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2pmalways · 8 years ago

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[TRANS] SHEL’TTER #41 - Wooyoung Interview

WOOYOUNG (From 2PM) x EMI SUZUKI SPECIAL COUPLE SHOOTING!

“SPRING LOVE STORY”

Special Q&A of Wooyoung!!!

Q. For the outfit and hairstyle in “Party Shots,” which part were you fussy about? A. In the MV, just like the Joker who appears in Batman, I made an image where it looks like I don’t know where I’m heading to. That’s why I didn’t want the outfits to have a very neat impression on it, so I made it a little bit messy!

Q. Please tell us the main point of the title song “Party Shots” and the highlight of its MV! A. Since I like doing things such as gathering with friends, having different conversations and talking about real feelings, I personally really like parties. Generally speaking, I gave the song a theme of “Let’s make some noise!!” and let it blow up with a fun atmosphere. That’s why I want everyone to enjoy while listening to it! For the MV, the camera blocking is quick. I think that’s the highlight? It's like… you wouldn’t be able to take your eyes off of it!

Q. Do you like fashion? A. Of course, I like fashion. But rather than “I like fashion,” I think of it as a very essential part in entertainment. It’s one way for self-expression.

Q. Do you have a fashion item that you like? A. Hmm.. If I have to choose one…. I like Hawaiian shirts!

Q. We have this impression of you that tries variety of hairstyles… A. I made my hairstyle neat and clean this time! But usually, it’s pain in the neck to go to hair salons. (laughs) That’s why I’m keeping this hairstyle for now. If ever I end up doing the hairstyle that I really want, I think there would be no fans left. (laughs)

Q. Do you have your own rule when it comes to fashion? A. I don’t go as far as making a fundamental basis. There are times when I would go out with my friends wearing clothes as if I’m going to the supermarket or convenience store. Other times, I would wear a little bit of showy clothes when I go to supermarkets. The feeling for that day is what matters! I also highly take the size of the clothes into consideration. I don’t like it when it’s uncomfortable to wear. I prefer styles that would always let my body move freely.

Q. First appearance in SHEL’TTER! Please introduce yourself to our readers. A. I’m a member of a Korean group called 2PM, and we debuted in Japan 6 years ago with the song “Take Off.” As a group, we release albums and do tours every year, but this time, I’m appearing as a solo artist! 28 years old this year. No girlfriend. I’m Wooyoung! (laughs)

Q. Do you experience “love at first sight”? A. I do experience love at first sight! Just because I get taken with someone at the first meeting, it doesn’t mean that I would ask for her contact info on that same day, or convey my feelings to her right away, or make moves on her, or even confess to her. I want to be prudent when it comes to love.

Q. Please tell us your ideal type of girl! A. I think I’m not in the position to choose though… (laughs) I used to have ideal types but now, I don’t have any. Love is a feeling, right? (laughs)

Q. What do you do on your day off? A. I listen to LPs in my house, read books, or sleep. Ah, I watch documentary-type movies and shows. But that doesn’t mean I’m a complete indoor person. I still hang out with my friends or go to LP bars and bookstores.

Q. Have you ever felt a difference between Japanese women and Korean women? A. I don’t feel any difference just because someone is a Japanese or Korean.

Q. Ideal fashion for girls? A. A simple coordination of “white t-shirt x jeans” to be exact! I like casual and simple styles of female fashion. I would want her to come in a simple style even during dates♡

Q. On a regular basis, are you a night owl or an early bird? A. I am most active when it’s 12 midnight and I sleep around 10 in the morning. (laughs) My morning and night are completely reversed so we can say that I’m perfectly nocturnal! Hmm.. but right now, I have my make up on which is why my skin looks smooth. (laughs)

Q. What phone apps or SNS do you usually use? A. I only have music player which is necessary in my everyday life, internet bank app, Japanese and English translator app in my phone. SNS….. I consider it convenient and I also think it’s one good way of promoting in this modern age. But I don’t use it that much because I don’t want my daily life to be displayed more than it needs to be or to become something I just show off.

Q. Among the fans, you are being called #LittleDevil #DoingThingsAtMyOwnPace #Cute #ActuallyTheFunniestMember, but how do you think of it personally? A. Everything is correct! Well said! (laughs) But if I have to add anything, that would be “I have a lot of charms”! Also, “I love talking to people.” I just really like expressing myself. Fans are truly amazing! They can see through everything~ That’s scary~ Ah! I’m kidding~ (laughs)

Q. What food do you definitely eat whenever you are in Japan? A. Ramen and sukiyaki! I go to Jangara ramen frequently! Also, I love sukiyaki♡ I always mix up shabu shabu and sukiyaki. (laughs) The raw egg that comes with it is also good! Really delicious♡ I’m getting hungry now. (laughs) Please introduce a good restaurant to me!

Q. Do you like any artist from Japan? Please tell us a song that you like. A. Hisaishi Joe-san who is a musical director of Ghibli and Sakamoto Ryuichi-san. I actually like the soundtracks used in dramas, movies, anime, and documentaries. That made a way for me to get to know and like them! By the way, I was able to go and watch the concert of Hisaishi Joe-san in Japan! I own a lot of DVDs of Ghibli films. The first Ghibli production I encountered was “Howl’s Moving Castle” and I think I’ve watched that the most.

Q. Please tell us a song that you usually listen when you travel. A. I frequently listen to an album called “UTAU” by Sakamoto Ryuichi-san and Onuki Taeko-san. This album is really great, so I recommend all of the songs. I want to meet Sakamoto Ryuichi-san! Where should I go to be able to meet him? (laughs)

Q. Since you produce the outfits for 2PM concerts, do you want to try having your own brand of clothing? A. I really only do it for our concerts and music production. I don’t have any thoughts on wanting to try creating my own clothing line. Who will even buy it? (laughs)

Message from Wooyoung!!!

A long interview of WOOYOUNG (From 2PM) who appeared for the first time and was chosen as the first male to be on the front cover of SHEL’TTER!

What are your thoughts for being the first male on the front cover? Thank you! It's an honor. But why me? Really... why is it me? (laughs) From now on and then, I would want to appear in SHEL'TTER♡

What is your impression of SHEL’TTER? All of the models in SHEL'TTER are truly pretty! It's great to see that each of them has their own personality. Just by looking at the magazine, it can serve as an advice to all female who admires fashion. I think it's a very useful magazine. (After knowing it's a magazine where you can order) While looking at the magazine, can you purchase easily the item you like!? That's so nice! I want a copy now! Ah, but then again.. I don't have a girlfriend (laughs)

Please tell us your thoughts about the photoshoot To tell you the truth, I've known Emi-san even before as I have seen her in Japanese magazines. When I found out that my partner is going to be Emi-san, I was glad and I looked forward to this photoshoot. Since she is someone who I've always seen in magazines, I also felt the sense of relief. When I met her in person, her face was very small and she was tall. She's really a beautiful person! I was able to have fun during the photoshoot as well!

Please let us hear your thoughts about the outfit coordination

Since the concept for this photoshoot was to be a couple with Emi-san, I made sure to give importance on creating a sweet atmosphere just like real lovers. Even our matching clothes suited the concept, right? The coordinated outfit of Emi-san was very cute!

