#they should totally release the studio ver

[yehet-me-up]

Zhang Yixing 张艺兴 (LAY) 🐑 Overview

Zhang Yixing, known professionally as Lay Zhang or simply Lay, is a Chinese rapper, singer, songwriter, record producer, director, dancer, actor, author, and brand ambassador. He has been listed on Forbes list of the top 100 Chinese celebrities since 2017, at 20th, 11th, 5th, and 6th respectively for the subsequent years. In 2012 he debuted as a rapper, singer, and dancer with EXO. Please join me in celebrating EXO’s 🐑

Yixing is also an accomplished film and television actor, and has been active since his first role at six years old in the 1998 Chinese drama We The People. He later began his career as a child star after winning third place in a competition organized by the Hunan-based television show Star Academy in 2005. In November 2015, Zhang made his film debut with a supporting role in the Chinese romantic comedy movie Ex-Files 2: The Backup Strikes Back, which was a box office hit and garnered 2 billion in sales within 10 days of its release. The Mystic Nine series that he starred in placed first in television ratings and has accumulated over 12 billion views in total. 

In 2015, he founded a personal agency for his solo activities that serves as a management firm, and in 2020 Zhang established his own group of companies in China, called Chromosome Entertainment Group, and began the process of recruiting trainees from all over the world. His autobiography, Standing Firm at 24, was a best-seller in China, breaking several sales records. Yixing has additionally served as a mentor, producer, and presenter for numerous singing and dancing reality shows in China. Zhang also currently tops the list for K-Pop idols with the most endorsement deals, partnering with over 30 companies.

"Monodrama," written by Lay and co-composed and arranged with Divine Channel, broke records by staying at number one on YinYueTai's V Chart for five consecutive weeks. In 2016, Zhang released his first EP, Lose Control, in South Korea and China to commercial success; it peaked at number one on the Gaon Album Chart and number four on Billboard's US World Albums chart. His first studio album, Lay 02 Sheep, broke five records on QQ Music: Gold, Double Gold, Triple Gold, Platinum and Diamond Record. Lit, his third studio album, had pre-orders of over 1.5 million copies within seven minutes; Lit went on to sell 2.5 million records, making Lay the best-selling artist in China in 2020. 

Lay is involved in much of the production of his albums as a producer, and is often personally in charge of the composition, arrangement and writing of every song – as well as translation of the lyrics himself into other languages, including English, Korean and Japanese.

This post is part of an effort to celebrate the accomplishments of EXO over the past 10 years and to provide tangible avenues for supporting these artists in 2022 and beyond 🖤 On 8 April 2022, Lay announced that he would be departing from SM Entertainment after the conclusion of his ten-year contract with the company - we look forward to his future projects, both as a solo artist and as a member of EXO 💕

*Due to time/energy levels (not because I don’t love Yixing!) I won’t be including links this time, but this should be a thorough summary of his projects, music-related and otherwise :) His songs and albums are all available to listen on Spotify and Youtube, and his albums are for sale at most major retailers!*

🎵 Individual Music 🎶

🌔 Lose Control (2016) 1st EP/mini-album 🌔

1. Lose Control (失控) 2. What U Need? (你要什么) 3. Tonight 4. MYM 5. MYM (Acoustic Ver.) 6. Relax (守望)

❄️ Winter Special Gift (2017) 2nd EP/mini-album ❄️

1. Goodbye Christmas (聖誕又至) 2. Can You Feel Me (你的感覺) 3. Christmas Love (聖誕的愛) 4. Gift to XBACK (小小禮物) 5. Goodbye Christmas (English Ver.) 6. Goodbye Christmas (Instrumental Ver.)

🐑 Lay 02 Sheep (2017) 1st Studio Album 🐑

1. Sheep (羊) *Alan Walker re-lift version ∴ Lollapalooza 2018* 2. I Need U (需要你) 3. Peach (桃) 4. Hand (匕首) 5. Boss (老大) 6. Shake (摇摆) 7. Too Much (太多) 8. Mask (面罩) 9. Director (导演) 10. X Back (兴迷)

🌲 Namanana (2018) 2nd Studio Album 🌲 *2 Disc CD - first side is Chinese versions and second is English versions

1. 集结号 (The Assembly Call) 2. 梦不落雨林 (Namanana) *also a single remix in 2020* 3. 爱到这 (Give Me a Chance) 4. 催眠术 (Lay U Down) 5. 爱的引力 (Save You) 6. 坚持 (Hold On) 7. 幸福上瘾 (Thing for You) 8. 麻婆豆腐 (Mapo Tofu) 9. 香水 (Flavour) 10. 快门回溯 (Don't Let Me Go) 11. 贝壳女孩 (Tattoo)

🍯 Honey (2019) 3rd EP/mini-album 🍯

1. Honey (和你) (English version) 2. Bad (坏的) 3. Amusement Park (游乐园) 4. Honey (和你) (Chinese version)

🐲 蓮 LIT (2020) 3rd Studio Album 🐲  *Was released in two parts, each with 6 songs

1. 蓮 (Lit) 2 玉 (Jade) 3. 鷹 (Eagle) 4. 水 (H2O) 5. 飛 (Fly) 6. 靈 (Soul) 7. 沸 (Changsha) 8. 妈 (Mama) 9. 蹦 (Boom) *also Boom R3HAB remix* 10. 唤 (Call My Name) 11. 夜 (Late Night) 12. 愿 (Wish)

🎼 Producer (2021) 4th Studio Album 🎼 

1. Joker 2. 愛蓮說 (Love Lay) 3. 小城姑娘 (Flipped) 4. 十面埋伏 (Ambush) 5. 略過 (Stay With Me) 6. 馬 (Horse) 7. 炎黃子孫 (Descendants of the Dragon) *also has a remix* 8. 癡 (Obsessed) 9. 湘江水 (XiangJiang River) (Ft. 功夫胖 (Kungfu Pen))

🌄 東 EAST (2021) 4th EP/mini-album 🌄

1. 飛天 (Flying Apsaras) 2. 三昧真火 (Samadhi Real Fire) by LAY & GALI 3. 苦行僧 (Ascetic Monk) 4. 牧童 (The Shepherd Boy)

🚀 Singles and OSTs 🚀

⇢ Spectrum (2012) SM The Performance group single ⇢ Because of You (2013) Non-Album Single ⇢ I'm Coming (2014) Hunan TV special performance ⇢ Alone (One Person) (2015) Ex-Files 2 OST ⇢ Happy Youth with Jiang Wen and Li Xiaolu (2015) Oh My God OST  ⇢ Monodrama (2016) SM Station single  ⇢ A Man Thing with Royal Treasure cast (2016) Royal Treasure OST ⇢ Pray (2017) Operation Love OST  ⇢ Dream High (夢想起飛) (2017) SPD Bank Theme Song ⇢ When It’s Christmas (2018) Non-Album Single ⇢ Youth Day (theme song) (2018) ⇢ Everything Like You (2018) I'm Around You OST ⇢ Let’s Shut Up & Dance with Jason Derulo + NCT 127 (2019) Non-Album Single ⇢ No Man's Land with Anti-General and Jasmine Sokko (无人之域) Non-Album Single ⇢ Lovebird with Far East Movement (2019) Non-Album Single ⇢ I'm Not Well (我不好) (2019) Non-Album Single ⇢ Grandma (外婆) (2019) Non-Album Single ⇢ Love You More with Steve Aoki and will.i.am (2020) Steve Aoki's Neon Futures IV ⇢ Clear Sky Ballad with Panta Q (晴空谣) Non-Album Single ⇢ Gluttony (2020) Non-album Single ⇢ Bee With You (2021) Non-Album Single  ⇢ Dawn to Dusk with 24kGoldn (2022) Single Album ⇢ Jiu (酒) (2022) Non-Album Single 🌌

🎭 Acting Roles 🎭

⇢ (1998) We The People tv show - Huan Huan ⇢ (2015) Oh My God movie - Le Yi ⇢ (2015) Ex-Files 2: The Backup Strikes Back movie - Lee Xianghe ⇢ (2016) Royal Treasure movie - self ⇢ (2016) To Be A Better Man TV show - Xiao Cai (Cai Mingjun) ⇢ (2016) The Mystic Nine TV show - Er Yuehong ⇢ (2016) The Mystic Nine Side Story: Flowers Bloom in February web movie - Er Yuehong ⇢ (2017) Operation Love TV show - Yan Xiaolai ⇢ (2017) Kung Fu Yoga movie - Zhu Xiaoguang ⇢ (2017) Cars 3 movie - Jackson Storm (Chinese dub voice) ⇢ (2017) The Founding of an Army movie - Lu Deming ⇢ (2018) The Island movie - Xiao Xing  ⇢ (2018) Tomb of The Sea TV show - Jie Yuchen ⇢ (filmed 2018, release ?) Unexpected Love movie - Han Bin ⇢ (2019) The Golden Eyes TV show - Zhuang Rui ⇢ (2019) Empress of The Ming TV show - Zhu Qizhen ⇢ (2021) Faith Makes Great TV show - Xiong Dachen ⇢ (2021) Crime Crackdown TV show - Lin Hao ⇢ (2022) Challenges at Midlife TV show - Ning Shu

*TBD release - No More Bets movie - main role

📺 Other TV Credits 📺

⇢ (2014) Star Chef reality show - contestant ⇢ (2016, 2018) Happy Camp reality show - guest ⇢ (2019-present) Go Fighting! variety Series - main cast ⇢ (2018, 2019) Idol Producer reality show - main mentor, presenter ⇢ (2018) Rave Now reality show - mentor ⇢ (2019) Youth with You (Idol Producer S2) - main mentor, presenter ⇢ (2019) Roast reality show - guest ⇢ (2020) I'm CZR II reality show - singer-songwriter ⇢ (2020) We Are Young reality show - main mentor, presenter ⇢ (2020, 2021) Street Dance of China reality show - team captain ⇢ (2020, 2021) Let's Chat variety show - main cast ⇢ (2020) Dance Smash - team leader ⇢ (2021) The winter dream promise (TV Special) Self ⇢ (2021) Youth and Melody - Producer ⇢ (2021) Back to Field variety show - main cast

🏆 Awards 🏆

⇢ Awards and nominations complete list! 

🕺🏻 Fashion + Brands 🕺🏻

⇢ Zhang attended a Samsung event held at the Mercedes-Benz Arena in Shanghai, China as the ambassador of Samsung Galaxy A8s and performed on-stage alongside ASAP Ferg and Steve Aoki. ⇢ Zhang attended the 61st Annual Grammy Awards as its promotion ambassador on the red carpet event and live ceremony. ⇢ Yixing’s third wax figure was revealed in Madame Tussauds Hong Kong in 2019, following his wax figures in Madame Tussauds Shanghai and Beijing. ⇢ Zhang is a brand ambassador of over 30 brands, including Converse, MAC Cosmetics, Chaumet Paris, Ray-Ban, Milka Chocolate, H&M and Perrier. ⇢ In 2019, he was announced as Calvin Klein's first Chinese global spokesperson for Calvin Klein's underwear and jeans lines. ⇢ As an ambassador of high-end fashion brand Valentino, Zhang has attended multiple fashion shows and events in Asia and Europe, as well at the annual Met Gala wearing a custom-made suit titled "Time Traveller" designed by Valentino Creative Director Pierpaolo Piccioli. ⇢ He served as a promotional ambassador for Huawei Nova smartphones from 2015 to 2018. ⇢ Since 2016 Zhang has served the Communist Youth League of China (CYLC) of Changsha as a publicity ambassador, the first celebrity to hold such title. ⇢ In October 2017, Zhang signed a contract with the vice president of Tencent Music Entertainment Group and became a member of "Music+ Plan" (Music+ 计划) alongside TFBoys, Wang Leehom, and more. ⇢ In September 2018, Zhang signed an agreement with Easy Entertainment in which his personal studio will collaborate with Easy Entertainment to create a new team to manage Zhang's promotional activities.

