & Square Numbers ŌĆō led by teacher ŌĆō linked with unit being taught at the time.
As pictured above, the whole class continued our discussion, by analysing how all these ideas were interconnected, asking questions such as ŌĆ£can you see the idea that Group 1 had, evident in Group 2ŌĆÖs explanation?ŌĆØ After this, one student put up his hand. His question was ŌĆ£out of all of these, which is the most efficient way?ŌĆØ Usually this student is quite reluctant to have a go during maths. The fact that he was contributing, let alone independently seeking efficiency and genuinely questioning the methods presented, was a tremendous win. Turning his question back on the class, I asked them to discuss their answer to that question with those around them and be able to justify why. For several students, they werenŌĆÖt quite ready to jump all the way to 25 x 100, but could recognise that it was the most efficient way to get the answer. In this task, every student was able to build on their process in one way or another to make it more efficient.
Had anyone told me before that I could give the same question to the whole class and still allow for every child to experience an achievable challenge, I would have doubted them. This process highlights how these ŌĆślow floor, high ceilingŌĆÖ tasks can be done.
All you really need is a good question.
During our debrief, Shyam pointed out another opportunity for discussion during this lesson - how the margin of error decreases in the more efficient methods. For example, the students who added every single number together had to do this correctly in 50 steps, whereas students who found pairs adding to 100, recognised there were 25 pairs and multiplied 25 x 100, only had to make one calculation. I have since raised this in my class, with several students immediately pointing out the direct link back to our class definition.
My participation in the ACoM program has reignited a love of teaching maths, and I have found myself excited to plan what will be coming next. For the first time in a long time, I feel confident that how I am teaching maths is having an impact on student engagement, confidence and learning. My class have begun to adopt a new definition of success in mathematics and are questioning and thinking about their process and efficiency wherever possible.
This is one of my favourite photos from the year to date, showing students engaged in a deep discussion justifying their belief about the colour coding of Math4LoveŌĆÖs ŌĆśPrime ClimbŌĆÖ Board Game. At the beginning of the year, children were hesitant to share their thoughts and answers voluntarily, let alone engage in the respectful debate this photo shows. You know that things are going well when there is a collective sigh as the lunch bell goes and you havenŌĆÖt quite gotten through everyone explaining their answer yet, or when students donŌĆÖt want to go to lunch and would rather solve problems instead! I canŌĆÖt wait to continue learning to be a ŌĆśMath ChampionŌĆÖ, and with such exciting progress already made, IŌĆÖm eager to see the further impact this change in my teaching will have on student understanding.
I hope this entry will spark an urge in you to discuss efficiency in your classrooms and inspire you to probe further than just a correct answer.

subset: commoncrawl


text:
Style Shop
Read details to
morrow morn
ing of what the
blue pencil has
done to prices in
this store.
, Starts Tuesday
At Nine Sharp
Boston 24- 2
Buffalo 14 20
Chicago 22 22
Denver 28 42
Flagstaff 32 40
Fresno 60 62
Galveston 62 52
Kansas City ...26 26
Los Angeles ....52 52
Minneapolis ....14 17
Needles 48 50
New Orleans ...52 66
New York 24 28
Oklahoma 34 4C
Pittsburg 2! 26
Portland, Ore. ..36 38
St. Louis 26 26
Salt Lake City.. 34 38
San Diego 58 58
San Francisco 56 60
Seattle 34 38
Spokane 26 30
Tampa 70 SO
Tucson 60 64
Washington ...34 40
AVinnipcg ...... 4 4
Yuma 52 62
Pt. Cldy
Cloudy '
Pt. Cldy
Pt. Cldy
Gin OBSERVES
44 2 2 -
Local Weather "Yesterday
a.m. Noon 6 p.m. J
Tempt., dry bulb.. 52 5S 51
Temp., wet bulb... 43 48 43
Humidity, per cent. 46 44 88
Wind from E E SW
Wind, miles 8 3 3
Rainfall , 0 0 .05
Weather ..... .Cloudy Cloudy Cloudy
Highest yesterday 59
Highest this date for 26 years.... 78
Lowest yesterday 47
Lowest this date for 26 years.-.. 22
Total rainfall 05
Excess in temperature yesterday, 3
Kxcess in temperature since the
first of the month, 81 degrees.
Accumulated excess in temperature
since January 1. 428 degrees.