2ND SOLO ACTIVITIES! NATIONWIDE TOUR STARTING ON 4/5(Wed) 「WOOYOUNG (From 2PM) Solo Tour 2017 “Party Shots”」WILL BEGIN!

Did you have fun during the photoshoot? Of course!! I had a lot of fun! Uhhmm.. I can't remember it well but I think I didn't have much opportunities to have a photoshoot with Japanese female models. So when the discussions for this project came, I was surprised! I would want to do another photoshoot! Please let me appear in SHEL'TTER every time! (laughs)

Please send a message to the fans who are anticipating your solo activities! I’m always grateful to all of the fans! Thank you! As of right now, I’m in the midst of preparing my new album and concert. In fact, I myself am very excited with the solo activities and I want to meet the fans’ expectations as well! I want to make a show where we can have fun together and enjoy the concert to our hearts’ content. I’m planning on making it exhilarating so please look forward to it!

Complete REPORT of a rare backstory during the photoshoot! Wooyoung greeted with “Please treat me well” and entered the studio in a stately manner. After greeting his partner Suzuki Emi and the staff, the photoshoot began right away! When the cameraman requested “Hold hands and act like a couple!” on just the first cut, Wooyoung got surprised a little bit. While worrying about Emi’s nails that were freshly painted for the photoshoot, he held her hands gently feeling shy which you can check at page 13! Furthermore, Wooyoung personally suggested “Let’s do a funny dance!” on page 15. As a matter of fact, Emi used an iPhone and consecutively took photos of Wooyoung who seems to be having fun while dancing. The group of female that was in the set raved with words of “So kind♡ So wonderful♡” when Wooyoung put the hat on Emi and showed concern by fixing softly her messy hair. The posing where both of them hid their face with the hats was actually Wooyoung’s ad-lib! A peeping out pose is kind of rare, isn’t it? The photoshoot continued in a harmonious atmosphere while they were holding hands, taking selfies together and exchanging jokes occasionally. We were overwhelmed by the aura of the two during the last shoot which was for the front cover. Doing back hugs, putting arm around the shoulder… the eyes of the whole staff were glued to them who looked like a real couple♡ Just as we thought he would do playful dance and show us a cool picture perfect face even during his solo photoshoot, Wooyoung showed a pampered expression gazing at the camera and several more facial expressions. With fresh denim, chino pants adult style, casual street coordination, Wooyoung is exploding a lot of charms that we couldn’t take our eyes from him more and more! On his nationwide tour starting from April, he’ll definitely show variety of expressions and entertain the fans for sure!

JPN-ENG: Yumi

Scans by 2PMAlways

MAY BE TAKEN OUT WITH PROPER CREDITS!!!

#2PM #Wooyoung #SHEL'TTER #SHEL'TTER Interview #translation #interview #Wooyoung SHEL'TTER

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karingottschalk · 6 years ago

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Moments after I unpacked the X-T3 it became clear that Fujifilm had created something very special with this, the latest in its APS-C sized line of DSLR-style hybrid stills and video cameras. I placed it in my shoulder bag and dashed off to the venue down the road where a 100 years commemorative event was being readied for the following day, and my first few minutes documenting the action with the X-T3 proved my initial impressions were absolutely spot on.

With the X-T3, Fujifilm has hit the mark and is now realizing the promise of affordable, high-quality hybrid stills photography and video production that other makers’ cameras had dangled back way in 2008 with the 35mm and APS-C DSLRs of the day.

I’ll go even further. With the X-T3, Fujifilm has delivered on the promise of a camera now almost completely forgotten about, a revolutionary camera which vanished almost almost as rapidly as it had first appeared, the Samsung NX1. The Fujifilm X-T3 not only picks up where the NX1 took us back in 2014 but signals the future of other top-end Fujifilm APS-C/Super 35 cameras, specifically the X-Pro3 and the X-H2.

Fujifilm X-T3 with Fujinon XF 18-55mm f2.8-4.0 R LM OIS kit zoom lens, the combination I have been trying out for this article.

The X-T3 picks us up where the Samsung NX1 dropped us off

Until Fujifilm released the X-T3, Samsung’s NX1 was the undisputed innovation leader in APS-C hybrid cameras capable of professional-quality 4K video as well as excellent stills. Now the X-T3 is the one to aim for and to beat.

The Samsung NX1 took everyone by surprise with a slew of features nobody could have foreseen, such as its 28.9 megapixel backside illuminate sensor (BSI), autofocus phase detection points covering almost all the sensor’s frame, subject tracking that was incredibly effective for its day, great 4K video, 8-bit 4:2:2 4K video out, a dynamic range and low light capability that was outstanding, high-speed burst stills, touch screen, fast and intuitive menu system, built-in Wi-Fi, an almost lag-free OLED viewfinder and, looking to the future, its H.265 video codec.

DPReview’s Pros and Cons lists for the camera included the same item, the NX1’s H.265 video codec, the Pro due to the small size of H.265 HEVC video files and the Con because many computers of the day were too underpowered to handle it well.

The relatively underpowered computers of the day back then are no longer much of a concern now, something I proved by putting the X-T3’s H.265 video files to the test in an Apple Store on a range of current computers from an entry-level 13-inch MacBook Pro through an entry-level 27-inch iMac up to an iMac Pro maxed out with RAM.

The two entry-level machines were low in RAM for their CPU but they had enough video RAM and graphics processing power to easily handle my H.265 files whether in playback or editing in Final Cut Pro X.

Internal and external graphics processing units like the Blackmagic eGPU are the key to the big video files that cinema-quality cameras like the X-T3 and NX1 produce, especially when maxing out on resolution, bitrate, compression and aspect ratio.

I carried the Fujifilm X-T3 in this Think Tank Photo MindShift Gear Exposure 15 adventure shoulder camera bag throughout heavy downpours and the occasional sunnier days. Until this bag with its innovative gel shoulder strap, I was unable to carry larger shoulder bags due to longtime spinal injuries but now I can carry two cameras and several lenses as well as a host of other items large and small with impunity.

Although I well-tested the X-T3’s ability to shoot video with settings I would apply to making records of family and friends, choosing from Fujifilm’s legendary film simulations for instant television playback via HDMI, I shot most of my test video with the cinematic combination of F-log, the lovely 17:9 aspect ratio of DCI 4K, shot at 24p and 400Mbps, H.265 (HEVC) for 10-bit 4:2:0 on the SD card which would have been 10-bit 4:2:2 if I’d had an Atomos Ninja V monitor/recorder handy, and ALL-I movie compression instead of Long GOP.

Fair warning: if you choose to shoot whole projects at those settings, make sure you have plenty of internal hard drive space and plenty more fast external hard drives to store on and edit from.

I was pushing it on my ageing 27-inch iMac Retina 5K, with video playback stuttering whichever software I used, including the ever-reliable Kyno media management application.

For older machines like mine, be prepared to transcode your H.265 footage to ProRes using your choice of Kyno, EditReady, Compressor or any other capable transcoding software so your computer playback goes smoothly and your editing goes even smoother.

And be prepared to investigate how to use external GPUs on likewise ageing computers, and to invest in a workable solution.