🌟 Miscellaneous 🌟

⇢ Grand Line: The First Concert (2019) Solo concert ⇢ In 2015 Zhang's autobiography, Standing Firm at 24, was published. The book documents important events throughout his life and broke several online sales records with 400,000 copies sold within six months. He took the fourth place on the 10th Chinese Celebrity Writers List, becoming the youngest celebrity author to enter the charts. He was also the champion of the 2015 installment of the Annual Celebrity Book Sales and took the top spot of Asia's Best Books twice during its monthly ranking and six times on the weekly chart.  ⇢ At CCTV’s Spring Gala Festival in 2017 he sang a duet alongside Chinese actor Jing Boran ⇢ Goosebump music video (2017) Kung Fu Yoga OST featured dancer ⇢ 2019 20 January, Zhang attended a Samsung event held at the Mercedes-Benz Arena in Shanghai, China as the ambassador of Samsung Galaxy A8s and performed on-stage alongside ASAP Ferg and Steve Aoki, respectively new level and boom shakalaka ⇢ On the 2011 SHINee world tour he was a stand in for Jonghyun, who was briefly unable to participate in the tour ⇢ Zhang performed a Chinese New Year song alongside Dilraba Dilmurat, Phoenix Legend, Wallace Chung, and Zhou Dongyu at the 2019 CCTV New Year's Gala. ⇢ Zhang attended the 2018 CCTV New Year's Gala where he performed a dance collaboration stage with Huang Bo and William Chan. ⇢ Yixing is also a talented songwriter and composer of most of his own solo music, as well as the song "Promise" from the repackaged edition of Exo's second studio album, Love Me Right. He also wrote the lyrics for the Chinese version of the song, while the Korean version was co-written by Chen and Chanyeol. Apart from Karen Mok, he holds composition credits to songs released by Yu Quan, MC Jin and Show Luo. ⇢ He participated in the national anthem and its music video for Youth Day in China in May 2018. ⇢ Magazine Covers listed here

⇢ Follow Yixing on Instagram @ layzhang, on Twitter @ layzhang, and on YouTube at LAY

Thank you for supporting EXO Yixing 😘

And if you want to help spread this post to folks who haven’t experienced the magic of Yixing yet, please reblog this and tell me what your favorite Yixing moments and performances are! ✨

[chimswae]

BTS Caretaker CH8

Summary: She may think she has Bangtan Sonyeondan wrapped around her fingers. She may think it is easy to love the members equally without hurting any soul. She may think the boys wont fall head over heels for her. She assumes it is okay to show a little love and affection towards the boys, what if she gets it all wrong? What if it only brings more complication to her already complicated life? Can she survive their charms? Will she be able to resist them? What if they just wont let her go?

- Pairing: BTS x Oc ( Yoongi x OC, Jungkook x OC)

- Genre: Fluff, Slight Angst, Romance, Idol!au

- Word Count: 2,008

- Author Note: Finally update on time! i appreciate your feedback and comment, just drop in my ASK BOX :)

Previous | Next

Chapter 8

“Why are you in rush?” the older guy blinks confusedly at the sight before him. Seul was struggling with her aprons as a frustrated sigh escaped her mouth “I have another work to catch on” untangling the dangling knots around her, Wongeun shook his head in amusement.

He took a few steps closer to Seul, grabbing her shoulders while leaning down to her level “Let me help you with that” Seul froze at the close proximity. A wisp of Wongeun scent reminded her of the supposed-to-be-forgotten-Min-Yoongi, and it was horrible to have him in her mind again.

“Don’t overwork yourself Seul-ah. You are still young” his fingers were fidgeting with the knots around her waist. He carefully untangled it as he smiles bashfully. God, Seul really hated this kind of gesture by a guy like Wongeun. It is troublesome for her heart.

Seul felt a heavy lump on her throat, as she forced out the words coming out from her mouth without sounding like she’s screeching. “Thank you oppa for your concern but I will be fine. I am doing this for my mother after all” she was grateful of the attention that he showed her. Sometimes her colleagues mistaken his kind gesture as a flirt when she tried to push that thoughts far away from her. Just because it was ethically wrong to have a feeling for her employer.

He removed the pink apron gracefully and took few steps back with a soft smile that could melt many hearts “I know you are a good daughter but don’t forget people around you. They care for you. I am sure your mother doesn’t want to see you like this either” Wongeun tucked strand of hair behind her ears.

“Alright alright, what is with this super serious talk. That doesn’t fit you” she chortled, jabbing his arm playfully.

“I am being serious. Okay, I am still worried that your workplace has no female but bunch of hormonal teenagers” his brow flinched together with a hint of concern.

Seul snorted “They are young adults. It is totally different from teenagers. Man, this is so unnecessary. I got to go, I don’t want to bump into any of those babytans” she slipped her phone inside her sling bag, taking all her stuffs in the locker.

“You even have a nickname for them” he pointed out shooting a sly smile.

“WHAT?!” Seul flustered causing her cheeks to reddened turning her into a ripe tomato. She just disliked the mention of their names being associated with her, god knows how she hated herself for letting this thing affect her brain.

“See you tomorrow” she scurried off putting a stop to Wongeun teasing. What a trickster.

 ------------------

Jimin rolled off from his bed and went straight to the bathroom. He was taking a short nap and like a flash all the members disappeared in thin air. Yoongi, Hoseok and Namjoon went to the company few hours ago like they usually did whilst Jimin chose to stay at home since he already spent 18 hours in the studio yesterday.

Taehyung was not at home either since afternoon, as soon as their Busan’s schedule got cancelled earlier this morning, he went to watch his friend’s musical show. He offered to take Jimin along, but he was dead tired to even get off from his comfortable bed. Taking a nap supposed to help rejuvenating his body and mind a little until he noticed no one was at home but him.

He took a quick shower before coming out shirtless feeling refresh and alive. Not long after, his ears caught the sound of the door being opened, it made him skipped a little in his stance “They are here already? THAT WAS FAST!” he grabbed random shirts from his closet.

“ugh they wont leave me alone right?” Jimin turned into a real klutz as he grabbed his phone and wallet before making his way outside his room. “You said eight minutes” said Jimin who had been busy forcing himself into the grey shirt.

Seul’s eyes widened at the sight in front of her. It made her mind fuzzy, blood rushing in her system and to her astonishment the figure in front of her got Seul losing her ability to talk. To be frank, her knees weakened, and she was screaming mentality.

Jimin noticed the heavy atmosphere making him uneasy for no reason and with that he quickly slipped the shirt over his head. “OH SHIT” his eyes shot opened. He gasped in sheer horror scanning Seul from head to toes.

“WHO THE HELL ARE YOU” he breathed deeply, taking a step back. Seul could see him blushing deeply mainly due to the way him welcoming her with his toned body. Why must she have a weird encounter with this babytan? Crazy much.

Seul averted her eyes from meeting his shy gaze and cleared her throat in process “Why no one inform me that you will be around at this time?” she mumbled in frustration. This should not be happening since her last encounter with Yoongi was not that good either.

“ARE YOU A…SASAENG PERHAPS?” Jimin clutches onto his phone tight, staring at her way with a bewildered look. His mind was plotting something nasty and cruel, yet he didn’t know if he could execute it. Before things turned bad, he must save himself first and contacted anyone like Kim Seokjin because after all he was on his way there.  

“Were you the girl that Yoongi hyung mentioned before?”

“The one who pretended to be the caretaker ahjumma? When you are not?”

“OH MY GOD. YOU ARE REAL! HYUNG WAS NOT LYING AFTER ALL” his voice croaked at the end indicating his fear and nervousness. The words coming out from his mouth was distorted but sounded cute to Seul. Even though it was not the time to mentally squeal over his cuteness, Jimin is undeniably cute indeed.

“Don’t bore me with your false assumptions. That guy has been getting it all wrong” Seul rummaged through her bag finding her mother’s staff id as a proof so it could shut this tiny guy instantly. However, as a self-defence Jimin took few steps back afraid Seul pulled out guns or blades from her bags.

Rolling her eyes, Seul flashed the card “There you go.. it is my mother’s staff id. Can you trust me now?” she pressed.

He glanced at the staff id in Seul’s hand “Are you sure that is your mother?”

“Duh, yes? People said I take after her. Can’t you see the obvious?” Seul shot him a disapproval look. Maybe, Jimin is cute but he aint anymore when he inquired her like a legit policeman.

Jimin then took the chance to scrutinize Seul’s face start from her eyebrows along her crescent moon eyes that practically shoots dagger at his way making him flustered immediately. Coughing away to ease the awkwardness, Jimin eyes land on his pink lips that purses up showing off her annoyance.

“Are you seriously creeping on me right now?” her voice brought him out from his trance when the reality finally hits him hard. Shit, what am I doing. Jimin bit his lower lips surpassing the urge to cuss out loud.

Seul grew quiet for few seconds gathering the sense of humanity in her before beating the crap out of him “I am here to work, and I don’t have time to explain to someone who refuse to believe what I am saying at first place. I am sure that hyung of yours have already told you what I said to him weeks ago. So, can you just digest it and embrace the reality that I am here to work not to stare at you” distressed Jimin had no idea how to react to this. Should he just run off and find help or should he just let her do the works and wait until Jin and Jungkook came to the rescue?

“I am beginning to be vexed with you, gosh” she stared boringly at his way.

He pressed his lips together trying to steady his breathing “That doesn’t prove anything… mmm…i.. think you are dangerous. I will just…” Jimin strutted to his room and locked the door behind him. Seul grunted under her breath, it was an unexpected meeting again. If this kept going, she would end up embarrassing herself in front of the whole population of babytans.

She felt a small smile crept up at the corner of her lips ‘Except for him. He doesn’t look that baby after all’ she blushed madly upon the image of shirtless Jimin creeping in. Considering Jimin is around, Seul decided to settle things quick and leave as soon as possible. She didn’t know who else would come in few minutes, every second is precious. On top of all, she didn’t want to meet Min Yoongi again. Worst case of scenario.

 --------------

Pacing back and forth anxiously was Park Jimin. He blamed himself for turning himself into a real fool. What was he thinking? Showing off his skin in front of stranger who could possibly hurt him or even sexually harassed him? Was there any case whereby man got raped by a woman? Negativity only to bring unnecessary panic.

Think rational.

Calm down.

Inhaling a deep breath, Jimin took his phone and his fingers clumsily typed a quick message to Jin asking his whereabouts. He clearly said it was only eight minutes, but this took forever.

Releasing a sigh of relief, Jimin finally felt less helpless at the moment. He did not even dare to go beyond the door. No one knew what she could possibly plan in that brain of hers. Another thing was that she looked pretty decent to be referred as a murderer or kidnapper however anything could happen in one night.

He sunk on his bed, squeezing his eyes together ‘Why is she here. Is she real’ he raked fingers in his damp hair angrily.

--------------

Drumming his fingers against the glass table, Yoongi concentrated on mixing the tunes that came into his mind earlier with the new verse that Hoseok suggested. He had been busy producing new songs for their upcoming comeback and this was just beginning. Out of all time that he had in this world, he loved those days when he could spend all day in his studio making music, getting new inspirations and let the idea flow beautifully.