Normal precipitation January 1 to
date, 7.75 inche-s.
Actual precipitation January 1 to
date. 4.45 inches.
Deficiency since January 1, 4.30
Today: Time of sunrise. 7:30 a. m.;
sunset. 5:28 D m.: moon rise. 4:29
a. m. ROBERT Q. GRANT.
In Examination of Eyes and fitting
f correct
9 East Adams Street
Phono 5090 for Appointment
CgZJZ Phone
Send me your work for
quick and efficient service
620 North First St Phone 2875
Phone 1555
Fourth Ave. and Jackson St.
CELEBRATION TONIGHT Mari
copa Lodge No. 1 will hold its enter
tainment at Lucas park, Sixteenth
and Jefferson street, tonight instead
of tomorrow night, as previously an
HOME FOR HOLIDAYS Among
the Stanford university students who
returned home for a visit during the
holidays here is Miss Earlene Phelps,
daughter of Mr. and Mrs. E. C. Phelps
of West Portland street. She arrived
home Christmas eve and will remain
throughout the week.
The Western Union has telegrams for
Mrs. Jack Crabb, Clyde M. Glen, Otis
Dyar, Milly Jack Martin, David
Bishop, D. B. Batchelor, Mrs. L. Wil
son Chapman, Mrs. S. H. Mocris. Miss
A. M. "Kelly, Mrs. Melvine Walker,
Mr. and Mrs. Joseph T. Taylor, Ven
tura Zepeda, Miss Audrey McBride,
Mrs. R. W. Swart. Hamilton Crary,
Eugene S. Gaddis, Manuel Contreras
S. S. Brker.
XMAS ENTERTAINMENT An
elaborate Christina; celebration was
held at the Sunny Rest sanitarium
Sixteenth and Pierce streets, yester
day, at which many friends of the
patients were present. The buildings
were all decorated witn tjnristmas
greenery and in the dining room a
profusion of poinsettias, American
beauty roses and carnations were
placed. The traditional old Christ
mas dinner was served with air the
trimmings at 2 o'clock in the after
noon, following which the patients
rallied to the large Christmas tree
for the distribution of gifts. A fea
ture of the celebration was the en
tertainment by the Council of Jew
ish Juniors.
Day One of Happiness Des
pite Kam Churches
Have Special Programs
Children Made Merry
By Visit of Old Santa
Phoenix paid its homage yesterday
to the Christ child and its homage
prayerfully and joyously. It was a
day of reverence, yet of happiness,
and though dark clouds overcast the
skies and rain fell from noon to mid
night it was a day of brightness, of
cheerfulness such brightness and 1
cheerfulness as many had not ex
perienced in months.
Came old Saint Nicholas from out
of the nowhere into the somewhere,
tarried a while and then back again
to that mythical land that is his
that land of toys, of dolls, or roller
and ice- skates, of kiddie kars and
what not. His visit was brief this
year he had so many to see. What
a joyous mission it was, though, for
the old fellow overlooked not a tone.
He divided his pack with the rich
and poor alike; he brought comfort
and good cheer to. the needy; he
brought relief to the suffering.
So the Phoenix observance of
Christmas day took greater signifi
cance this year than for many years
past. Everyone participated. The
air was charged with the spirit of
good fellowship and "peace on earth.
good will toward men.
Special services, morning and eve
ning, were featured at all churches of
the city, with special Christmas mu
sical programs at the Catholic
church. Last night the choir at Trin
ity cathedral sang Handel s immor
tal oratoria. "Messiah."
The big majority of citizens, after
attending church, spent the day
quietly at home. It was a flay espe
cially adapted to home-staying.
Theaters of the city had arranged
special Christmas programs for the
benefit of their patrons and, though
the day was unfavorable, good
crowds were reported.
Prisoners at the city and county
jails fared unusually well. Old fash
ioned Christmas dinners were served
at each jail, with turkey, cramberry
sauce, mashed potatoes and hot
mince pie as part of the ration.
Religious services were conducted
at both jails by the Salvation Army.
which organization distributed fruits,
nuts and candies to the prisoners.
The day. records show, was one of
the quietest Christmas days ever ob
served here. There were no acci
dents to mar the happiness of the
day, no fires to detract from the joy
fulness of the occasion. Although
hundreds of Christmas trees were en
joyed, they were lighted almost en
tirely . by tiny electric light bulbs,
thus minimizing the chances of fire.
o -
Moonshine Enjoys Life:
Uncle Sam Pays Bill
Highways of Switzerland are of
macadam or concrete structure and
are kept in excellent condition.