Alternatively, choose H.264, Long GOP compression and 1080p if you don’t need to future-proof your footage as 4K.

“Simples!”

The Fujifilm X-T3

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: a larger grip means less need for the optional metal hand grip, a wider and heftier body almost the same size as the X-Pro2 making for a good pairing between the two.

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens.: bigger and easier-to-grip dials meaning far less diving into the multi-level menu system.

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: 3-way tilting LCD monitor. I would have loved it to be fully-articulated for plenty more viewing angle options.

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: never having used this lens before, and being a little sceptical of kit zooms based on disappointment with my Canon EF 24-105mm f/4.0 L IS USM, I was pleasantly surprised by the optical quality and effective optical image stabilization of this lens.

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: I found it effective for stills photography and video under available light, available darkness and the available gloom of a typically rain-drenched Sydney October.

Fujifilm X-T3: microphone port, head[hone port, USB-C port for charging, powering and data transfer, and micro-HDMI port for external monitor/recorder or for connecting to a display or television set. Best of all the door is removable for better access!

Fujifilm X-T3: two SD card slots and remote port for remote release cables, no longer requiring doubling up on remote and microphone into the same port with the need to switch via the menu.

Fujifilm X-T3 with Fujifilm VG-XT3 Vertical Battery Grip and Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens: although the much-improved NPW-126S lithium battery delivers more stills shots than its predecessor, video drains the battery faster so I recommend the vertical battery grip for its two extra batteries.

Fujifilm X-T3 with VG-XT3 Vertical Battery Grip and Fujifilm XF 18-55mm f/2.8-4 R LM OIS zoom lens.

Fujifilm X-T3 with VG-XT3 Vertical Battery Grip.

The Fujifilm X-T 3 for stills photography

Amazing feature film-quality video is anything but the whole story for the X-T3 – it is also an amazing stills photography camera.

The Fujifilm X-T3 for documentary photography and photojournalism

Fujifilm X-Pro 2 and Fujifilm X-T3: a perfect two-camera two-lens documentary photography and photojournalism combination?

I come from a newspaper and documentary photography background, having worked for newspapers, magazines and corporate clients from a ridiculously early age.

I did that work with a range of camera types and sizes, ranging from a Pentax Spotmatic SLR through Nikon SLRs, to sheet film view cameras handheld and on tripods, to Leica’s M-System masterpiece rangefinder cameras and then to a number of medium format roll film cameras in twin-lens reflex, single-lens reflex and rangefinder configurations.

I most found myself at home with rangefinder cameras, small, medium and large, the reason why I was so besotted with the Fujifilm X100 when it was launched in 2010.

As a result I immediately bought an X-Pro2 when it appeared and have loved it ever since.

There is more to documentary photography than the 18mm to 56mm focal length lenses that the X-Pro2’s unique Advanced Hybrid Multi Viewfinder can handle, though, and I have been hoping for an improved X-Pro3 or some other suitable companion camera that makes the most of lenses longer and wider than 56mm and 18mm.

I certainly hope that the X-Pro3 is on its way, but those other focal lengths continue to beckon and now, having tried the X-T1 and X-T2 and having appreciated them without loving them, I know that the X-T3 is a whole other thing altogether.

The X-T3 by itself or side-by-side with the X-Pro2

I loved the X-Pro2 as soon as I picked it up not only for its rangefinder-style optical viewfinder but also for its looks and its feel in the hand, in fact that way it leaps into my hands every time I get it out of my camera bag.

The day of the X-T3’s arrival I placed it in the bag alongside my X-Pro2, carrying three lenses that day, the Fujinon XF 18-55mmm f/2.8-4.0 R LM OIS kit zoom, my Fujinon XF 23mm f/1.4 R and my Fujinon XF 56mm f/1.2 R prime lenses.

I had chosen those two fast primes after reading wedding documentary photographer Kevin Mullins’ blog at F16.click and seeing there results he was getting in the usual appallingly-lit churches and wedding venues.

I had worked as a wedding photographer to supplement my income as a kid, relying on flash units and medium format roll film cameras, so appreciated the speed and ease with which Mr Mullins creates his images.

I covered the 100 years commemoration event with the X-T3 and X-Pro2 draped around my neck with Peak Design SlideLite camera straps, relying more on the X-Pro2 at the start then quickly switching to the X-T3 after discovering how well it handled the venue’s available light, or more accurately its available darkness.

I rely on the Auto ISO feature, aperture priority auto exposure, reasonably high ISOs and shooting with fairly wide open apertures in those circumstances and found I was getting better results from the X-T3.

It proved easier and faster to use, faster to autofocus, produced less noisey images, and most surprisingly of all, felt just as good in the hand as the X-Pro2, with the result that I have been relying solely on the X-T3 in recent days, and have been loving it.

The Fujifilm X-T3 for colour photography

Fujifilm cameras are rightly celebrated for their colour science and the richness and veracity of their film simulations for JPEGs and video footage, but I tend to rely on raw files that I process in a number of different applications and plug-ins depending on whether I am after realism or pictorialism, or whether I wish to emulate analog films or go entirely digital in my effects via high dynamic range imaging by merging 5 or 7 exposure brackets in Skylum Aurora HDR 2019.

Since buying my X-Pro2 I have tried out a number of custom picture styles for JPEGs by following the recipes shared by photographers like Kevin Mullins, Thomas Fitzgerald and others.

They have proven to be great reminders of how I visualized the final rendering of my raw files but rarely if ever have I used my JPEGs for final reproduction.

If I were working for a fast-moving client with tight deadlines that deny me time enough in the digital darkroom then I would take my JPEGs more seriously, but those days are long over for me.

And then Fujifilm put Colour Chrome Effect in the X-T3 and what a difference it makes!

Colour Chrome Effect was the crucial step needed to persuade me to finally take JPEGs seriously.

For me, shooting JPEGs for reproduction is akin to shooting colour transparency film while shooting raw is not unlike shooting colour negative film then fussing and mussing it in the colour laboratory.

With an X-T3, my JPEGs to raw files keeper percentages would be more even than they are now when I often chuck out my JPEGs or use them as a quick reference and reminder and not as final art.

Single-shot image made on Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 LM OIS kit zoom lens, raw file processed in Iridient Transformer then Adobe Camera Raw using Modern 01 profile. This is the closest thing to shooting colour negative film available today.

Fujifilm X-T3 JPEG straight out of camera aka SOOC using Vivid/Velvia film simulation with Colour Chrome at maximum. This is the closest thing to shooting colour transparency film available today.

HDR image made with 5 brackets on Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R in available darkness then processed in Skylum Aurora HDR 2019 and Skylum Luminar 2018 using film simulation LUT. The camera’s eye-tracking continuous autofocus was impressive.

HDR image made with 5 brackets on Fujifilm X-T3 and Fujinon XF 56mm f/1.2 R in available darkness then processed in Skylum Aurora HDR 2019 and DxO FilmPack using the Kodak Elite Chrome 200 film simulation. The camera’s eye-tracking continuous autofocus failed to sharply focus on the eyes here as in all the shots of men wearing spectacles.