Staring blankly at the cold ceiling, his mind drifted off to the kisses that he had with Seul few weeks ago. His brows clenched together, protesting the dull ache that was beginning to grow in his temple “Screw that woman” he scowled.

The beep coming from his phone diverted his attention from thinking of Seul again, thankfully. A message from Jimin was unusual unless it was really important.

He arose from his seat, shutting down all the equipment. His determination to catch Seul again today doubled “I will make sure to catch you this time” he grinded his teeth together. As he was about to exit his room, he bumped into clueless Hoseok right in front of his studio “Are you heading back already?” the younger guy blinked at his hyung unusual behaviour.

Min PD won’t be back home not until he was summoned by Jin. When this happened, it simply means Jin was annoyed of Yoongi overwork himself to the extent of neglecting his meals and rest.

“I will be back later.. I have something important to do” said Yoongi flatly avoiding Hoseok judgemental round eyes.

“And? Why you look irritated? Did something bothering you” Hoseok used his luck to pry answers from him.

“Later. Tell Namjoon, the song demo is on his desk” giving Hoseok a light pat on the back, he brushed pass him without looking back. This was it, he had no time to waste or else he would be losing her again. It was already hard to predict her shift every day, he was not planning to waste the chances.

Hoseok watched his small figure disappeared “Is hyung dating someone? Not that I remember”

  This work belongs to  Chimswae © 2020. All Rights Reserved.

[goldstarnation]

JUNE 2020 GOLD STAR MEDIA SCHEDULES & REVIEW

Members may earn 3 points each (up to 6 points) for writing, by the end of July 7 KST:

A solo para of 400+ words based on their monthly schedule (does not count toward your monthly total).

A thread of six posts (three per participant, including the starter) based on their monthly schedule.

Threads do not have to take place directly during an important date listed on the schedule, but must be related to what the muse is mentioned to be doing in the paragraph explaining their schedule/the company’s schedule for the month and/or their thoughts on the mentioned activities or lack thereof.

These schedules may be updated throughout the month if new information needs to be added.

Reminder: May schedule posts are due by the end of June 7 KST. Please do not post schedule posts in the fmdschedule tag.

OVERALL COMPANY

This month, all three companies are coming together for their second annual joint retreat, and this time it’s in a location Bang Sunyoung is a big fan of. Though a frequent guest of the resort in the past, she won’t be attending with the idols and lower-level staff this time with the excuse of having all attendees be of a more equal level in their respective companies to facilitate bonding.

Important dates:

June 19-22: Wellness retreat with BC and Dimensions.

GOLD STAR SOLOIST 1

"Blueming” is doing well as a more chill option for listening on the border between the spring and summer seasons. Promotions are still rather sparse this month, but Gold Star has her booked for a pair of radio show guestings to appease fans who have expressed disappointment that there wasn’t much on her promotion schedule for her new album. Next month, she’ll begin working on her upcoming concert tour, but for now, that’s still in the stages of company planning and arrangement.

Important dates:

June 1: “Blueming” fan chant guide video filming.

June 8: KBS Cool FM Gayo Plaza radio show guesting.

June 11: KBS 2FM Volume Up radio show guesting.

June 25: End of music show promotions.

GOLD STAR SOLOIST 2

Her first schedule of the month is a trip out of the country to New York for this year’s KCon. Gold Star decided to send her despite the rather poor performance of her American debut a few years ago because there’s been talk of having her release another English song, or English version of the song, before the year is out. When she gets back to Korea, she’ll be wrapping up her cross-country tour with a final date in Busan.

Important dates:

June 12: Performance at KCON NY at the Javits Center in New York, NY, USA (also performing: Knight, Dimensions Soloist 2, and 7ROPHY).

June 28: I AM : RE-BORN tour concert at KBS Busan Hall in Busan, South Korea.

GOLD STAR SOLOIST 3

It comes as a surprise to no one that he’s been booked to attend KCon this year. Between his status as one of the more common pushes in the market from Gold Star in general, the approach of his English language album makes this year a very good opportunity for him to potentially earn some new fans. He’ll be performing “Love Die Young” and “Runaway”. Next month, he’ll be in the studio to finish recording his next album, so management encourages him to take any time off he might need this month before they go full force into album preparations.

Important dates:

June 13: Performance at KCON NY at the Javits Center in New York, NY, USA (also performing: BC Soloist 1, Dimensions Soloist 1, and Lucid).

SILHOUETTE

Silhouette’s contract as brand ambassador of sportswear brand Mizuno has been renewed, so it’s time for them to shoot another CF at the beginning of the month. The CF will require a day trip to Jeju to shoot on the beach since they’re advertising swimwear. Later in the month, it will be time to shoot their comeback MV. Management has no qualms reminding them how big they want this comeback to be. It’s a rebirth of Silhouette with a shift in image from sexy to empowering and they’re expected to channel all the energy they can into make a music video worthy of the reception Gold Star desires.

Important dates:

June 5: Mizuno CF filming in Jeju.

June 15: “Sixth Sense” M/V filming day one.

June 16: “Sixth Sense” M/V filming day two.

ARIA

The week before their comeback, Aria will be the guests on Running Man for a two-epsiode special. During the episode, they’ll give short performances of “Luv”, “I’m So Sick” and “Beautiful Days”, and they’ll team up to play a variety of games [2] [3] [4] with the cast. On June 15, Aria as a full group heads to the Dimensions Entertainment building after filming a short package where they visits 7ROPHY to help them with a cover performance of “Mr. Chu” they’ll be doing as a special stage. Once they return to the Gold Star building that day, they’ll be called into a filmed meeting to officially confirm with them that they’ll be appearing on a new MNet competition show called Queendom where they’ll compete against five other female idol acts. During the meeting, they’ll be informed one by one that they’re competing with Lipstick, 7ROPHY, two NPC junior groups, and one NPC senior soloist and their reactions will be filmed. The show will begin airing in late August, but they must begin preparing a brief introduction stage, which they will go to the MNet studio to film on June 26. While they are there, they will be interviewed and asked what they want to show through their performances and will be heavily pushed towards answers that push the story line MNet has planned for them: proving themselves as capable of more than the pure concept they’re most known for.

Important dates:

June 7: Running Man appearance filming (to be aired: June 28 & July 5)

June 15: MCountdown Mr. Chu stage behind the scenes filming with 7ROPHY.  

June 15: Release of Beautiful Days & Once Upon A Time album, music show promotions continue through July 15.

June 16: Queendom Opening Performance filming.

ORIGIN

For five days this month, Origin will be packing up and taking a trip out to Jeonju to shoot their summer package. This will be the first time they do the yearly fan content in their own country. Shortly after they return, they’ll have comeback outfit fittings and then shoot the photo book for their upcoming album. Later in the month, they’ll perform their duties at the new ambassadors of message chair brand Bodyfriend by filming a series of group and unit CFs.

Important dates:

June 7-11: Summer Package 2020 filming at AWON Museum & Hotel in Jeonju.

June 12: Comeback MV [2] [3] and stage outfit [2] fittings.

June 26: Comeback photo book/teaser photo shoot.

June 27: Bodyfriend CF filming.

IMPULSE

At the beginning of the month, Impulse will leave the recording studio to enter the dance studio and begin learning the choreography for their new title track “You Calling My Name” and b-side track “Crash & Burn”. Later in the month, they’ll go in for fittings in preparation for MV filming at the beginning of next month before they make their comeback at the end of July.

Important dates:

June 25: Comeback MV and stage outfit fitting.

FUSE

Their Seoul concerts are behind them, so it’s now time to focus fully on preparing for their comeback in August. Since the album is now fully recorded, this month, they’ll be working on the choreography for the title track. Early in the month, they also have a photo shoot for Allure Magazine’s July issue which, along with what they showed at their concerts last month, should confirm to the fans that their next comeback is a darker, more luxurious one than “Umpah Umpah” or “Zimzalabim”.

Important dates:

June 6: Allure Magazine July issue photo shoot.

ELEMENT

"Dumb Litty” didn’t work magic on Element’s public recognition in Korea, but Gold Star never expected it to or chose the concept or song to achieve that. As has become their dependable marketing strategy, most of Element’s promotions outside of music shows are geared toward their existing fandom or earning new international fans. This includes three different Youtube videos they’ll film before the end of promotions as well as a couple of radio show appearances.

Important dates:

June 2: 1TheK Dumb Litty Suit Ver. filming.

June 5: NewsAde Dumb Litty Part Switch filming.

June 7: Element Tries Brazillian Snacks video filming.

June 8: Idol Radio radio show guesting.

June 10: Arirang Radio Super K-Pop radio show guesting.

June 17: End of music show promotions.

FEMME FATALE

Things have finally begun to calm down some for the members of Femme Fatale as they turn their focus entirely to touring (and filming their Femme Fatale Diaries reality series [2] [3]) this month. Until the third, they’ll be in Spain before returning to Seoul. On June 12, they depart for Macau and will return on June 14 before once again flying out to stay in Melbourne from June 24 to June 26 and in Sydney from June 26 to June 28.

Important dates:

June 2: Femme Fatale In Your Area World Tour concert at Palau Sant Jordi in Barcelona, Spain.

June 13: Femme Fatale In Your Area World Tour concert at Cotai Arena in Macau.

June 25: Femme Fatale In Your Area World Tour concert at Rod Laver Arena in Melbourne, Australia.

June 27: Femme Fatale In Your Area World Tour concert at Qudos Bank Arena in Sydney, Australia.

[loadingod697]

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4. Yujin Lee & Prima Jalichandra-Sakuntabhai (part 2)

Yujin Lee and Prima Jalichandra-Sakuntabhai continue their discussion of Paul Chan’s article, “What Art Is and Where It Belongs,” choosing the context for one’s work, assigning monetary value to art work (and whether or not artists can be free from capitalism), and who we are accountable to as artists. Read part 1 of their conversation here.

Yujin Lee (YL): Ok, so last night, I was on Clubhouse [laughter], in a Korean speaking room that was organized by an art lawyer and the director of Arario Gallery, which is a pretty established gallery in Korea. I’m currently preparing for a collaborative exhibition in December with an artist (Jo Ahra) who stayed at my residency in March. It’ll be at a gallery at a good location in Seoul. The gallery is known for putting up new exhibitions every week. It’s kind of crazy, like they never not have a show up, even during COVID. It’s like quantity over quality, and a lot of younger artists go through this gallery because it’s a good opportunity to have a solo exhibition early in your career. They offered me a new smaller space for two weeks for free. But last night’s Clubhouse conversation made me question whether I should wait for a better opportunity with a better gallery, or even an artist-run space that is more highly regarded in the Korean art scene. But then again, should I forgo this opportunity just because the gallery doesn't have that much of a name, when I know that I would have total freedom to make a good exhibition? Is this the right move? When I was in this self-doubting mode, my boyfriend asked me, hypothetically, if a gallery like Arario that is obviously the gatekeepers of a system that I bash all the time, that “grooms'' or let’s say support the younger artists with their collectors in mind, if they offered to work with me, would I refuse? Honestly, I don’t know… even though I still believe that by not having that opportunity, I actually have more freedom. But then… in some ways does choosing freedom make my art/gestures less important? It’s a bit of a pickle. 