Though the country is hilly and
mountainous, it is covered, by a net
work of fine roads.
Throughout the country the over
all width of motor vehicles varies in
different elates from 90 to 114 inches
and the length from 30 to 65 feet.
BIRMINGHAM, Ala., Dec. 22. J.
A. Rountree, director general of the I
United States Good Roads associa
tion and the Bankhead National High
way, association, after a ten days' ab
sence in Washington to meet a com
mittee of 25 to present invitations to
President Harding and cabinet of
ficers, inviting them to attend the an
nual meetings of the two associations
in Phoenix, April 24 to 2, has re
turned to headquarters of the associa
tions in Birmingham. He is en
thusiastic over the success of the
committee in securing the promise of
cabinet officers and prominent men
tc attend the conventions.
President Harding was most cor-
cial in receiving the committee, but
he told it frankly that he could not
go to Phoenix until later in the sum
mer, when he expected to visit Alaska
but he assured them that he would
be pleased to ride over the Bankhead
highway at that time. In declining
he paid tribute to Senator Bankhead.
who was the first president of the
Cnited States Good Roads association
and for whom the Bankhead highway
was named. . lie stated that if there
was no other reason for attending
these conventions, if it were possible.
he would do so on account of his
deep friendship for the late senator.
President Cameron and Director Gen
eral Rountree of the Bankhead Na
tional Highway association, extended
to him a cordial invitation to accept
honorary membership on the board of
directors of the association, which he
Secretary of -irnculture Wallace
in accepting the invitation, stated
that he knew of no reason at this time
why ho could not attend the Phoenix
meetings. Secretary of Commerce
Hoover tentatively accepted the in
vitation and said he will give a posi
tive answer at a later date. First
Assistant Finley, speaking for Sec
retary Fall in his absence, practically
pledged that offic - to attend, and
stated that if Secretary Fall could
not be present he would represent the
department of the interior. United
States Senator Charles K. Townsend
of Michigan, definitely accepted an
invitation to attend the conventions
and to deliver an address on "Federal
The committee that extended the
Invitations was composed of some of
the most prominent men and women
from 14 states. Among the number
were Governor Thos. E. Campbell,
Senator Henry F. Ashurst and Con
gressman Hayden. representing the
state of Arizona: the city of Phoenix
Dwight B. Heard; the United States
Good Roads association. Director
Genera! Rountree. and the Bankhead
National Highway association. Presi
dent Bennehan Cameron; Congress
man W. B. Bankhead of Alabama,
Mrs. J. H. Bankhead, wife of the late
Senator Bankhead,. Mrs. A. K. Thorn
ton, president 'Of the womans' com
mission, Bankhead highway.
Every courtesy possible was ex
tended to the committee and much
interest was manifested in the Phoe
nix meetings.
y y vi
" " "
NEW BEDFORD, Mass. "Ho,
hum! No'.nin' to do hut eat and
sleep and contemplate the follies of
Moonshine yielded to his tenth
yawn and blinked his left eye.
Moonshine hat: had 14 months' va
cation at the expense of the United
States government.
He's a horse and had the good for
tune of having had for a master a
bootlegger who was obliged to flee
the prohibition authorities, leaving
him and a wagon load of booze to the
mercy of fate.
Moonsh'.ie and the wagon load of
contraband liquor were seized by the
They d.sposcd of the booze all right.
but struck a snag when' it came to
disposing of Mconshine.
Organizations 'in Fjance and Eng
land similar to the National Automo
bile chamber of commerce exercise
control not alone over their members
exhibiting in automobile shows, but
also in races and motor contests
various kinds.
last 14 months has baffled all the ef
forts of the local agents to rid them
selves of the hcrse.
Meanwhile Moonshine has been liv
ing on the fat of the land at Ed
brawley's lively stable.
Moonshine's main bother Is the so
cieties.' for prevention of cruelty to
"They 1 eep cumin' around here."
says Moonshine, "askin" the boss if
I have been exercised enough, ad
visin" him not to give me too much
to eat and tellin' him how cruel it is
to keep a horse in a stable all the
time and not let him work.