HDR image made on Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 LM OIS kit zoom with 7 brackets there processed in Skylum Aurora HDR 2019, DxO FilmPack and Skylum Luminar 2018. Occasionally, I do landscape and cityscape photographs and for me the aim is to convey the look and feeling of being there are that specific time and place while revealing as much tone and colour information as possible. I lived nearby here for many years and have fond memories of the area despite it being rather despoiled now.

Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. Fujifilm’s legendary colour science handles every situation with ease, no matter whether shot in available light or available darkness. Processed in Capture One Pro with Kodak Ektar 100 film simulation.

Fujifilm X-T3 photograph processed with Iridient X-Transformer then Adobe Camera Raw.

Photograph made with Fujifilm X-T3 with Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens at 18mm then processed in Iridient X-Transformer and Alien Skin exposure X4 using Fujifilm Provia 100F film simulation.

Photograph made with Fujifilm X-T3 with Fujinon XF 56mm f/1.2 R lens then processed in Capture One Pro using a film simulation style from the 1Styles.pro styles and presets collections made for Capture One.

Fujifilm X-T3 photograph processed with Iridient X-Transformer then Adobe Camera Raw.

The Fujifilm X-T3 for monochrome documentary photography

Most of my photography in monochrome, or black-and-white as its more commonly known, is reserved for documentary photography in poor lighting or when the colours of my subjects and their environments carry little to no meaning.

These event photographs are typical in that the lighting in parts of the venue was low, of mixed sources with some continuous and others prone to flickering, where colour played little to no part in conveying information about the event and its participants, and where I was prepared to shoot in at high ISOs with resulting grain-like digital noise.

The X-T3, frankly, amazed me with its low noise at high ISO to the point where I could easily have shot at ISOs greater than 3200 which I usually set as my upper limit only to be used in emergencies.

I usually rely on my Fujifilm X-Pro 2 rangefinder camera when covering these sorts of events especially when they are in poorly-lit venues, using either the Fujinon XF 23mm f/1.4 R or Fujinon XF 56mm f/1.2 R, but have long been pining for a Fujifilm to release a professional-quality 18mm prime lens for shots like this one. This was made on my X-Pro2 and the loaner Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom lens. Although I prefer fast prime lenses for documentary work, this zoom lens acquitted itself well and gave me this image as a benchmark for what I was trying to achieve that day with the X-T3 and X-pro in tandem, using my two prime lenses and the zoom lens too.

Made with Fujifilm X-T3 and Fujinon XF prime or zoom lens.

The Fujifilm X-T3 for video

Fujifilm Fujinon XF 16-80mm f/4.0 R OIS WR zoom lens, scheduled for release sometime in 2019, and equivalent to 24-120mm in the 35mm sensor format. This may prove to be a great alternative to Fujifilm’s current kit zoom lens, the Fujinon XF 18-55mm f/2.8-4.0 R LM OIS though you may wish to supplement both with one or more wide aperture prime lenses. Photograph courtesy of Photography Blog.

The X-T3 is remarkable enough for stills photography but it is even more amazing for video.

It allows you to take the low road, the high road or something in between.

The low road? Auto everything, H.264, Long GOP, 1080p, one of Fujifilm’s justly celebrated simulations of its own analog film stocks, 8-bit 4:2:0 and a lower bitrate, good enough for recording personal videos to view and share about.

The high road? Manual focus and exposure, H.265, All-Intra, DCI 4k, 10-bit 4:2:2, F-Log and 400 Mbps, more than good enough for television broadcast or digital cinema projection.

The in-between? Fujifilm’s beautiful Eterna movie film stock simulation and your preferred combination of all the rest of the above.

Coming from a mixed editorial photography and film cinematography background, I lean towards the high road but dipped my toes into the low and the in-between for purposes of comparison.

Fujfilm X-T3 lightly rigged for video

It is still early days for camera cages and accessories makers coming up with designs for the X-T3 and I do not currently have access to gimbals and other stabilization devices so used it handheld.

Equipped with an optically stabilized zoom lens, however, the Fujifilm X-T3 makes for a very good run-and-gun video camera and its great balance and weight easily accommodates popular video mics from makers like Australia’s very own Røde Microphones as well as headphones or earphones for a little more on-location discretion.

The X-T3 benefits from larger, faster SDXC memory cards especially when shooting video for the high road, and I have some suggestions in the list at the borrow of this page.

You will also need neutral density filters especially when shooting in available light outdoors as the X-T3 has a base ISO of 640 in F-Log and 160 in Rec. 709.

Documentary cinematographers often rely on variable neutral density filters aka VNDs while feature filmmakers choose sets of fixed value ND filters in circular screw-on frames, or square or rectangular filters for sliding into matte boxes or filter holders.

I use both, depending on the project and its circumstances, and there are some recommendations in the list at the bottom of the page.

I also recommend rigging your handheld X-T3 up with ample camera strapping for safety and better grip, and I equip every camera I use with Peak Design’s Clutch, Cuff and SlideLite.

Generic aluminium 58-77mm step-up ring and Genustech 77mm Eclipse ND Fader variable neutral density filter, formerly the most recommended VND available. More recently developed VNDs by Aurora-Aperture and SLR Magic now seem to be some of the most popular amongst independent documentary moviemakers.

The Røde VideoMicro compact on-camera microphone with cardioid polar pattern is affordable, small and effective for when built-in mics are not enough but when you want to travel fast and light.

The Røde VideoMicro’s furry windshield is a must-have for even slightly windy conditions outdoors.

The Røde Stereo VideoMic X aka SVMX is the company’s top-end on-camera stereo microphone and delivers superb quality in a surprisingly compact package.

The Røde SVMX comes with a pop shield and furry windshield to handle all sorts of outdoor conditions or can be used entirely naked indoors.

The Røde VideoMic Pro+ on-camera shotgun microphone is the company’s latest top-end on-board directional mic and comes with rechargeable removable lithium battery and integrated Rycote shock mount.

Still frames from DCI 4K video shot in F-Log then minimally graded with Fujifilm’s free LUTs

The video still frames below were shot at DCI 4K then downsized to 1080p to keep file sizes down but they give a good idea of the video image quality delivered by the X-T3 at high road video and in-between settings.

The X-T3’s Super 35 4K footage is eminently gradable, looks beautiful whether shot with F-Log or Fujifilm’s Eterna Rec. 709 film simulation, and I am looking forward to seeing what it does with Fujifilm’s Hybrid-Log-Gamma aka HLG profile when it is released via a firmware update sometime later this year.

With the arrival of HLG on Panasonic’s Micro Four Thirds cameras the Lumix DC-GH5 and DC-GH5S last year and this, many documentary and feature moviemakers have adopted it as their go-to profile and the same may happen with X-T3 users.

I have shot all but one of these in F-Log with the exception of one as Eterna, and have graded the F-Log footage with Fujifilm’s recently updated set of three LUTs for F-Log along with some creative looks LUTs from LookLabs’ SpeedLooks and DFS aka Digital Film Stocks collections.

The X-T3’s Eterna footage looks like it is more than usable ungraded and can take a modicum of grading as well.