Prima Jalichandra-Sakuntabhai (PJ): It makes me think of the different conceptions of value between Western and Eastern and by Eastern, I am thinking specifically Buddhist. The Buddhism that I appreciate and subconsciously follow is the one that is focused on the present. It has helped me make the decision to not be worried by the question of where my work is going to land in the future, if in the present, I am having the conversation I want to have, with the people I want to have it, and still being challenged by it and able to produce the work that I feel is necessary for me to produce. That being said, I also face a challenging position in this moment in my life where in the past week or so, I purposefully decided I was going to quit this one job. I don’t think I can keep on hustling, doing random art handling gigs to go by and have enough energy and time for my work. And so that, not having institutional support, or commercial galleries supporting you, or making an income from your art, is a trap in itself obviously. In this capitalist world, you’re not able to then fully dedicate your time to your practice.

Yujin Lee, Drawing Conversation 2.0, Nov. 29, 2019, collaborative live drawing performance with artist Thanachai Ujjin, 108 minutes, Gallery VER

YL: It’s true. The reality is that not everybody can “be free in it” if you don’t have the means to. So in some ways what Chan is saying is almost elitist. Is it that one has a choice to be free in it and is not choosing to do so or is it that they can’t choose it because of the (financial) reality. I had multiple jobs in New York, but I also got so much help from my parents. Whereas some of my friends had to pay for an apartment, a studio, and all the extra cost of living in NYC. When I was contemplating whether or not to leave New York, I thought about my very talented artist friends, who simply didn’t have enough time and energy to spend in their studio. Despite it all, we all believed that it is all worth it because in New York there is that hope that one day either your work will be picked up or your art will be recognized, resolving all your problems.

PL: It sounds like the American Dream!

YL: Exactly! In New York, the American Dream amongst artists is a real thing! I mean no one would phrase it that way, but it’s a real ideology that is embedded in the system. Honestly, I was privileged enough to have a choice to leave because I had a place to go back to, but for many New York seemed like the only hope. Maybe Paul Chan’s text struck me more because of my position and it may not necessarily ring a bell for other artists. I’m just realizing that now, talking to you...

PJ: You bring up this personal sacrifice that capitalism demands of you especially when you strive to live off of something that you’re passionate about. I feel like that’s when it holds you the most because you’re going to be willing to sacrifice so much. But at the end, whether or not you have it, you’ve already lost that much time and energy by fueling this machine. 

I feel like I have such a different mentality from the artists in New York. Ok, I am also paying a lot for rent [laughing]. But I am not in LA because I hope to be picked up. I think that if LA was a smaller city, I would have been fine. The thing that attracted me here and that made me stay is that there is a diversity of art communities that exist simultaneously and sometimes they overlap. There are frictions and movements. Which in a smaller town, it would be hard to find. And also I am able to make the work that I want to make here and I have the support of the community. So I don’t feel like I need more recognition right now.  

Prima Jalichandra-Sakuntabhai, 1973, 2019, performance, 3 video projectors on tripods

YL: I think that’s also why people choose New York, too. What I miss most is the artist community that I was part of. We supported each other because we were all trying to persist within the same inequitable system. In Jeju, I have so much space and time, but no community. Though I have to say, COVID really impacted this concept of communities. A lot of people left NYC not because of the cost of living but because they could not be part of the community in the same way they did pre-COVID. So, going back to Paul Chan’s text [laughter], maybe one way to “be free in it” is to resist within as a collective rather than as an individual artist. More like a community of artists forming a collective wave, envisioning something alternative to...

PJ: Yeah and I see a lot of that happening, not just in terms of art but art workers unionizing and voicing their concerns within the system. I don’t know whether it is because I am a part of it that I am now more aware of it or it’s been happening before. It seems like before, people had their heads bowed down and not a lot of concerns or visibility was pointed towards art workers. There’s a form of solidarity that I see that got picked up in the general movement towards more equity in the workplace. 

YL: Are you part of this art worker’s union?

PJ: I am an art worker but I am not part of a specific art worker union. I am part of a union through my work for the city. But I am close friends with the person who started the union at MOCA. So I saw that sprouting. 

YL: This word union, it sounds archaic but it’s kind of new in the art world. We’re so far behind because people have this ideal image of the art world, even though it’s just another industry. 

PJ: It is very hierarchical. You brought this up before, right? That art has always been in service of power and capital. 

YL: Yeah, you know in Korea, the government recently funded a workshop/seminar around artist fees, releasing a thick book about all the research and new policies around it. I am actually surprised how Korea is far ahead in this issue than the US. Here, most curators now accept that when you invite an artist you have to pay an artist fee and even production fee, and not be a snob with the whole, ‘you should be thankful to be part of the show.’ But when I was in New York that kind of sentiment was still very strong.

PJ: It is still like this in LA.

YL: So the US is weirdly more resistant to this idea.

PJ: I think it is coming along though. I’ve only had shows in artist run spaces most of the time and of course, it’s hard for them to even have money to make their rent. So I understand. But it is weird that it's something that artists have to swallow in order to have an opportunity. 

YL: Right. I think a lot about the structure of the art world, because in Korea, there's so much government fundings in the arts that institutions, curators, artists all rely on. With government funds, you have to pay the artist fee by law, so this culture was able to spread more effectively. Whereas in the US, grants mostly come from private institutions or foundations. There are pros and cons to it. Even though the fund is supposed to allow you to spend more time and energy in creating art, with government funds, half of that time and energy goes to doing paperwork. When the government gives you tax money, they basically treat you like a potential thief, who needs to be closely monitored. This system is definitely not based on trust. Whereas in the US, a lot of the grants are no-questions-asked type of money. They give you money, they trust that you’ll use that money to be creative and make work.

Prima Jalichandra-Sakuntabhai, Monuments of Ratchadamnoen, 2020, performance, video projector and Elmo Visual Presenter, printed black and white images on photocopy paper, books

PJ: In a way, maybe we shouldn’t think of it in terms of freedom or bondage. But more like networks of accountability. Especially in terms of government funding. Who then do you owe your accountability to? These systems are also under construction and there’s so much room for progress in the way that we should function together. That is the key: to find ways for these things to function well within one another and how they can serve one another instead of thinking of art as an independent sphere.  

YL: Hmmm

PJ: [laughter] That is the plight of the artist, right? You’re always caught between very contradictory desires and reality check. Even if it isn’t capitalism, it will be something else. 

YL: True. Like… I have a certain vision and my art practice strives towards realizing that vision. So, it’s inevitable that I have a conflict with reality, right? Since I’m striving for something that is not yet a reality...

Last year I participated in a group exhibition centered around a new terminology in Korea, “untact” (un + contact), to promote social distancing. The curator invited artists from different regions of Korea, sent them a package of art materials by post, with which the artists created new work and sent it back to the curator by post. The exhibition can be visited by appointment only, and the key is that the curator, artists, and visitors never physically meet (i.e. keep their social distance). I wanted to do a conceptual piece around sending physical posts, which is so archaic but has made a comeback because of COVID. So I made 33 postcard size works on paper (I call them “drawing cards”) and sealed each of them in a separate envelope. With it, I placed the same size papers and the art materials I used to make my drawing cards. If the visitor wishes to open one up and keep it, they have to leave their own drawing cards for me. All of my drawing cards were taken, and I am now left with drawing cards made by people I don’t know. Since I don’t know the whereabouts of my drawing cards, the work exists in the form of a documentation (scans of my work and the participants’ replies). When I told my parents about this project, they were so shocked that I was just “throwing” away my work like that, in exchange for not money but for some meaningless doodles by strangers. It made me think about how deeply capitalistic the art world is, to the point where my parents’ (the non-art audience) gauge for “valuable” art is its monetary value. I tried to convince them that I was challenging this idea of art as an object of exchange for monetary value. I totally failed, and they just thought that it was a bad project. [laughter]

PJ: It is funny to think that on a very basic level material objects still carry more value than ideas. The core of your project is the idea and the idea is pretty successful if everyone took your artwork.  

Yujin Lee, Be My Pen Pal, 2020, mixed media on paper, each 13.5 x 18.5 cm, Left: 1 of 33 drawing cards (with images on both sides of the paper) by the artist. Right: 1 of 33 reply cards by an anonymous participant

YL: Yeah. But the curator was happy, since many visitors engaged with the work. I mean who’s going to say no to free art? Not even free art, just something free. [laughter] Little did they know, it wasn’t really free since they had to work for it!

PJ: If you shook their capitalist conscience, then I think that is good! Another victory!

With your work in particular, the thing that is at stake is more about the connection that is established between the giver and receiver. But I guess in both cases, you are receivers and givers at the same time. You’re the initiator but there is a reciprocal relationship. 

YL: It’s a conceptual piece, but then it’s also an archaic idea of exchange. My personal reference is the Joseon dynasty’s ink paintings which were more like letters, as they often had short poems written on the margins. Back then, the aristocrats, many of whom also painted themselves, thought of paintings as gifts, and never a product to be sold. I find it so intriguing that it’s the complete opposite today. To bring back this idea of “high art” from the Joseon dynasty, art had to be offered as a gift. This concept may also sound quite elitist, I’m not sure...

PJ: The English word “priceless” is confusing for me in that way. Because it’s supposed to be something that is of such high value that it has no price. Which is antithetical to capitalism: the higher the price tag, the more valuable the object is.

YL: Right. I try to take this elitism back to the non-art realm. I’m not saying that I’m giving away my art because it’s priceless, but because I feel like “price” shouldn’t even be part of the conversation. I want art to be a medium to engage and connect with others. Unfortunately, this mostly occurs within the art world. Though recently, my college friend, who’s not an artist, visited me in Jeju and wanted to draw with me. So we sat across from each other in my living room and drew each other’s portraits. This modest experience was very compelling to me, as there was no competition, no expectation. There was only a silent dialogue, a relationship. In that moment, I felt like I didn’t have to be the artist. Sometimes in major exhibitions I see works where the artist takes on this role of, let’s say, the philosopher from Plato’s Cave, who is the one that escapes the cave and sees the higher levels of reality. I’m not sure how I feel about this kind of position of the artist.

Yujin Lee, Muse, 2021, color pencil in sketchbook, each 15 x 21 cm, Left: portrait of Eunji by Yujin, Right: portrait of Yujin by Eunji

PJ: There is another side of art labour that goes into intellectualizing an artwork and thus giving it its value by having other laborers support it. It’s so beautiful the way you put it: in that moment when you both were drawing you can cease to exist as an artist and that is the thing that I was envying the shaman paintings too...

YL: But what does that mean, Prima? Do you think it means that I think art (and artists) should just be gone with? [laughter]

PJ: Well, I think that’s what Paul Chan means when he says “art would rather belong to the world.” To blend in versus try to stand out. The privileged position I feel as an artist and people who do care about art all share, is that we have a pleasure in observing things that other people don’t. That’s something that is very precious and a powerful tool to assess what actually is this world that we’ve been thrown in. Even if we’re part of it and shackled by it, we also have the distance from which we criticize it. 

Maybe I can address your other question. You asked me if I can expand my thoughts on art giving shape to the unknown in relation to language. Maybe that is connected to what we were saying before. For me, the privilege of the artist is the ability to see things that other people don’t. That can be just observing things that people take for granted and finding ways to make those situations uncanny. Because the reality we live in is purely arbitrary. And I think that knowing that those rules can be changed, is a powerful asset. In my work I try to bend the knowledge that is embedded in academic language or research language particularly. Even my writing practice itself is more of a searching. I would start with an idea of where I want to go, but I don’t really know what I’m talking about until I start writing. That too, is the beauty of art. Because if you already know the end product that you are going to make, then why are you making it in the first place?