"I wish they'd come around here
and talk to me. I'd tell 'em a thing
or two. I get all the exercise I'm
Carlos Reiz, 26 years old, a she p
herder from Wickenburg. is in the
county jail awaiting trial on a charge
of murder as a result of t ie latai
shooting of Francisco Olea :it Wick
enburg last Thursday morning. Reft
was bound" over to the superior court
for trial following a preliminary ex
amination in the Wickenburg justice
court Saturday.
According to the story re-aiwl rj
Reiz at his examination, he had been
gambling at the home of Chico Ver-
dugo, a man about town at Wicken
burg. Liquor was furnished 'he
players during the nigh' s gaming
bv Verdugo, he claims. An Argument
arose early lnursaay mo-nins, kpijl
told the officers, and Verdugo as
saulted him. After floor'n him. the
proprietor struck him several r.ows.
Ueis claims and he exhibited a badly
swollen face in support uf his v'orv.
The beating so enraged him, Reiz
said, that he determined to kill Ver
dugo. He went to his home nea.-jy
he said, and got his shotgun, return
ine to the erdugo home with the
avowed intention of killing his as
aailant of a few moments befor.
Reaching the Verdugo residence
he shouted for Verdugo to show him
self. Several times he called th
men's name without fr-esponse. he
said. Finally someone emerged from
side entrance and. thinking it was
Verdugo, he pulled the trigger of his
gun. Reiz said at his examination.
The victim of the charge was
Francisco Olea. a well known Mexi
can figure of the Wickenburg com
munity. The shot took effect in the
man's leg, resulting in his death Fri
day night.
A murder charge was loajr-vl
against Reig Saturday morniig. He
was given a preliminary o summa
tion in the Wickenburg justice court
and held to answer to the superior
court. He was unable to furnish bbml
in the sum of $1000 fixed by the
Reiz told county officers last rilR't'
thaf he had no intention of injurins
0 m--
Fight, you wildcats!
' Fight!
We want good news
from you today.
Closed all day.
McDougall & Cassou
Washington Street
lookln" for ;fy diet suits me to a T. I Olea. who was well known to hira an-1
Red tape in Washington for.he I off.
and. above all, I'm not lookin' for
Moonshine has run up a board bill
atmroachinz the vicinity of JH'OO and
I continues to literally "eat his head
Machine Work and Welding
Phone 1085
306 South Seventh Avenus
A blizzard swept over the Orange
river colony,' Natal, Cape Colony,-and
the Transvaal of South Africa last
September, terrifying the natives of
that region so that explanations by
the whites could scarcely reconcile
them to the seeming miracle of snow.
Miss Mary Krause
Miss Mary Krause, 25 years old,
died yesterday morning at her home,
1912 East Adams street. She is sur
vived by her father, Henry Krause,
a sister, Mrs. W. H. Swope, and two
brothers, all of this city, and two
brothers in Oklahoma. Funeral ser
vices will be held at 2 o'clock this
afternoon at the MeLellan chapel.
the Rev. C. M. Aker officiating.
Burial will be in Greenwood ceme
of the
Funeral of Hiram Phillips
Funeral services for Hiram Phil
lips, prominent consulting engineer,
who was killed in an automobile ac
cident last Thursday, will be held at
the A. L. Moore & Son chapel at 10
o'clock tomorrow morning. The Rev.
C. M. Aker will officiate. The body
will be sent to Columbia, Mo., his
former home, for burial.
At an auction house the other day '
boy's heavy mackinaw was offered
for sale. A bid of 25 cents was made
and there it stopped. While the auc
tioneer was pleading against the sac
rifice a boy in the rear of the crowd
was taking an Invetory of his wealth.
He was a newsboy, not one of the
carriers, but a boy who bought pa
pers and sold them. He was coaiss
and shoeless and the day was chilly.
As he hurriedly counted his money
he looked longingly at the mackinaw
in the hands of the auctioneer. Fi
nally he called in a high childish
treble, "45 cents."
A cautious offer of 30 cents or ..ny
other cum in excess of the original
bid probably would have taken the
coat. But the boy was risking noth
ing. He was determined to over
whelm all prospective bidders and
show then the hopelessness of a con
flict with him. So he threw his en
tire capital with the added profits of
the day into the enterprise.
This stor'y would have had a hap
pier ending if some kind-hearted by
stander had given him a pair of
shoes, for when he was arrayed in
the mackinaw his barefootedness be
came more striking than ever.