Establishing a colour grading benchmark by shooting in Fujifilm’s excellent Eterna analog film simulation profile. This is a quick and dirty test in less than amazing gloomy light on a typically rainy Sydney October spring day, but it appears that shooting Eterna delivers a slightly shorter dynamic range than shooting F-Log followed by applying Fujifilm’s F-Log to Eterna LUT.

Fujifilm X-T3 footage shot in F-Log then ‘FLog_FGamut_to_ETERNA_BT.709_33grid_V.1.00.cube’ applied.

Fujifilm X-T3 F-Log footage with Fujifilm’s free ‘FLog_FGamut_to_ETERNA_BT.709_33grid_V.1.00.cube” LUT applied.

Fujifilm X-T3 footage shot in F-Log then ‘FLog_FGamut_to_WDR_BT.709_33grid_V.1.00.cube’ applied followed by LookLabs’ DFS Linear Kodak 5231 film simulation LUT.

Fujifilm X-T3 footage shot in F-Log then ‘FLog_FGamut_to_FLog_BT.709_33grid_V.1.00.cube’ applied followed by LookLabs’ SpeedLooks Matrix Blue creative looks LUT.

Fujifilm X-T3 footage shot in F-Log then LookLabs’ DFS V-Log cameras profile LUT applied followed by DFS Log Fuji F125 film simulation LUT.

Fujifilm X-T3 F-Log footage with Fujifilm’s free ‘FLog_FGamut_to_FLog_BT.709_33grid_V.1.00.cube” LUT applied followed by curve.

The X-T3 takes video autofocus seriously and now so do I

For years there has been no end of to and fro online about whether serious moviemakers use autofocus or not, with the implication that real professionals only focus manually.

My motto is ‘never take anything for granted’ so I put the X-T3’s video and eye detection autofocus to the test in some rather trying conditions and found they certainly work well enough for use when shooting run-and-gun style video and during fast-and-loose handheld camera movements.

The Fujifilm X-T3’s autofocus, and autoexposure capabilities for that matter, are well worth putting to the test under a range of conditions.

From the evidence of the still-frame below and others I would me more than happy to rely on the X-T3’s autofocusing in a pinch, especially for use in documentary projects.

A great opportunity to try out the Fujifilm X-T3’s video autofocus and tracking capabilities while panning on fast-moving subjects in dull light during a typical gloomy Sydney October day. Looks good enough for me. Lens used was the Fujinon XF 18-55mm f/2.8-4.0 R LM OIS kit zoom minus ND filter, at about 18mm and with aperture fairly wide open.

My Fujifilm X-T3 Pros and Cons

Pros:

Slightly larger body, dials and buttons – better grip, more stability in the hand, easier to locate without looking, easier to click or turn.

Slightly larger built-in grip – though I would still add the metal hand grip or vertical battery grip for larger lenses and portrait photography.

Size, shape and silver colour – aids in being ignored when shooting side-by-side with Canon and Nikon DSLR users as I look like an amateur playing with a toy or an old analog era camera.

Linear or non-linear focussing with focus-by-wire lenses.

Faster and surer face/eye focus detection – in available light, available darkness and with the face turned sideways, defeated only by subjects wearing glasses.

Faster and more accurate autofocus – in stills and especially video.

Flicker reduction using mechanical shutter.

Locking diopter adjustment!!!

More megapixels at 26.1 MP – leading to much less noise when shooting in available darkness at high ISOs.

Size, shape and silver colour – aids in being ignored when shooting side-by-side with Canon and Nikon DSLR users as I look like an amateur playing with a toy or an old analog era camera.

Minimal blackout of the electronic viewfinder.

Better video dynamic range than other APS-C and M43 cameras.

Beautiful stills and videos.

Wide range of film simulation picture styles – augmented by Colour Chrome Effect, Eterna and F-Log.

Good low noise results at high ISOs.

Built-in microphone and headphone ports – on-camera instead of only on battery grip.

Zebras – for accurate video exposure, with ability to set percentage.

Cons:

No in-body image stabilization – wait for the X-H2?

Three-way tilting LCD monitor instead of fully articulated LCD monitor – limits the operator’s range of positions relative to the camera, especially in tight spaces, and eliminates the possibility of mounting detachable hoods and loupes.

Small battery – while the NP-W126S delivers more sustained power than the NP-W126, shooting throughout the day requires carrying several of them and so I recommend the Vertical Battery Grip VG-XT3.

Blinkies only – for accurate stills exposure and not zebras and percentage settings as with video.

Links

This is an exhaustive list of hardware and software products that may be of interest to those using the Fujifilm X-T3 for stills photography or video production. I use or have at least tried out most of these products and can recommend them.

Many of them are available for purchase via my B&H Photo Video affiliate link account if you wish to help support may work in producing articles like this one, or you may wish to do so via the shorter list at the base of this page.

1Styles.pro – maker of film simulations styles and presets for Capture One.

8Sinn – maker of popular camera body-hugging camera cages and accessories, currently designing cages for the Fujifilm X-T3.

Alien Skin – maker of Exposure X4 raw photo editor and organizer.

Aurora-Aperture – excellent quality UV, neutral density and variable neutral density filters for photography and cinematography, including the PowerXND-II VND series featuring a range of 1 to 11 stops of light reduction.

Apple – Thunderbolt 3 (USB-C) to Thunderbolt 2 Adapter – … “a bidirectional adapter, it can also connect new Thunderbolt 3 devices to a Mac with a Thunderbolt or Thunderbolt 2 port and macOS Sierra.”

Blackmagic Design – Blackmagic eGPU – external high performance graphics accelerator for photograph and video editing and grading, currently sold exclusively through Apple stores.

Blackmagic Design – Blackmagic Raw – “the world’s fastest RAW format with better quality and better features!” – imagine if this raw codec was implemented in all cameras, especially the X-T3!

Blackmagic Design – DaVinci Resolve – “DaVinci Resolve 15 is the world’s first solution that combines professional offline and online editing, color correction, audio post production and now visual effects all in one software tool!” – available in excellent free version as well as paid-for Studio version.

Breakthrough Photography – makers of some of the finest brass traction-framed and non-framed UV and fixed ND filters as well as the best brass traction-framed step-up rings though the company does not make every single size that may be needed. If the size you need is not available, consider the brass step-up rings made by Heliopan and Sensei, UV filters made by Chiaro and ND filters made by Formatt-Hitech and SLR Magic.

Chiaro – excellent high transmission UV protection filters in brass frames.

CoreMelt – Australian maker of plug-ins for Final Cut Pro X that are considered must-haves for all video editors, with its Chromatic plug-in especially essential for quality colour grading within FCPX.

divergent media – EditReady 2 – affordable macOS-only application for transcoding video files.

DxO – maker of DxO PhotoLab, DxO FilmPack and DxO ViewPoint as well as the new owner of the Nik Collection Plug-ins. Sadly, DxO does not support Fujifilm X-Trans raw files in its applications but they can be applied as plug-ins.

eGPU.io – macOS user community website dedicated to external graphics processing unit solutions for current and older Mac computers including those that predate Thunderbolt 3.

F16.click – Fujifilm X-Photographer Kevin Mullins’ blog, where he shares his excellent SOOC JPEG custom settings amongst other things. Like me he is a rangefinder camera-using documentary photographer and I recommend his articles on the X-T3 from that point of view.