Yujin Lee is a Jeju-based visual artist working with drawings, performances, videos, and audience-participatory projects. Interested in the Buddhist concept of yuanqi (interdependency), Lee have pursued collaborative projects with artists Emi Hariyama (108 Bows, 2013), Nicole Won Hee Maloof (Same/Difference, 2015), Aracha Cholitgul (im_there_r_u_here, 2020~ongoing), and Jo Ahra (Untitled, 2021~ongoing). Since 2019, she has been running an alternative artist residency at her farmhouse, Next Door to the Museum Jeju. Lee received her MFA in printmaking from Columbia University and a BFA in painting from Cornell University.

leeyujin.com @jejuanarchist

Prima Jalichandra-Sakuntabhai is a transdisciplinary artist, working across performance, video and installation, based in Los Angeles. Born in Thailand in 1989, they were raised in Europe before moving to the US in 2011. They received their Visual Arts Degree from the Ecole des Beaux Arts de Nantes Metropole and a License in Film Studies at the Sorbonne Nouvelle-Paris 3. They earned BFA at the School of the Arts Institute of Chicago and MFA at the California College of the Arts, in San Francisco. Featured in the 2015 Arizona Biennial at the Tucson Museum of Art, Arizona. Recipient of the SOMA Summer Award, Mexico City and the emi kuriyama spirit award.

Recent projects include: Fieldnotes for Useful Light, The Prelinger Library (San Francisco), Irrational Exhibits 11: Place-Making and Social Memory, Track 16 (LA) and The Anthropologist As Hero, in collaboration with Linda Franke, Justine Melford-Colegate and Jessica Hyatt, PAM Residencies (LA), Chloropsis Aurifrons Pridii, Fulcrum Press (LA). They curated the MAHA Pavillion for the Bangkok Biennial 2020.

www.primasakuntabhai.com @prima_jalichndrsakntbhai

[cumstricbusrie-blog]

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[comicsbeat]

Diamond just released their top sellers for November, and nothing was amiss, as much ballyhooed launches for Uncanny X-men, Green Lantern and Venom led the way. Venom got a surprising movie bump with the first collection of Donny Cates’ run topping the graphic novel charts in units.

Marvel led DC comfortably – no one has really been talking about it after the disasters of 2017, but Marvel seems to have stabilized quite a bit, bringing back strong #1s of characters people like reading. Look for Ironheart #1 to do well for December sales, as well. Getting some juice from the Venom movie is a nice bonus. Heck, a Black Panther Little Golden Book was the #2 book for the month. Those movies are selling books.

DC had a good launch with The Green Lantern, but there’s only one Grant Morrison, and if the rumors I’m hearing are true, 2019 should be the year everyone starts worrying more about DC. But more about that later.

Still, it was a blah month overall, and 2018 will be a blah year. John Jackson Miller points out that it was a puny month, with 121 fewer titles shipping in November than in October. He also notes:

It was Marvel’s smallest new comics slate since October 2015. DC shipped 67 comics, down from 95 last November. Fully 22% fewer new comics out. The bright side is that even with so much less material out, Marvel was still up slightly year-over-year versus last November.    The graphic novel category was worse off — there, the dynamic also looks supply-side, as publishers appear to be increasingly trying to get retailers to stock for the holidays in October.   Six percent fewer comics have come out in 2018 so far; unit sales are down 6%. Pretty direct connection there. Since comics dollar sales are slightly up — and 2017’s unit sales were inflated by overships and 25¢ books — the comics that did come out did a little better relative, per issue, than last year.

Thogh the ^5 drop may be explained by fewer comics, graphic novels are down 6-7% for the year, and that’s a troubling trend. 2018 held its own but it still didn’t quite have the kind of break out hit that makes everyone stand up and cheer.

  TOP COMIC BOOK PUBLISHERS

PUBLISHER

DOLLAR

SHARE

UNIT

SHARE

MARVEL COMICS

40.80%

43.75%

DC ENTERTAINMENT

26.74%

29.51%

IMAGE COMICS

8.57%

8.50%

IDW PUBLISHING

3.62%

3.39%

DARK HORSE COMICS

3.37%

2.58%

BOOM! STUDIOS

2.95%

2.49%

DYNAMITE ENTERTAINMENT

2.24%

2.11%

VIZ MEDIA

1.26%

0.48%

TITAN COMICS

1.20%

0.80%

ONI PRESS INC.

0.97%

0.80%

OTHER NON-TOP 10

8.28%

5.58%

   COMPARATIVE SALES STATISTICS

DOLLARS

UNITS

NOVEMBER 2018 VS. OCTOBER 2018

COMICS

-16.49%

-19.71%

GRAPHIC NOVELS

-21.10%

-23.49%

TOTAL COMICS/GN

-17.81%

-19.99%

TOYS

6.76%

-23.81%

NOVEMBER 2018 VS. NOVEMBER 2017

COMICS

-4.98%

-11.24%

GRAPHIC NOVELS

-30.36%

-31.11%

TOTAL COMICS/GN

-13.61%

-13.02%

TOYS

-10.88%

-19.52%

YEAR-TO-DATE 2018 VS. YEAR-TO-DATE 2017

COMICS

1.48%

-6.06%

GRAPHIC NOVELS

-6.67%

-7.25%

TOTAL COMICS/GN

-0.98%

-6.15%

TOYS

-3.25%

-3.25%

  NEW TITLES SHIPPED

PUBLISHER

COMICS SHIPPED

GRAPHIC NOVELS SHIPPED

MAGAZINES SHIPPED

TOTAL

SHIPPED

MARVEL COMICS

79

39

0

118

DC COMICS

67

40

0

107

IMAGE COMICS

57

18

0

75

IDW PUBLISHING

33

14

0

47

BOOM! STUDIOS

23

16

0

39

DARK HORSE COMICS

16

19

0

35

TITAN COMICS

10

13

5

28

VIZ MEDIA LLC

0

26

0

26

DYNAMITE

17

4

0

21

ONI PRESS INC.

8

4

0

12

OTHER NON-TOP 10

113

206

17

336

TOTAL

423

399

22

844

  TOP 10 COMIC BOOKS BY UNITS SHIPPED

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

UNCANNY X-MEN #1

$7.99

SEP180791-M MAR

2

THE GREEN LANTERN #1

$4.99

SEP180430-M DC

3

WEB OF VENOM: CARNAGE BORN #1

$4.99

SEP180855-M MAR

4

AMAZING SPIDER-MAN #10

$3.99

SEP180916-M MAR

5

BATMAN #58

$3.99

SEP180450-M DC

6

BATMAN #59

$3.99

SEP180452-M DC

7

AMAZING SPIDER-MAN #9

$3.99

SEP180914-M MAR

8

HEROES IN CRISIS #3

$3.99

SEP180434-M DC

9

AVENGERS #10

$5.99

SEP180829-M MAR

10

VENOM #8

$3.99

SEP180918-M MAR

  TOP 10 COMIC BOOKS BY DOLLARS INVOICED

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

UNCANNY X-MEN #1

$7.99

SEP180791-M MAR

2

WEB OF VENOM: CARNAGE BORN #1

$4.99

SEP180855-M MAR

3

THE GREEN LANTERN #1

$4.99

SEP180430-M DC

4

AVENGERS #10

$5.99

SEP180829-M MAR

5

AMAZING SPIDER-MAN #10

$3.99

SEP180916-M MAR

6

BATMAN #58

$3.99

SEP180450-M DC

7

BATMAN #59

$3.99

SEP180452-M DC

8

AMAZING SPIDER-MAN #9

$3.99

SEP180914-M MAR

9

HEROES IN CRISIS #3

$3.99

SEP180434-M DC

10

VENOM #8

$3.99

SEP180918-M MAR

  TOP 10 GRAPHIC NOVELS & TRADE PAPERBACKS BY UNITS SHIPPED

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

VENOM BY DONNY CATES VOLUME 1: REX TP

$17.99

AUG181081 MAR

2

THANOS: THE INFINITY CONFLICT HC

$24.99

AUG181076 MAR

3

JUSTICE LEAGUE VOLUME 1: THE TOTALITY TP

$17.99

AUG180630 DC

4

BLACK EYED PEAS PRESENTS: MASTERS OF THE SUN: THE  ZOMBIE CHRONICLES TP

$24.99

APR171143 MAR

5

AMAZING SPIDER-MAN BY NICK SPENCER VOLUME 1: BACK TO BASICS TP

$15.99

SEP181008 MAR

6

THE IMMORTAL HULK VOLUME 1: OR IS HE BOTH? TP

$15.99

AUG181082 MAR

7

BATMAN: WHITE KNIGHT TP

$19.99

JUL180733 DC

8

UNNATURAL VOLUME 1: AWAKENING TP (MR)

$9.99

SEP180132 IMA

9

STAR WARS: LANDO: DOUBLE OR NOTHING TP

$15.99

JUL181171 MAR

10

DOMINO VOLUME 1: KILLER INSTINCT TP

$17.99

AUG181085 MAR

  TOP 10 GRAPHIC NOVELS & TRADE PAPERBACKS BY DOLLARS INVOICED

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

X-MEN MUTANT: MASSACRE OMNIBUS HC

$100.00

MAY180951 MAR

2

THANOS: THE INFINITY CONFLICT HC

$24.99

AUG181076 MAR

3

ABSOLUTE TRANSMETROPOLITAN VOLUME 3 HC (MR)