Our Floral Deoartment
Will be
en This Morning
Arizona Seed and
Floral Co.
A. W. LIEFGREEN, Mgr.
28-32 S. Center Phones 1389-4403
We Deliver
Conscience Wasn't Working
Richard and Charles are brothers
who live in the Kenilworth district
and of course the rain yesterday did
not keep them from trying out their
new bicycle, a Christmas gift, at the
first lull in the drizzle. The only
difficulty was that mother had made
them promise not to get off the pave
ment, for when they returned home
their shoes were wet and muddy.
"Charles." said his mother sternly.
I don't see how your conscience will
permit you to go into the Tnud when
you had promised me you wouldn't
get your shoes muddy."
"Well, said Charles tnougntiuiiy.
"I guess my conscience isn't working
very well today, mother."
pasteboard in his hand and remarked.
'I must say you ve a keen eye for
business." Before he could go any
further Moore, remembering his bus
iness and greatly embarrassed,
clutched the card frantically.
He had given the aviator one of
the firm's cards.
And Then Luck Turned
Men who like to gamble feel the
urge under all circumstances and this
holds good of prisoners in the county
Jail, who now and then beguile their
spare moments with a hand or two of
poker when opportunity offers.
Among the prisoners last week
were half a dozen men who had been
given 20 days each on charges of
participating in a gambling game. In
addition, most of them faced the
prospect of raising fines of 1300 each
or serving more time.
One of the gamblers had proved
luckier than usual during his con
finement, and the last few days of
his sentence found him heavy winner,
all things considered. He was con
gratulating himself on raising al
most enough money to pay his fine
when a new prisoner was admitted.
sent to jail because he could not pay
a fine also assessed for gambling.
It wasn't long before the newcomer
and the winner were engaged in
quiet game in the bull pen. and the
battle waged hot. When the smoke
cleared away the stranger had won
the other's roll. He paid his fine and
received his liberty, leaving the one
time lucky one the dreary hope of be
ing able to borrow the J300 without
leaving jail.
An inspirational Christmas greeting
to. the club "women of the United
States, sent out by Alice Ames Win
ter, president of the general fed
eration of Women's clubs, has been
received by Mrs. H. A. Guild, auditor
of the federation and one of the
prominent women in state and na
tional club circles. Incidentally Mrs.
Guild, who is secretary of tjie State
Child Welfare board, leaves the lat
ter part of this month to attend a
meeting of the executive board of
the federation and will be present at
a conference immediately thereafter
which will consider the child welfare
problem in all its aspects. At this
last named conference she hopes to
gain some' very valuable ideas for
utilization in her work in this state.
The plans of the women for the
coming year are idealistically practi
cal, Mrs. Winters declares in ' her
message. It reads as follows:
"My dear Club Friend:
"This carries with it to yon my
i warm Christmas expression of fel
lowship, and my wishes that the com
ing yoar may be one of closer under -
standing and more effective unity of
effort between us.
"I am going to ask you to join with
me 'n a New j ear s resolution a
resolution to bring into being the
wish expressed above. Recently an
English newspaper man characterized
Mr. Hughes' great speech as hat of
"an idealist speaking for a nation of
Idealists, not a dreamer speaking for
One of the most unusual Christmas
greetings ever received by a resident
of Phoenix came to Mrs. F. M. Cole.
810 North Second street, yesterday
in the form of a long distance tele
phone call from a niece in Buffalo,
Mrs. Cole was not expecting the
call. A niece here answered the tele
phone and held the line while Denver
called some other city and finally
Buffalo. Then Mrs. Cole was sum
moned to the phone to hear the
Merry Christmas" spoken by her
niece some 2.500 miles away., A brief
-visit'' followed..
Despite the rain. Mrs. Cole heard
her niece clearly, although some dif
ficulty was encountered at first Jn
making connections across the con
nhom he had befriended on nvny
previous occasions. Olea, he ssid.
was mentally incompetent and manv
Mexican families of Wickenburg had
taken it upon themselves to care fa:
him. He and his wife had aidrd him
numerous occasions. Reiz said. Reiz
admitted that he was under the in
fluence of liquor when the shooting
occurred snd that he did not remem
ber distinctly all of the details of the
tragedy. He is married but has no
children. He was horn and irared
at Tucson, he told Phoenix deputies.