Formatt Hitech – makes Firecrest Ultra ND and Firecrest ND fixed value neutral density filters in framed and unframed versions, the “world’s first hyper-neutral ND”.

Fujifilm Global – Application Software – free software including Fujifilm X Raw Studio, Fujifilm X Acquire and Tethered Shooting Software HS-V5.

Fujifilm Global – Digital Camera Firmware : Interchangeable Camera Body / Lens – check that you have the latest camera and lens firmware here.

Fujifilm Global – Fujifilm launches new mirrorless digital camera “FUJIFILM X-T3” – press release.

Fujifilm Global – Fujifilm X-T3 – product pages.

Fujifilm Global – LUT for F-Log (Look Up Table) – set of three free LUTs for X-T3 video, an excellent starting point when grading F-Log and other video from the X-T3. I particularly like the F-Log to Eterna LUT.

Fujifilm Global – RAW FILE CONVERTER EX 3.0 powered by SILKYPIX – free raw file convertor.

Fujifilm X/GFX USA

Fujifilm X Series Official Site

Image Alchemist – maker of presets for Capture One.

iridient digital – maker of Iridient X-Transformer and transformer software for other cameras’ raw files as well as Iridient Developer for processing raw files; helping get the very best out of Fujifilm X-Trans raw files.

Leeming LUT Pro – Australian director/cinematographer Paul Leeming makes “the world’s first unified, corrective Look Up Table ( LUT ) system for supported cameras, designed to maximise dynamic range, fix skin tones, remove unwanted colour casts and provide an accurate Rec. 709 starting point for further creative colour grading.” and is working on a LUT for the Fujifilm X-T3.

Lesspain Software – Kyno – unique application for macOS and Windows that is effectively a Swiss Army Knife media management toolset for moviemakers, that works in close conjunction with Final Cut Pro X and Premiere Pro.

LockCircle – run by Italian-Australian director/cinematographer Dante Cecchin, this Italian company makes some of the best camera cages and accessories for digital moviemaking.

LookLabs – makers of SpeedLooks and Digital Film Stocks aka DFS looks LUTs based on scans of film stocks and popular feature film grading looks.

On1, Inc. – maker of On1 Photo Raw 2018, soon to be upgraded to On1 Photo Raw 2019, raw image editor and organizer.

Phase One – Capture One Express Fujifilm, Capture One Pro Fujifilm, and Capture One Pro for all cameras – Express version is free, other two must be purchased, both offer tethered shooting on top-tier Fujifilm cameras, and all versions provide top-quality raw image processing of Fujifilm raw files with integrated Fujifilm film simulations coming soon.

Silkypix – maker of Silkypix Developer Studio Pro 9, Silkypix Developer Studio 8 and free raw developer software for Fujfilm cameras.

Skylum – maker of Aurora HDR 2019 and Luminar 2018 image editing and organizing software.

SLR Magic – makers of neutral density and related filters popular with professional documentary moviemakers, includingSLR Magic 82mm Self-Locking Variable Neutral Density 0.4 to 1.8 Filter (1.3 to 6 Stops) and SLR Magic 86mm Solid Neutral Density 1.2 Image Enhancer Filter (4-Stop) as well as a range of fixed neutral density filters.

SmallRig – maker of cages and accessories for cameras including the X-T3, with two cages in Pre-Order at time of writing, SmallRig Cage for Fujifilm X-T3 Camera with Battery Grip 2229 and SmallRig Cage for Fujifilm X-T3 Camera 2228.

Thomas Fitzgerald Photography – blog by JPEG and raw file processing expert whose ‘Fuji Jpegs: Shooting and Processing Guide’ eBook contains some excellent advice and recipes for getting the best out of SOOC JPEG custom settings.

Image Credits

Header image by Jonas Rask on commission from Fujifilm.

Press image product shots courtesy of Fujifilm.

Photograph of Fujifilm X-T3 and Samsung NX1 made on location at a local event as a 5-bracket HDR image with Fujifilm X-Pro2 and Fujinon XF 23mm f/1.4 R lens then processed in Aurora HDR 2019 and DxO Nik Collection plug-ins.

My own product shots made as 5-bracket HDR images with Panasonic Lumix DMC-GH4 with Olympus M.Zuiko Digital ED 12-40mm f/2.8 Pro zoom lens then processed in Skylum Aurora HDR 2019, Alien Skin Exposure X4 and DxO Nik Sharpener Pro as plug-ins.

Help support ‘Untitled’

Fujifilm Wide Eyecup EC-XH W, especially recommended for shooting video and to block out sunlight.

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled’.

8Sinn camera cages – B&H

Angelbird 256GBGB Match Pack (2 x 128GB) – B&H

Angelbird AtomX SSDmini (1TB) – B&H

Atomos Ninja V 5″ 4K HDMI Recording Monitor – B&H

Atomos Handle Adapter for AtomX SSDmini (5-Pack) – B&H

Aurora-Aperture variable ND filters – B&H

Bluestar Eye Cushions – B&H

Breakthrough Photography CPL, UV and ND filters – B&H

Chiaro UV Filters – B&H

Formatt-Hitech Firecrest fixed value ND filters – B&H

Fujifilm CVR-XT3 Cover Kit – B&H

Fujifilm EC-GFX Round Eyecup – B&H

Fujifilm EC-XH Wide Eyecup – B&H

Fujifilm EC-XT L Long Eye Cup – B&H

Fujifilm EC-XT M Medium Eyecup – B&H

Fujifilm EC-XT S Small Eyecup – B&H

Fujifilm MHG-XT3 Metal Hand Grip – B&H

Fujifilm NP-W126S Li-Ion Battery Pack – B&H

Fujifilm VG-XT3 Vertical Battery Grip – B&H

Fujifilm Fujinon XF Lenses – B&H

Fujifilm X-T3 Mirrorless Digital Camera – B&H

LockCircle camera cages – B&H

MindShift Grea and Think Tank Photo camera bags and accessories – B&H

Peak Design camera straps – B&H

Phase One Capture One Pro – B&H

Røde video microphones – B&H

SLR Magic variable ND Filters – B&H – SLR Magic was reputed to be working on a collection of fixed value ND filters though they do not seem to have appeared at B&H yet.

SmallRig camera cages – B&H

Sony 128GB M Series UHS-II SDXC Memory Card Kit (2-Pack) – B&H

The X-T3 is Fujifilm’s Finest Camera for APS-C Photography and Super 35 Video Right Now Moments after I unpacked the X-T3 it became clear that Fujifilm had created something very special with this, the latest in its APS-C sized line of DSLR-style hybrid stills and video cameras.

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dulwichdiverter · 6 years ago

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Sustainable style

We-Resonate is described as a sustainable alternative to commercial fashion. Founder Lizzie Clark tells us more

By Katie Allen; Photo by Alexander McBride Wilson

Finding that one-of-a-kind outfit just got a lot easier thanks to Lizzie Clark. The East Dulwich resident is founder of We-Resonate, a new ethical clothing brand that creates unique dresses and tops from vintage silk scarves.