$125.00

MAR180362 DC

4

SILVER SURFER BY SLOTT AND ALLRED OMNIBUS HC

$75.00

MAY180954 MAR

5

BLACK EYED PEAS PRESENTS: MASTERS OF THE SUN: THE ZOMBIE CHRONICLES TP

$24.99

APR171143 MAR

6

VENOM BY DONNY CATES VOLUME 1: REX TP

$17.99

AUG181081 MAR

7

FIREFLY: BIG DAMN HEROES BOX SET

$150.00

SEP181294 BOO

8

WONDER WOMAN: THE GOLDEN AGE OMNIBUS VOL. 3 HC

$125.00

APR180285 DC

9

MARVEL MASTERWORKS: THE MIGHTY THOR VOLUME 17 HC

$75.00

MAY180957-M MAR

10

JUSTICE LEAGUE VOLUME 1: THE TOTALITY TP

$17.99

AUG180630 DC

  TOP 10 BOOKS BY UNITS SHIPPED

RANK

DESCRIPTION

PRICE

ITEM CODE

VENDOR

1

LEGEND OF ZELDA: BREATH OF THE WILD: CREATING A CHAMPION HC

$39.99

JUL180425 DAR

2

BLACK PANTHER LITTLE GOLDEN BOOK

$4.99

NOV172179 GOL

3

GIGER HC

$15.00

SEP181990 TAS

4

ART MATTERS: BECAUSE YOUR IMAGINATION CAN CHANGE WORLD

$19.99

OCT182016 WIL

5

DARK SOULS III DESIGN WORKS HC

$49.99

JUN182173 UDO

6

SPECTRUM ART BOOK 25 SC

$35.00

SEP181796 FLE

7

FIREFLY: BIG DAMN HERO HC

$22.95

AUG182286 TTN

8

GHOSTBUSTERS LITTLE GOLDEN BOOK

$4.99

JUL162266 GOL

9

FINAL FANTASY VII: ON THE WAY TO A SMILE SC

$14.00

AUG182452 YEN

10

MARVEL STUDIOS: THE FIRST 10 YEARS HC

$24.99

SEP182051 TTN

  TOP 10 TOYS BY DOLLARS INVOICED

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

DC COMICS BOMBSHELLS: BATMAN & CATWOMAN STATUE MAY180613 DC

2

BATMAN BLACK & WHITE: THE BATMAN WHO LAUGHS STATUE MAY180609 DC

3

MARVEL GALLERY: VENOM COMIC PVC FIGURE MAY182304 DST

4

MARVEL GALLERY: AVENGERS INFINITY WAR: DR. STRANGE PVC FIGURE AUG178008 DST

5

LEGEND OF ZELDA: BREATH OF THE WILD: GUARDIAN NENDOROID JAN188701 GOO

6

EVIL DEAD 2: DEAD BY DAWN: ASH WILLIAMS BISHOUJO STATUE MAY182647 KOT

7

MARVEL UNIVERSE: BLACK PANTHER ARTFX+ STATUE MAY182646 KOT

8

MARVEL GALLERY: BLACK PANTHER MOVIE (VER. 2) PVC FIGURE MAY182305 DST

9

MARVEL SELECT: JUGGERNAUT FIGURE JUN101512 DST

10

DC COVER GIRLS: CATWOMAN BY JOELLE JONES STATUE MAY180610 DC

  TOP 10 GAMES BY DOLLARS INVOICED

RANK

DESCRIPTION

ITEM CODE

VENDOR

1

MY HERO ACADEMIA CARD GAME JUL183082 SHI

2

MAGIC THE GATHERING TCG: GUILDS OF RAVNICA BOOSTERS AUG183192 WIZ

3

D&D ICONS OF THE REALM SET 10 AUG183199 NEC

4

BATMAN THE ANIMATED SERIES: GOTHAM UNDER SIEGE GAME JUN180756 IDW

5

RISK RICK & MORTY BOARD GAME OCT182927 USA

6

TEENAGE MUTANT NINJA TURTLES MUNCHKIN MAY180770 IDW

7

PATHFINDER BATTLES: KINGMAKER BOOSTER BRICK AUG183201 NEC

8

RICK AND MORTY DBG: THE RICKSHANK RICKDEMPTION MAY188741 PSI

9

FIVE NIGHTS AT FREDDYS MONOPOLY BOARD GAME SEP182828 USA

10

DUNGEONS & DRAGONS RPG: WATERDEEP DRAGON HEIST HC AUG183190 WIZ

How does Diamond calculate the charts? It all starts at the comic book shop.

Sales Charts: X-men, Venom and Green Lantern lead the way in November Diamond just released their top sellers for November, and nothing was amiss, as much ballyhooed launches for Uncanny X-men, Green Lantern and Venom led the way.

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New Post has been published on https://www.updatedc.com/2018/12/07/blackmagic-design-pocket-cinema-camera-4k-review/

Blackmagic Design Pocket Cinema Camera 4K Review

The Blackmagic Design Pocket Cinema Camera 4K took NAB 2018 by storm. It really was the talk of the show and everyone prior to it was hoping for an update and they got it. The camera is now shipping but it’s not available in large quantities yet. Demand is high and production doesn’t look to be matching it. While this seems to be an issue with Blackmagic I thought they solved this with the release of the URSA Mini Pro but the Pocket 4K seems to be business as usual when it comes to delivery.

Blackmagic Design sent us the Pocket Cinema Camera 4K for a limited time to do a review. The only stipulation is that we don’t do a head to head or compare the camera with other cameras on the market. Blackmagic Design is a sponsor of Newsshooter.com. this review is independent and is not being reviewed or approved by Blackmagic Design in any way prior to release.

Okay! Now that we have that out of the way lets get this review started!

Everything that’s Included

Blackmagic Pocket Cinema Camera 4K

Lens turret dust cap.

30W power supply with locking connector and international adapters.

LP‑E6 Battery

SD card with software and manual.

Welcome card.

DaVinci Resolve Studio with an activation key.

The Pocket Cinema Camera 4K is no “pocket” camera

While Blackmagic Design is calling this the new Pocket 4K I feel it’s more like a new version of the original Blackmagic Cinema Camera. The Pocket 4K is closer in size as well as not having an EVF and only a big screen.

This was the original disruptor camera from Blackmagic and the Pocket 4K is poised to do the same.

I first got my hands on the Pocket Cinema Camera 4K at the BMD NAB press conference. As many have said before it’s no “pocket camera”. It’s a totally new camera and to be honest it should have had a different name with such a radically different design. This isn’t a hyper-portable camera but as a cinema camera, it’s about as compact as I think it can be with the capability of shooting RAW and ProRes HQ in 4K DCI 60P without catching on fire. Heat dispersion is an issue that plagues all cameras and BMD clearly didn’t want overheating issues with the Pocket Cinema Camera 4K

The camera is much larger than the original pocket by huge margins. In fact, it’s larger than most DSLR cameras. What makes it large is how wide it is but don’t let that fool you it’s actually very light in weight and feels chunky in the hand.

The grip on the side is big. I have average sized hands and can hold it fine but it does feel larger than a mirrorless or DSLR camera. You would think with such a large grip the camera could have a larger higher capacity battery but it uses the Canon LP-E6. More on the battery coming up.

Overall the body feels kind of plasticky. I suppose this has a lot to do with the weight and the new carbon fiber composite material the body is made out of, however, it just feels sort of cheap. One thing I noticed is the battery compartment door seems a little loose. The door for the media compartment snaps open and closes firmly.

The covers for the inputs on the side are those pliable plastic type that pop off and are held on with a tab. I’m not a fan of these but we see them on a lot of cameras. On my C300 MKII, I pulled them off as they started driving me crazy. If this was my camera I would do the same.

I like the shortcuts on the body a lot. You have three on top that can be programmed and three that are set for ISO, Shutter and White Balance. A stills frame can be taken with the stills button and the iris wheel has a push function for zoom in focus assist. As for the stills? I wasn’t impressed.

On the back are an Iris, Focus, HFR, Zoom, Menu, and Playback button. The coolest of them all is the ability to push the HFR button and go into 60 frames per second. That is really convenient and fast without having to enter the menu to change frame rates. With the camera set to shutter angle, it will change as well when you enter 60p mode.

MFT Sensor

The original Pocket Camera had a smaller Super 16mm Sized Image Sensor while the new Pocket 4K jumps up to Micro Four Thirds 18.96 x 10.00 mm sensor with Dual Native ISO. A first in the Blackmagic camera lineup to have. Will we see this in an updated URSA Mini Pro? The sensor does yield some nice images. More on that later.

Micro Four Thirds mount and Lenses

The Micro Four Thirds mount is very adaptable. Practically any lens can be used with the proper adapter. I have a few Canon EF lenses I use on Sony E mount cameras as well as the URSA Mini Pro 4.6K. The Canon 24-105 F4,  Canon 70-200 F4 and a Duclos modded Tokina 11-16mm.

I also have the very nice Lumix 12-35mm. I keep it around just in case I need it and I sure did with the Pocket 4K. The Lumix 12-35 works perfectly with the camera. Autofocus works pretty well. No Dual Pixel AF here and it does hunt a little but it’s better than not having any AF and could be improved over time. I wish I had the 35-100mm lens to pair with it.

To shoot with my Canon EF lenses I have a Metabones EF Lens to Micro Four Thirds T Speed Booster ULTRA 0.71x. With the latest V3.0 firmware the Pocket 4K autofocus didn’t work at all. I tried both the 24-105 and 70-200. Image Stabilization works as does f-stop changes and it also shows the Speed Boost increase in the aperture on the LCD screen. I’m sure Metabones will update the firmware on the Speed Booster to get AF working as this will be a very popular setup. The Speed Booster XL would be a great option for full frame lenses. I like the ULTRA since I can also use APS-C lenses like the Sigma 18-35 and 50-100.

Inputs

The inputs and outputs are all on left side of the camera.

From top to bottom you have:

3.5mm Mic Inputs

Headphone

Full-Size HDMI

12v Power input

USB-C for SSD drive

Mini XLR with Phantom Power

On the top and bottom are airvents to keep the camera cool. There is a fan inside but I found noise not to be an issue.

Menu System

With so many cameras having a messy hard to use menu system I find it refreshing that the Pocket 4K inherited the simple URSA Mini Pro menu. The camera is so easy to get set up plus being a video camera, not a hybrid no photography settings needed. The menu navigates with the touchscreen and the setting options are nice and large making them easy to see and tap to select.

Where is the Viewfinder?

Being true to the original Pocket Cinema Camera an EVF isn’t present on it’s 4K big brother. For the first couple of hours using the Pocket Cinema Camera 4K I instinctively wanted to lift it to my eye. It’s a very strange feeling knowing you can’t because the camera doesn’t have an EVF and this does cause some problems. It does have a nice full HD 5″ touchscreen. The image looks sharp and color representation also looks to be accurate but in bright sun the LCD screen is useless. It’s not a daylight monitor. In the shade, it performs fine but I struggled with it when the sun was behind me. The screen has good off-axis viewing angle which is nice since you can’t rotate or tilt the screen either. With Lumix lenses, the touch focus is pretty good. I wouldn’t say it’s a usable rack focus but it does lock in fairly quickly and nails it most of the time.

A cage and a Zacuto Gratical HD will be a lifesaver for the Pocket 4K. Unfortunately, I don’t have a cage for the loaner camera to attach my Gratical HD EVF to. I tried, but with limited hardware, it wasn’t doable plus I wanted to get the experience of using the camera as is.

Codecs, Resolutions and Frame Rates

Here is where the Pocket Cinema Camera 4K shines. Having ProRes as the main codec makes editing a breeze and the codec is very solid. Yes, it will take up more space on media cards but I’ll take that over computer intensive formats that require transcoding and rendering. Editing Long Gop and ALL-I codecs natively on a better than basic NLE can be a real struggle. We end up converting the footage or editing in proxy and all those options take up even more hard drive space and time.

Codecs

CinemaDNG RAW, CinemaDNG RAW

3:1, CinemaDNG RAW 4:1, ProRes 422

HQ QuickTime, ProRes 422

QuickTime, ProRes 422 LT QuickTime,

ProRes 422 Proxy QuickTime.

With the release of the Pocket Cinema Camera 4K, Blackmagic RAW isn’t included in the firmware but they have announced it will be available at a later date for no extra charge. The only issues are as of now DaVinci Resolve is the only NLE that can utilize the new RAW format. Hopefully others like Avid, FCPX and Premiere Pro to name a few of the popular NLE’s will support it but I think it’s going to take some time. For now, if you like RAW, you have CinemaDNG.

Resolutions and Frame Rates

HD Video Standards 1080p23.98, 1080p24, 1080p25, 1080p29.97, 1080p30, 1080p50, 1080p59.94, 1080p60.

Ultra HD Video Standards 2160p23.98, 2160p24, 2160p25, 2160p29.97, 2160p30, 2160p50, 2160p59.94, 2160p60.

4K DCI Standards 4KDCIp23.98, 4KDCIp24, 4KDCIp25, 4KDCIp29.97, 4KDCIp30, 4KDCIp50, 4KDCIp59.94, 4KDCIp60

Frame Rates You won’t get all the frame rates in all the resolutions however you do get a very good selection for a camera in its price range and overall size and that is impressive. To shoot at 120 fps it is in HD windowed mode and it looks really good.

I shot this video at 120 FPS HD Windowed mode at 4000 ISO using ProRes 422. I really think ProRes acquisition for HFR is such a big deal as many cameras limit the Mb/s so low the image just falls apart.

In post, I only cleaned it up with Red Giant Denoiser III. Yes, it’s noisy but the image has nice detail with very low in-camera noise reduction. Other cameras I’ve used get aggressive with the noise reduction at higher iso values. This smooths and softens the image and it doesn’t look very good. I feel the Pocket 4K detail is really good at 120 FPS.