Diving bell Is said to have been
Invented by the Greeks.
Does Your
Roof Leak?
For Repairs
Phone 4749
A Safer Place For It
A young man who is developing a
property of his own some distance
from this city came into a local store
the other dav to purchase some dy
namite, which he placed on the floor
in the front of the car.. He then
drove up the street and picked up his
wife at another store, to start the
return trip to his mine.
His wife eyed the box suspiciously,
for she knew of his intended pur
chase. "Is this the dynamite?" she
inquired, pointing at the package at
her feet.
"What if it is?" responded the min
ing man evasively. "It won't do any
damage there unless it explodes.
"Henry." exclaimed the wife sharp
ly, "if you think I'm going to ride
40 miles with dynamite under my feet
you've mistaken. Tut that box in the
hack of the car at once."
Just a Little Slip
I.ee Moore of the A. I.. .Moore and
fons undertaking firm. havMiencd to
meet Rex Smith. Salt I-ake City avia
tor, at. the Klks club during the lat
ter's visit here a fortnight or so asro.
i They strui k up a conversation an!
finally exchanged card'.
Smith took a look at the bit of
Merely Wanted to Ride
Jesus Michael, an Indian boy
siding at Chandler, finds himself
the toils of the law because, as he
says, "he tried to get a ride home.
He admitted to officers that their
coming and his ultimate arrest was
"some relief from the mental tor
ture he endured while looking down
the barrel of a .38 calibre revolver.
It all happened in the following man
Michael had started afoot from
Phoenix to Chandler, deciding to
walk until a stage overtook him. He
left Phoenix about 9 o'clock. A little
after 10 o'clock, as he was nearing t.ornp nd go.
Q it.',.. ,ivi n ua
nation of drear
The differ
ence between them Is that the idealist
is the man who has the power to put
his visions into realities, instead of
letting them drift oft into epace as
'It In a wonderful thing to carry
with us into every day the conscious
ness that the day is a fragment f
eternity, and into every act the reali
zation that each act is a part of the
fulfillment of the great order call
Tou and I are knit together in a
purpose as big as America, and
America is as big as the world. Our
purpose is so to dovetail the activites
of myriad women that they shall con
tribute, each its little, to the solidi
fying of our national ideals. At
Christmas time we see afresh, every
year, how close those ideals are to
"Our part is to be practical in our
"Therefore Will you resolve with
me that we will speed the process
"1 We will get over to our groups
the message that shall convince them
of the importance of unified efforts
to combat the disintegrating forces
that are so menacingly at work tti
America today.
"2 We will make the voice of oa!
anced and sane women heard.
"3 We will get that continuity -f
effort without which all our labors
are spasmodic and jerky.
"To be concrete. I believe the means
of carrying these three purposes to
success are:
"1 Intensified organi.:ition work
between state and general federation".
"I Adequate and intelligent pub
licity. "3 Permanent had-i'iarter. Ji.s
means of keeping ordered purpose a
place which dubs and the non-chib
public rely on. while administrations
While the rain drizzled Incessant
ly outside 2 hobos devoured turkey
in the city jail yesterday noon and
thanked fortune they had a warm
place to spend the holidays.
, "It sure would be a tough ride on
the front end with this rain coming
don," one -knght errant remarked
while deftly scooping up a knifeful
of peas, potatoes and dressing. There
was a pause a gulp and a clean
knife flashed into the heavily laden
plate again as the speaker of the
moment continue1!: "You sure can't
pick this kino ot grub offen freight
car rods.
Back in one corner sat a youngster.
He 'was .eating with his fork.
"I was back home in Kansas." he
said. "Pa killed one of our own tur
keys. Wonder if they killed another
one this yea, ' He made a motion as
though to brush a stray crumb from
his mouth but Lis sleeve caught a
bit of moisture from two boyish eyes
that were quickly lowered to the
heaping plate
To the drifters lodged in the city
jail yesterJay the turkey dinner
meant more than a feast for the day.
It was a keen leminder of other
Christmas days. It invited an ex
change of experiences which brought
tales of adventure in many places
near and far. It engendered a spirit
of comradesh.p and cheer which
transformed the drear baslile into an
abode of good-fellowship for the day.