Beautiful as these garments are – Lizzie describes them as “affordable luxury” – she is keen to emphasise that they are wearable for any occasion, from the office to evening events to weddings. Each dress is based upon the same fluid slip style and is flattering to every figure.

A former print designer for Alexander McQueen’s McQ diffusion line, Lizzie says the shape is “really easy” to wear. “It’s meant to be inserted quite easily into a woman’s wardrobe – you can style it with T-shirts, with shirts, blouses, over trousers,” she explains.

A couture seamstress based in Dulwich makes up each garment from Lizzie’s eye-catching original “composition” of vintage silk pieces.

“She’s an amazing seamstress, she’s been working in couture for 10 to 15 years, and it takes her four hours to make a long dress. That sounds quite time-consuming, but it’s because she’s working with silk. It’s such a difficult fabric to work with, and she does it meticulously.”

The key to these covetable, zero-waste garments is Lizzie’s eye for vintage prints and materials. “I start by sourcing the scarves,” she says. “I’ve learned the silks I can use, which aren’t too see-through, will wear well and are the right colours.

“I kind of go with my instinct – I think that’s what I’ve learned throughout my career. I pick them out, get them home, lay them out and group them into colours or just stories.

“I have to engineer the pattern shape around the fabrics, where they’ve worn – like if there are little holes or where the hem’s frayed a little bit. But [using the scarves] salvages a print that might otherwise be lost.”

Lizzie sources the scarves from all around London, at spots including Little Sister in Peckham’s Holdron’s Arcade, Portobello Market, Spitalfields and Hackney, in addition to the famous vintage shops of Paris.

Taking inspiration from vintage scarves has been a key part of her career. She was brought up in Hertfordshire, then “grew up on a beach” on the south coast where her family moved when she was 11.

“I’ve always been artistic,” she says. “I went into art foundation and then university at Winchester School of Art, doing print design. I did an internship with McQueen in my second year.

“My dream was always to work for Alexander McQueen. You read all these books that say if you have a mission in life and you project it, you’ll make it happen. I turned up at McQueen’s doorstep on my first day and I was like, ‘Oh my God, I’ve made it. I can’t believe it!’ [His] aesthetic always resonated with me.”

After her degree she worked as a freelancer “from her “parents’ dining room”, hand-painting silk designs to sell to the industry. After a year, she had the opportunity to move to New York as a scarf designer. She jokes that at the time, she wondered, “‘Who wears silk scarves?’ I’d be working for hours on this beautiful print for someone to tie it around their neck, so you couldn’t see it.”

Love and family brought her back to UK, where she continued to freelance, and then she got the job as print designer, later senior print designer, at McQ. The label was set up by Alexander McQueen as a punky, avant-garde sister brand to his couture collections.

It was not long after the great designer’s death and she worked under Sarah Burton, who famously designed the Duchess of Cambridge’s wedding dress.

Then Lizzie had her baby Elsie and while on maternity leave, she came up with the idea of using the vintage collections that McQ used for inspiration to create a mini collection of unique garments. The idea proved too difficult to produce commercially, but a seed was sown. “We didn’t go ahead, and I thought, ‘Let’s do this myself.’”

Lizzie didn’t return to McQ after her maternity leave, and developed We-Resonate out of that original idea.

The name she says was chosen because “clothing and everything we buy and have in our lives should resonate with us. It should make us feel that sense of memory, joy or just an enjoyable emotion linked with an experience. We-Resonate has such a story behind it: a depth that when you find out more about a particular dress, it will resonate with you.”

Ethics are the cornerstone of the brand. She had watched a number of documentaries about the environmental damage and human exploitation caused by the fashion industry; including 2015 film The True Cost.

“That’s what made this happen,” she says. “As a mother, your emotions are quite highly tuned anyway, and after I watched that film, I was like, ‘I’ve got to do something about this.’

“People always say, ‘Are there enough scarves, is it scalable?’ There are tonnes! Do you know how much stuff has been produced over the past 50 years? It’ll keep us going forever.

“That’s the point of me using no new materials. I need to answer the sustainability problem. I’m a fashion designer [but] I just can’t bear to make anything new. I just can’t do it.”

Her typical customer, she believes, is “the woman who is very time-poor but thought-rich”. She adds: “She doesn’t have time to do her own research. She wants really great style, really easily, but she’s also started to look for fashion that’s more authentic, has more integrity.

“There are a lot of women who appreciate [vintage], but find it hard to buy. They can’t find the right size, they want more of a contemporary feel. I feel like I’m exactly that. We-Resonate is vintage fabrics but in a really contemporary new shape. It’s meant to be really easy to wear, really relaxed, a bit nonchalant – that vibe.”

She laughs, but her mission to combat over-consumption is serious. “We’ve got to change the way that that people shop. Do you remember when you were younger, you would say, ‘Let’s go shopping for my birthday’? Shopping shouldn’t be a hobby, an interest. Going surfing, or painting – that’s a hobby.”

She believes that the only way to really spread the message of sustainable dressing – in the same way the general public is beginning to embrace ideas such as checking the source of their food or avoiding plastic waste – is through “one-to-one talking”.

“It’s having those conversations with people. Angry, hard-hitting [messaging] is not the way. There’s a great website called What’s Your Legacy, which makes [sustainable living] really cool and beautiful. That’s the way: we’ve got to make it the irresistible choice.”

She has founded a collective, We-R, as part of the We-Resonate brand to spread the word further. It currently exists as a series of interviews with different women on her website and “how they’re not necessarily knowingly living more sustainably, [it’s just about] different ways women live and love fashion and have style.

“The whole point of this business was to make sustainability more accessible and to promote it and make it cooler. And the only way to do that is one-on-one – influencing your friends and influencing the people you meet.”

Her five-year plan for the business is to become “more like a lifestyle brand” and to “have more of a community hub”. She is considering the idea of renting the dresses out as part of a swap-shop.

“It’s funny, since I’ve started selling [I’ve discovered that] making new products isn’t just the answer. Replacing a commercial product with an ethical product – that isn’t the end goal here. The idea is that our lives become more considered and conscious.”

Living in East Dulwich, where she has been based for four years, is key to her business and creativity in general. “I originally lived in Greenwich,” she says. “I lived above Starbucks next to the Cutty Sark.

“It was so busy at the weekends, I really wanted a community, somewhere that was less touristy, somewhere more residential. I wanted to live somewhere where I could hear the birds sing, not people yelling.”

The local area and people have contributed more directly to We-Resonate too. She shot the look-book with a group of friends and fellow mums in Watson’s General Telegraph on Forest Hill Road. “The photographer was a mum, the model was a mum, all local, and we had the best day.”

She loves East Dulwich for its relaxed feel. “When we first came to East Dulwich, it had that sense that you’re not actually in London, but at the same time you’re right next to Peckham, which is so vibrant in its culture.

“It seemed like the perfect balance of somewhere to live and a place where I would be very happy to bring up children, but where I could also satisfy my inner creative spirit.”