Powering the Pocket

I have several of the Canon OEM batteries and an assortment of 3rd party versions. Blackmagic Design states 60 minutes of runtime. I haven’t been able to get this performance with the included battery or an OEM Canon battery recording to CFast media. Usable runtime with the Pocket 4K is closer to 30-40 minutes. You need to power the camera down when not recording to save battery.

The Pocket Cinema Camera 4K uses the Canon LP-E6 type battery. It comes with one. No charger is included however a 2-pin locking AC power cable is included and charges the battery inside the Pocket Cinema Camera 4K so essentially the camera is the charger. The camera can be powered with an external battery without using a regulated dummy LP-E6 since the input can take 12 to 20 volts or a D-tap to 2-pin cable.

This is a first. I have one LP-E6 battery that would get stuck inside the camera. I have heard from other users that experienced this as well. I wasn’t sure how to get it out but decided to try a strip of gaffers tape and press it on to cover the entire end of the battery. Hold the release button and pull it out. After a few attempts, it worked and the battery was removed.

No damage was done and I can’t figure out what is causing it. I think it’s the two slots that are used to charge the battery in the camera that is holding it in. Maybe the spring isn’t strong enough to push it out? I’m not really sure. The battery that is supplied with the Pocket 4K doesn’t have issues with getting stuck inside the body however it doesn’t work with the battery status on the camera. The fuel gauge shows “0”.  No issues with OEM Canon LP-E6N and LP-E6 batteries.

Blackmagic Design 25.5″ DC Cable Pack for Blackmagic Pocket Cinema Camera

Blackmagic Design has a DC cable pack that includes a D-tap to 2-pin, 2.5mm barrel to 2-pin and an extra 2-pin non-terminated cable for creating your own custom cable. All cables are 650mm long and retail for $55.00 US. With the proper 2-pin locking connector cable to D-Tap and a V-lock or Gold Mount battery, you’re good to go for several hours.

It shuts off without warning

A major flaw with the Pocket 4K is it will shut off while recording even when the battery indicator is showing 30% or 40%. The camera isn’t correctly estimating the actual amount of power left. When I put a full battery in the indicator will quickly show the battery depleting even before I start recording. This needs to be addressed in a firmware update stat! It might not be a camera software issue but more of a camera power consumption issue.

While I have had the camera shut down while recording several times the clips didn’t become corrupt or was deleted. This is some good news but like I said. It’s scary and I can’t imagine that clips eventually wouldn’t get corrupted with such abrupt shutdowns. Blackmagic Design said they will look into this issue further but stated the clips close every 10 frames, therefore, you could lose approximately 10 frames off the end of a clip.

I tested several batteries and I’m finding a big discrepancy with them and when the camera will shut down. With Canon OEM LP-E6N I was getting much better performance. The camera would drop to around 9% and then shut off. For now, I highly recommend the Canon OEM batteries and change them around 15% warning. I still got around 40-45 minutes with Canon OEM.

Battery Solutions

I recently reviewed the Core SWX PowerBase Edge and it is a really great way to power the camera for a long time. While it looks bulky it doesn’t feel too bad to hold since the camera itself is very light. On a tripod, it’s a no-brainer and very simple to use plus it can power your accessories as well.

The Pocket Cinema Camera 4K for serious use will probably end up in a cage or rig. If you need an EVF, and I think you will for certain situations like shooting outside in the sun or just don’t want to swap out batteries every 30 minutes and opt to record on an SSD drive, which is a pretty cool option to have. Some type of larger rig is going to be needed.

With a Canon OEM LP-E6 I got 41 minutes of continuous recording then the camera shut off without warning. When I put the battery back on the charger it showed 20% was left. The clip wasn’t deleted or corrupted.

Built-in audio and inputs

Analog Audio Inputs

Onboard microphones on cameras are generally not that great. I would say the Pocket 4K is better than most but none are as good as adding an external mic like a RØDE VideoMic Pro. It’s fine for scratch audio or simple ambient sound.

One thing that could be an issue is the microphone on the right side is placed right by the grip and if you have long fingers you could tap it and make unwanted noise. Now you wouldn’t really need to worry since you are of course going to use proper audio right? 🙂

One feature that is usually lacking in hybrid cameras is audio inputs. That 3.5mm jack can go only so far. I tested the input with a RØDE Lavalier microphone. To get a proper level I had to set the level at maximum. This generally isn’t a good thing as it could also bring up the noise floor pushing the preamps so high.

I had an issue with the 3.5mm input. After several days of shooting and using the 3.5mm input to record my audio, the input broke. I pushed the connector in and something came loose. The connection is now intermittent with the input and the connection feels like it’s not holding the microphones 3.5 tip very well. Not good.

The 3.5mm Stereo Input can also be used for Timecode input.

The Pocket Cinema Camera 4K has one mini-XLR analog switchable input that also supplies phantom power and supports line level (up to +14dBu). This is very cool for a camera in its price range. You probably won’t see this feature on a hybrid anytime soon.

These cables are a little hard to find and are more expensive than the average XLR variety. I searched around and ended up buying a Blackmagic Design Blackmagic Design Mini XLR Cable for Video Assist 4K. It retails for $29.00 US and includes two 19.5″ cables.

On my last day with the Pocket Cinema Camera 4K I used it for an easy studio shoot. All the audio was captured with a Sanken COS-11D into the mini XLR. I have to say it’s nice to just plug in a microphone into such a small camera that has phantom power. I used the Lumix 12-35 and focused with the touchscreen, setting exposure with zebra stripes and false color. I do wish the zebras would go lower than 75% as I like to use 60%-65% value for skin tone. The image is nice and detailed and the audio recorded nice and clean. I’m a fan of recording audio into the camera and I know it’s not the best quality you can get but it works for me on these type of shoots. It’s always good to have options and the mini XLR input is a good one.

Lots of recording media options

The Pocket 4K has three different media options to record too.

1 x CFast slot

1 x SD UHS-II card slot.

USB-C input for SSD Drive

That’s a lot of options for a camera in this price range plus it can record RAW Lossless, 3:1 and 4:1. Blackmagic RAW is also coming and that will make the Pocket 4K a beast of a camera when it comes to onboard codecs and RAW capabilities. Did I mention I love the ProRes option? 🙂

For a full list of compatible media check out this post. I always recommend getting the best quality you can afford. I know media can be expensive but verified compatible models will ensure the safest and best results.

Compatible USB‐C SSD Drives

Don’t stray here. I tried a noncompatible drive and it didn’t work. Shocking right? I then tested the Samsung T5 1TB and yes it does work and records without issue as well as the new Anglebird SSD2GO PKT 512GB and 2TB. While I didn’t test all the resolutions and codecs I found All the ProRes options worked without issue.

Shooting direct to an SSD drive is really great. Seeing that huge storage available kind of makes me giddy. I have a little setup that might not look so fancy but it works a treat! With no cage, I had to be creative. I added a cold shoe to the top mount and the cold shoe extender. This really worked well plus it didn’t cost me anything since I already had it. Win-win!

Below is the recommended media for recording

Dual Native ISO

Unlike the GH5s the Dual Native ISO doesn’t need to be changed to enter it. The Dual Native ISO is 400 and 3200. This can be a little confusing or maybe it’s just me. Here is how it’s explained by Blackmagic Design.

I can highly recommend using 1250 ISO over 1000. The image curve does change with the blacks and highlights being more stretched out for a less flat look but it’s much cleaner. MFT sensors have been problematic when it comes to noise at even modest ISO levels and the GH5s and now the Pocket Cinema Camera 4K are showing how far engineering has come.

At 32oo the noise is very similar to 500 ISO but is there any noise reduction going on as well?  Noise reduction will smooth out the detail of an image. It’s not very pleasing. Especially on the skin. It makes things look like plastic. From the looks of the test footage, I’m not seeing any aggressive in-camera noise reduction in the image. That’s impressive. This makes cleaning it up with noise reduction software even better and it does clean up fairly easily.

Usability

Here is where the Pocket Cinema Camera 4K has issues. Usability is different for everyone. I personally do not like to fight a camera while using it. I just want to be able to get the camera out of my way and create with it. This isn’t the case with the Pocket 4K. As I mentioned earlier the camera eats through batteries and shuts down abruptly when the battery is starting to die. That alone is a big problem. I always feel like it’s going to shut down on me in the middle of a take. I really don’t need this type of stress while I’m shooting.

Not having an EVF is a problem. The touchscreen while very good isn’t enough for me to rely on in all situations. I struggled in daylight to focus manually. I went to La Jolla to shoot some ocean scenics and it was very difficult to manually focus. The screen is really hard to see on a sunny day. I was also having autofocus issues with the Canon 24-105 and 70-200 F4 lenses with the SpeedBooster ULTRA. It doesn’t work with current firmware. Peaking and zoom helped but it’s not enough for me to feel confident. The screen doesn’t tilt either so you really have to be pretty much at eye level with the camera to operate it. The Pocket 4K likes being in the shade.

In my studio set test, I was trying to follow the action more so basically not a controlled situation. I was still having focus issues. Maybe it’s just me. I really missed not having an EVF. The shooting pace is much slower and deliberate for me with the pocket after seeing how many lost takes I had due to missed focus. This might not be an issue for some but it really worries me that I could miss a great moment because I couldn’t focus correctly on time.

The Pocket 4K needs an EVF like the Zacuto Graticle HD for sunny days to get critical focus and overall usability. Add in the battery life issue and the need to use external power makes the camera a candidate for a cage or rig so kit can be attached to make it usable. While this for many won’t be an issue I think it’s important to know that you will need it and an investment that equals the cameras cost or more is inevitable.

I personally don’t mind a cage on a dedicated video camera. With a hybrid, I don’t need all the extras for photography so I would take the cage off when stills are the primary use. A cage with a video camera is almost a necessary item. Stick it in one. Add an EVF, SSD mount and power solution and I think it would be a really good setup. I’m sure a lot of cages will be coming just in time for Christmass.

Scopes

Why Blackmagic Design only uses a Histogram on a cinema camera is a mystery to me. In fact the URSA cameras also only have Histograms. I really don’t like them. For video production, I much prefer a Waveform Monitor. Even a small one like you see on other cinema cameras is very handy for nailing skin tone. The Pocket 4K does have Zebra Stripes but their lowest setting is 75%. Again no love for the skin tone that I like to have around 55-65% depending on the skins shade. I like to turn it on. Set the exposure and turn it off. As is the Zebras are for highlight protection.

False color can be a handy tool for exposure and I don’t use it very often but I did with the pocket since it’s really the only tool I could use to assist in getting proper exposure. I don’t like it as much as a waveform monitor though.

For focusing, the Pocket 4K has a Focus Assist feature. This puts a red border around the subject when it’s in focus. You have three strength settings available. I found “High” to be too forgiving and “Low” to be somewhat useless. “Medium” is the safest bet however it doesn’t work if the contrast is low.

The Zoom feature is good and probably the better option for focusing but if things are moving fast you will miss the shot.

I find focusing a big issue for me with the Pocket 4K. Shooting off the back of the camera is not my preferred method and I did get a lot of out of focus shots. Much more than I expected in good shooting conditions indoors.

Image quality

Here is where it all comes down too. Is the image any good? Well yes, it is. In fact, I’m impressed with how good it is and that’s not to take into account the actual price. For only $1,295 it’s a real bargain. Plus it includes the full version of DaVinci Resolve Studio that retails for $299 effectively putting the Pocket Cinema Camera 4K at $1,004. Crazy.