"I'd rather le here than lots of
other places i know about." one in
mate remarked, and he expressed
the sentiment of mcst of his fellow
lodgers. o
Africa furnishes half the world's
supply of gold.
ft tlCOWTIKTJlWUW
ICOf CREAMED
"From Arizona Cows
Choicest ef Blooms for all occas
ions. Designers of
Floral Art.
ngnsrs or ,t
Plant Show Raoms.
18-24 W. Van Buren
Ws ospscially recommend B-K as
a surs euro for roup. -
Satisfaction or your
money refunded.
Phoenix Seed & Feed
133 E. Jefferson St
Phone 436-1
the Green Mill Garden, a machine ap
proached from the west, headed east.
Believing it to be a stage, he swung
onto the side of the car as it slowed
down, he told officers. And as he
swung, the driver of the car, a man
from Flagstaff, reached for his re
volver in the pocket of the machine
door. Bv the tme Jesus had righted
himself on the running borad, the
autoist had the gun in play.
While he held the Indian boy at
the point of his gun. another member
of the Flagstaff party went to a
nearby telephone.
"Send out your officers. We've got
a stick-up man and will hold him j
until you get here," the informant:
said. !
Deputy lieriffj! mailt-? a quick run
to the scene. Jesus was arrested. Of
ficers failed to find any kind of a
weapon in a ycan-h of his person. H1
was bioucht to the county jail and !
held temporarily for in esugalion. i
I.et 1922 bring these things.
"With all the season's hope and
Tours ever.
"President General Federation of
Womens' Clubs.
Arizona Chapter No. 1. R.
A.M. will meet in stated con
vocation tonight. 7: SO sharp.
C. V. (il'I.LEV,
High Triest
Ten 85c Records Free
Two Dimes a
day pays for
at a saving from $35
to $75. Direct to you
from Eastern manu
facturer who now
lives in Phoenix.
M Morning
Keep Your Eyes
Clen - Clear I lalthv
Racey Music
27 East Adams St.
Auto and Gas Engine
7Z7 Grsnd Ave. Phone 1360
Machinists Engineers
Weldmq sod Forging
M ' n
Ford's Immense Stores are opposite the Boston Store
220 East Washington Street. Phone 1776
Never sell your goods without seeing Ford
SWEATERS: Men and Women's, from S1.00 to S3.00; cost
treble. They are new and classy. Fords.
CLOCKS: Elegant parlour, all warranted: $25,00 for $5.00. Thesa
are some bargains at Fords.
SAFES: Either filing or burglar, $250.00 for $90 at Fords Stores.
CROCKERY: Best Cup and Saucer for 20e; big ais't at Fords
Stores. I never had such values before.
PARLOUR LAMP: Beautiful: cost $80, prieo $20 at Fords
Stores. It is mahog. base and new.
STOVES AN O RANGES: Immense stock new or used at Fords
Stores. These cannot b duplicated.
PEN KNIVES: No one can equal my prices, at Fords Stores.
ALUMINUM WARE: The prices now will astonish, at Fords
Stores. The cut in this ware frightens.
TENTS: Never look elsewhere. Overloaded, at Fords Stores.
BOOKS: For Christmas. 5000 volumes, new or used. Fords
Stores. Most valuable literature.
DENTIST CABINET: Superb: Cost $200, price $50 at Fords
Stores. Of latest design and hardwood.
PHYSICIAN'S Grip and Tools: Very cheap at Fords Stores.
Victrolas, Horns, Violins, Banjos, Ukelele, Drums, Harmonicas;
Fords. Some instruments are invaluable.
GARDEN HOES, 75c. All other tools proportionate at Fords
Stores. These are socket riveted.
PICTURES: A nice lot to select from, at Fords Stores.
at Fords Stores. Both Daltons and Burroughs.
KODAKS: 50 ass't; all sizes; cheap and' nearly new at Fords
Stores. Absolutely you save 100.
GUNS AND PISTOLS and Ammunition, very very cheap:
-ords Stores. You're foolish not to examine.
WARDROBE TRUNKS at cost: Trunks and Grips at Fords
Stores. Any trunk, at cost.
PAINT and Hardware, a full line, cheaper than others: Fords
Stores. The leading brands on market.
DAVENPORT, full leather, cost $250 new. $100 at Fords.
FURNITURE: A lovely stock, all retouched, very cheap. Fortis
Stores. I challenge you to duplicate it.
REMEMBER: I buv inv ousnt.tv anywhere: Py cash and
jood value. I deliver and haul sway.
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