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inmyprimeallthetime-blog · 6 years ago

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Everyone says “time flies” but I don’t think you really feel it while in the daily grind. If I wasn’t sure of that before, now my two munchkins, who aren’t quite so small anymore, are constant reminders that time is ever fleeting. Nothing is permanent and the ability exist in the present without desire or regret is incredibly hard to surrender to. Every moment flows to the next like the waterfalls at the Ohe’o Gulch in Hana, Maui. Crystal clear water cascading down out of a rainforest into the turquoise pacific. It’s magic, and when we won’t slow down to enjoy the view we miss it. It had been almost seven years since we had gone to Maui on our honeymoon when we received a save the date for a dear friend’s wedding. I was honored to be invited, but thought that with Chris’ busy work schedule, kids and a stressful home improvement project that this was a trip we would have to sit out. Much to my surprise (and great joy) as soon as Chris saw the invite he exclaimed, “amazing, I can’t wait!”. We began to plan our trip over the next few months and shaped it similarly to the way we did our honeymoon. We had three separate destinations on the itinerary. I was nervous that travel with the kids would prove draining (which at times it was) but for the most part it was an absolute dream.

We landed at the Kahului airport at around 2pm on a Thursday and promptly each grabbed a kid to divide and conquer the luggage claim and car rental. We were off the airport premises within 20 minutes and on our way to our first destination at the Polo Beach Condos in Wailea. I had some trouble in transmitting the keyless entry code to the itinerary I wrote up resulting in an inability to unlock the door, we thought we were too early to check in so we got back in the car and set out to grab lunch at the Grand Wailea just a couple minutes up the road. After refueling we grabbed supplies then realized we were supposed to type the # sign in before the code and like that we were in our beachfront condo in paradise. We explored the beach and pool before settling in with some frozen pizza for dinner, gourmet I know… The next day my parents arrived and we gave them the tour after they got acclimated. The condo’s private beach connects to the public Polo Beach and the paved beach walk that runs between the beaches and resorts sprinkled along that Wailea stretch. We walked from our beach over to the Fairmont for some lunch and frosty adult beverages, then back to the condo for swimming at the pool. The sweet smell from the plumeria trees and the warm sticky air awoke my senses. The following morning we were up with the sun and out to grab gear from Snorkel Bob’s by 9am. Our kids are 4 and 6 so I wasn’t sure that we’d really be able to do an activity like this but they LOVED it, and so did we. My youngest had on floaties but our oldest just held onto dad and explored the wildlife off of Ulua Beach. We saw a variety of fish but none as exciting as the Humuhumunukunukuapua’a, aka the Reef Tiger Fish and the official state fish of Hawaii. It’s as fun to say as it is to see in real life. My oldest son loves to watch documentaries and shows about marine life so this was truly one of the highlights of the trip for all of us. The wonder and amazement in his eyes and the enthusiasm with which he spoke about seeing the animals swim right next to him will forever stay in my heart.

After two more nights at the Polo Beach Club Chris and I were ready to set out on our solo adventure for the trip. The wedding day was here and we had managed to sneak off for two nights to the ultra luxe Four Seasons Wailea sans children, a vacation inside our vacation! Of course we were just a couple minutes away if needed but my parents were happy to keep the kids entertained and away for most of those 48 hours. Upon check-in we were greeted with a delicious cucumber lemon infused water and a cool lavender towel that I awkwardly wiped my hands and neck with so as to not be rude. The service at the Four Seasons is unmatched, granted we don’t stay at these sorts of places often. We had booked the room without realizing there was a room block so during check in I mentioned it and asked if we might be able to receive the block rate. The accommodating staff took care of us and issued a credit for the difference. We dropped our bags in our garden view room which was as perfectly set with comfy bed, nespresso, speakers softly playing island music, and a couple of chewy powdered sugar dusted lemony cookies that I ate all myself (Chris isn’t big into the sweets). We then left the room to embark on the festivities for the evening. Ferraro’s is a poolside restaurant and bar at the resort where we started the evening with some cocktails before heading to the lobby. The beautiful bride had emphasized that we meet in the lobby at 4:30 sharp so as not to miss the ceremony. I just assumed it would be onsite at the hotel however several people had speculated that we’d be escorted off site, which is indeed what ended up happening.

We were transported to a beautiful grassy knoll overlooking the ocean. The bright altar sewn with vivid orange roses, purple orchids, green hydrangeas and more did a spectacular job of framing the gorgeous couple on this perfectly calm afternoon as they declared their love for one another. The vows were romantically heartfelt and left not a dry eye in attendance, at that moment they were true love embodied for us all to see. The cocktail hour was back at the hotel near the lobby where high top tables and purple orchids were merely props for the delectable appetizer tasting and sunset viewing soiree. Couples and friends all posed as the cotton candy sky illuminated – a postcard worthy backdrop. After the cocktail hour we made our way to the reception on the ocean front lawn. Again stunning and elegant, every detail thoughtfully executed and representative of the happy couple. Bruno Mars played on the speakers to bring them in for their fun entrance before the first dances began. Every person who spoke about the officially formed Wu’s brought soundbite after soundbite that Oprah would deem a “tweetable moment”. This authentically good and kind duo were definitely made for eachother. We rounded out the evening with an unreal buffet (3 tables full of the most delicious food), a dessert bar that even I wasn’t able to take full advantage of due to lack of space in my belly, dancing, and even a nightcap in the lobby bar. Oh and they had a fire performer, I mean come on, it was breathtaking. The Kearney and Wu families know how to throw an epic celebration of love.

The next morning after nursing our hangovers for a bit we met my parents and our kids in the lobby for breakfast downstairs at Duo. They have a beautiful buffet for adults and a pretty sweet one for keikis, powdered donuts included, however we all opted for made to order meals off the menu. Their Ulupalakua Ranch Breakfast was phenomenal including their unique potatoes that are perfectly crisp on the outside and fluffy soft on the inside.After breakfast we set up the family at the pool, then Chris and I made our way to the Grand Wailea for our massages. This spa is world renowned so we booked our treatments there. Upon arrival we were shown the facilities and escorted to the locker rooms to change and start our experience. My massage was top notch however I did think the facilities felt a bit cheesy and dated. I fell asleep during my massage which is a testament to how relaxed I felt, definitely a good sign. Post massage we went straight for the Serenity Pool back at the hotel where we ordered a Poke sampler to share which I devoured most of without regard for my partner. It all worked out fine as he ordered his own sushi roll shortly after. We sipped on Lahaina Lemonades and reenacted our time spent there on our honeymoon taking silly posed photos and laughing A LOT. Dinner reservations were at Spago we shared a pork belly appetizer and ahi tuna poke in sesame miso cones, yum! For dinner I got a fish curry with rice and Chris enjoyed a szechuan style beef dish, also delicious. My dish came with three flavor enhancing sauces that I was advised to add only after tasting them each individually, instead I threw them all in at once for a flavor tango that danced all over my tongue. We finished up with a chocolatey volcano for dessert. Our experience didn’t disappoint and we felt transported back in time to when we were married. We retired to bed and enjoyed sleeping without kids for another night before returning to the condo to set out on our next adventure. Check in later for part two of our Maui vacation. As always thanks for reading!

Beauty, Love, and a Dream Vacation (Part One) Everyone says "time flies" but I don’t think you really feel it while in the daily grind.

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