The 120 fps footage is very good also. Most cameras really fall apart at 120 fps. The Pocket does an excellent job. While it can go to 25,000 ISO that doesn’t mean you should. 1250 looks great and even 4000 is very usable. I don’t have a high tolerance for noise and don’t enjoy denoising in post so I tend to keep the ISO levels as low as possible and use lights. For many, I think the ISO noise won’t be an issue.

Is it the best, perfect all you ever wanted 4K camera? Of course not, however, I wouldn’t mind having one just for the fact it is so inexpensive and shoots a high-quality codec. I do worry a little about the overall build quality but time will tell if it’s going to last out in the field.

Things I like

The price. At $1,295 USD it’s the least expensive ProRes 4K capable camera on the market.

The image quality is very good

ProRes is a fantastic codec to shoot in

One button push away from 60p shooting

High speed even 120 fps looks very good

The camera comes with a Davinci Resolve Studio licenses. $300 value

Things I don’t Like

Battery dies and shuts off the camera without warning while recording.

On/off switch is really old school

The battery door and compartment is a hot mess. I had a 3rd party battery get stuck inside and had to use a piece of gaffers tape to pull it out

Battery life is bad

The screen isn’t usable in the sun

No EVF

No Waveform

Well, my time has come to an end with the Pocket 4K. Time to send it back to Blackmagic Design. It was a fun ride with some turbulence but all in all, a very interesting camera just as long as you can work around some of the quirks I think Blackmagic Design really did something special with the Pocket Cinema Camera 4K. I like the innovation a lot and I think they will sell a crapload of these cameras due to the price alone and the ability to shoot such high-quality images with professional codecs. For $1,299 it’s practically disposable! I bet it will become Hollywoods most popular crash cam. Now if only I had a pocket the camera would fit in.

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Media Mogul Byron Allen Is Betting Billions on an Empire Anchored by The Weather Channel

New Post has been published on http://funnythingshere.xyz/media-mogul-byron-allen-is-betting-billions-on-an-empire-anchored-by-the-weather-channel/

Media Mogul Byron Allen Is Betting Billions on an Empire Anchored by The Weather Channel

Entertainment Studios Motion Pictures’ Byron Allen will take center stage at CinemaCon April 25. He’s scheduled to welcome the National Association of Theatre Owners to the 28,000-square-foot Palace Ballroom for an early breakfast and keynote address.

Unless, you know, he doesn’t.

“I think I’m going to go,” said Allen April 17 from the Culver City set of “Funny You Should Ask.” He produces the gameshow that’s broadcast on his Comedy.TV, one of eight 24-hour networks he owns. That afternoon, he served as audience cheerleader and unofficial director, not only anchoring its quintet of comedian-panelists but also instructing “Baskets” Emmy-winner Louie Anderson and “Saturday Night Live” veteran Jon Lovitz to deliver their set-ups and punchlines again, from the top.

Read More:Byron Allen Released the Highest-Grossing Indie of the Year, but Won’t Be Satisfied Until He’s the Next Walt Disney

Presuming he does find himself in Vegas, he should find a rapt audience. People want to hear from Allen, if only to figure out what the hell he’s driving at. While ESMP’s founder, owner, chairman, and CEO still does audience warmup for the shows he owns, his company released the #2 indie last year, shark caper “47 Meters Down,” which grossed $44.3 million domestic. Then it released two would-be Oscar plays, “Hostiles” and “Chappaquiddick,” and last month paid $300 million cash for The Weather Channel.

Mandy Moore in “47 Meters Down”

Entertainment Studios

Recognizing Allen’s throughline in all of this would be nice, but ESMP theatrical distribution president Mark Borde suggests that may be too much to hope for.

“Listen, he runs a television empire, he runs a movie empire, he runs a number of other things,” Borde told IndieWire by phone the morning after the gameshow shoot. “Com[ing] out at 7:30 on a Wednesday morning to meet and greet exhibitors [at CinemaCon] is not necessarily something that he has to do. It would be nice to have him say a few words, but if he can’t make it, that’s no harm, no foul.”

While Allen appears to be a jack-of-all-trades, self-made media millionaire, Borde is a second-generation film distributor with 44 years in the business. Allen acquired his Freestyle releasing in October 2015, and Borde will have a team of 15 at CinemaCon. His mandate, he said, is to make ESMP competitive with the major studios, releasing 12 to 17 films per year in a minimum of 1,500 theaters.

“I think what he relied on me and my team mostly for is our knowledge of dealing with the intricacies of the exhibition-distributor relationship,” said Borde. “I’ve grown up in the movie business. Now he’s getting into the movie business, and he is bringing that energy, that enthusiasm, that excitement, and to a degree that innocence into a brand-new field.”

Mark Borde at the premiere of “47 Meters Down”

John Milne/SilverHub/REX/Shutterstock

Borde has been teaching Allen a lot about time — everything from how long it takes to ready a movie for audiences to how much wining, dining, and glad-handing theater-circuit heads require. To Allen, who came of age in the daily television grind, Borde guesses that a release date six months in the future sounded like a “lifetime” until not too long ago.

“I’m learning to take the time to really go deeper, understand the details,” said Allen. “I have more of an optimistic mind, so I really focus on how to make it work, versus all the reasons why it won’t work … I’m learning to better understand where’s the psychology of the audience today, what is it they’re feeling, that they’re needing, what’s missing, how do we connect with them?”

Read More:An Open Letter to Byron Allen, Indie Film’s Newest Savior: Please Slow Down, Before You Hurt Yourself

ESMP has released three films this year. “Hostiles” and “Chappaquiddick” outperformed tracking estimates, with “Hostiles” taking home $30 million in domestic receipts and “Chappaquiddick” earning $14 million since it opened on April 6. However, “The Hurricane Heist” from “Fast and the Furious” and “xXx” director Rob Cohen fared worse. Budgeted at $35 million, it made $6.1 million on 2,400 North American screens.

Byron Allen at the “Hostiles” premiere with star Christian Bale, producer Carolyn Folks, writer/director/producer Scott Cooper, and actors actresses Q’Orianka Kilvcher, Rory Cochran, and Wes Studi

MediaPunch/REX/Shutterstock

“No! I was not happy with how that did,” said Allen, who now questions its April release date instead of “just mak[ing] it a summer fun movie” with a longer promotional lead-up. “We don’t expect all of our movies to knock it out of the park,” he said, calling the process “a science that no one’s perfected.”

He’s got at least three shots at improvement this year. August will bring Keanu Reeves in “Replicas,” in which a biologist loses his family in a car accident and experiments with bringing them back to life. Then there’s “Animal Crackers,” an animated film hoping to capitalize on the massive box-office success of “A Quiet Place,” despite a very different target audience. It also stars John Krasinski and Emily Blunt as married parents — only this time, eating animal crackers turns them into, well, animals, and they help save a circus.

In September, ESMP will also release the fourth installment of the “God’s Not Dead” franchise, “God Bless the Broken Road.” The original 2014 release made more than $60 million at the domestic box office; however, last month’s “God’s Not Dead: A Light in Darkness” grossed $5.5 million on 1,693 screens.

Keanu Reeves in “Replicas”

Entertainment Studios

“Our movies are very commercial, and we like to go very broad with them,” said Allen, who last year told IndieWire that he was “chasing Walt Disney.”

“He’s a master salesman,” said “Chappaquiddick” producer Chris Cowles. “He’s incredibly bright about the business and just about the marketplace, so I would say that that’s where he was really hands-on and very focused … I’ve made a bunch of movies [and] everyone promises you the world and everyone puts their best foot forward when you first get into business with them. And it’s very rare that someone actually does follow through in a real way, and I feel like Byron absolutely did, had total confidence and faith in the movie.”

“Chappaquiddick” star Jason Clarke with Byron Allen at the film’s Los Angeles premiere

Eric Charbonneau/REX/Shutterstock

Meanwhile, “47 Meters Down” director Johannes Roberts is drafting a sequel, “48 Meters Down,” that’s already set for a summer 2019 slot. ESMP recently announced another 2019 title, Joe Carnahan’s “Boss Level,” which turns “Groundhog Day” into a thriller: An Army veteran (Frank Grillo) experiences a new death every day. With a $45 million budget and a supporting cast that includes Mel Gibson, Naomi Watts, and Ken Jeong, Borde said ESMP will also co-produce.

“When I owned Freestyle, I didn’t do this many films, this wide, this often,” Borde said; Freestyle was a service operation that largely serviced the films and the handled booking for distributors, who took all the risk. “I was not in the P&A business; Entertainment Studios Motion Pictures is in the P&A business.”

However, Freestyle was in business with Netflix, which means that ESMP is now in business with Netflix. Borde said Freestyle signed its Netflix output deal five or six years ago, and it lasts through 2018. “We’re negotiating an extension,” said Borde. Disney’s output deal with the streaming service also expires December 31, and Netflix Chief Content Officer Ted Sarandos has criticized output deals in the past. If Netflix doesn’t come through, Borde said it will find another partner.

After two years with Allen, Borde remains impressed with his energy and enthusiasm. “I don’t think he ever sleeps,” he said. “I’ve gotten calls from him in the middle of the night, I get calls from him early in the morning, he runs around the office dealing with everything from what time is the TV spot going to run … to how many theaters did we holdover this week.” Borde also praised Allen’s encyclopedic recall of the release schedule.

Christian Bale in “Hostiles”

Entertainment Studios

And then there’s The Weather Channel. “He’s handing me some beautiful movies to distribute, and then all the sudden he waltzes in here and goes, ‘We’re going to buy The Weather Channel.’ “I was like, ‘Excuse me?’ I was blown out of the water.”

The Weather Channel became Allen’s eighth 24-hour network last month, after Entertainment Studios was the top bidder in what Allen described as a heated competition; Blackstone, Bain Capital, and Comcast/NBC Universal paid $3.5 billion for the network in 2008. (IBM bought the channel’s website and digital operations in 2016; only the TV division is part of Entertainment Studios.)

“It gave us a network that broke the barrier to be distributing in 80-plus million homes,” said Allen. “It gave us a starting point of sitting with advertisers for our other properties — because we own seven other networks, right? — that basically didn’t know our name or know what we do. It’s helping us to grow in the way of distribution, ads, and just infrastructure.”

Only after making the purchase did Allen visit The Weather Channel’s six-acre Atlanta campus that serves as a workplace for 350 employees. With 90,000 square feet in office space, “We could produce easily half a dozen 24-hour news networks out of that campus,” he said. “They happen to do one, and it happens to focus on weather. We can — will — do multiple networks [out of] that campus.”

Byron Allen

Courtesy of Entertainment Studios

Allen, who contends that he will spend billions acquiring content over the next five years, said Entertainment Studios remains “very acquisitive.” As always, Disney remains his true north: “When you look at the media companies that have gotten big, it has been through some organic growth, and quite a bit of acquisition,” he said, citing the “transformative transactions” of Lucasfilm, Marvel, and Pixar.

Allen’s buying mindset extends to his personal life: in February, he plunked down $22.8 million for a Hawaiian estate. There’s a small chance he’s in for a massive payout from Charter and Comcast; he filed a $10 billion racial discrimination lawsuit for their failure to license his channels. (AT&T settled a similar suit in 2014 and now carries seven Entertainment Studios channels.) “We’re optimistic that the ninth circuit will see our way,” he said.

While his CinemaCon status remains in flux, Allen’s commitment to making entertainment is not. “It’s not a job,” he said. “Someone asked me what are my hobbies. I love what I do. I don’t need a hobby.”

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