Blackmagic Design Ursa Mini Pro Review – With footage

Blackmagic Design Ursa Mini Pro Review – With footage


The Ursa Mini packed a 4.6K punch in a relatively compact package, but not without imperfections. Which is fine, because now we have this: the Ursa Mini Pro. What am I looking at today? Blackmagic Ursa Mini Pro Ooh yes. And we’re here at the Southbank Centre to video some skateboarding. Sight problem though… I don’t know about their skateboarding skills but they’ve forgotten their skateboard. All right, off we go to film something else with the UMP which has been blessed with some new buttons on its facade. So yes, it’s changed. This bit is new, that’s for sure, it’s got a little black and white LCD Screen. But this is actually smaller. It’s a four inch screen, one inch smaller than its predecessor, not a huge problem. And one thing worth noting is that the startup time is quicker than before. It’s still not really quick but let’s count it in Potatoes One Potato. Two Potato. Three Potato. Four Potato. Five Potato. Six Potato. Seven Potato. Eight Potato. Nine Potato. It takes nine potatoes to switch on, from flicking that switch to actually being on. Nine potatoes: They should actually put that on the spec sheet. But there is one thing about this… I mean ergonomically in terms of putting this on the shoulder everything seems a little bit claustrophobic. I feel like this. The rather basic hand grip and extension arm can’t be extended that far. But apart from that in terms of usability it’s good, with the addition of useful buttons on the near side of the camera useful for ENG work. And this is really useful: it’s got an HFR button so you can flick between… Slo-mo 50p, 25p… But it remembers, like if you set it to 24… It changes between 50 and 24. But if you set it to 25 it remembers that. 25, 50. 25, 50. Brilliant. Love that. But one of the big things with this update is the quick access to framing guides, zebra, peaking functions, and false colour. Anyway, let’s film something. [MUSIC] Why would Chinese tourists come to Chinatown though? It’s like “come to a not very authentic version of your hometown”. I mean imagine that if you go to China, yeah, as a British person, and you go to a British town… It’d be weird, isn’t it? Sometimes I have to kind of like fumble my way to find the buttons because they do sometimes feel pretty similar, but you kind of get used to after a while… …Just if you remember the layout, and thankfully they put the ND filter dial on the front so you can’t get that confused with this one. Yeah so that’s the built-in ND filters. You’ve got one, two, three, four; one is clear. But it’s good that now it has an IR filter so, you know, magenta-green casts are not a problem any more. Well, only one way to find out. Here’s a straight-up skin tone comparison test featuring a subject with skin, between the Ursa Mini with external ND and Ursa Mini Pro with internal ND. [MUSIC] So you’ve got an F1, F2 button, you can assign different things to it. These switches are pretty beautiful, how they feel like some kind of 1980s Hi-Fi: they work. You can just know where they are for ISO, shutter speed, and auto white balance: white balance seems a bit… … It doesn’t seem you need to really push it. Whereas the shutter speed, yeah it does change quite easily. 180: bam, there we are. You guys want to see some footage from the Blackmagic? Well, here you go. The files looked great, grades beautifully, skin colors look nice. You can shoot up to 120fps too, in windowed mode, which is a little fiddly to set. [MUSIC] This thing only goes up to ISO 1,600:
not that high. It’s not abnormal but it’s not C300 mkii and I’m kind of spoiled by that. Also new is the interchangeable mount: you have EF, PL, B4, and even Nikon, oddly. Wow, I mean how many cameras do you need? Just look at that: she’s vlogging; she can’t decide which camera to vlog with. You know what, I think you should vlog with this one. This this one is a much better camera, all you have to do that. Yeah? It’s a bit unfortunate that the screen doesn’t flip all the way round, it kind of does that. You can kind of… Nah, can’t really do that. There we are.
-You are so huge. That’s really, actually what she just said… So that’s what she said. Okay, do you want to swap? There we are.
-Wow, nice, how can I hold it? There we are, hold it under there. I mean look at that. I mean it’s technically possible to vlog with it, it doesn’t autofocus like the C300 mkii but it’s good for building up muscles too. But you’ve just got to love Blackmagic colour science. It looks beautiful once graded. And that’s the 1080 high speed. But it can shoot, of course, 4.6K. RAW! 16-bit! Have that, and then cook it later. That’s a beautiful steak. Don’t know what I’m talking about but there you go. Having an ability to RAW is always a meaty plus: you get that extra information and thus more flexibility when handing that footage in post. Juicy! But look, if you don’t want to shoot RAW, you have the option of ProRes or DNxHR. This works pretty well as a shoulder mounted camera It’s why they’ve got all these fancy new buttons. So, you need that new EVF. And then it works rather nicely. However, the thing with the UMP is that’s not really about the improvements in the files that you get out of it but rather how you use it: it now has AES audio input and an option to add an external SSD, but let’s face it a big thing with this is mainly the buttons and the new dials. What urked a lot of people about the Ursa Mini was how it was in terms of actual use. So it’s good that Blackmagic have actually listened and made refinements with this model. I mean, say that weight. And it’s called a Mini: it’s not exactly mini by a lot of people’s standards. But for that image quality, in this sized package, it kind of is. So there we are and that’s the Blackmagic Ursa Mini Pro. Just enough improvements to make this a really good camera. and got. It’s got big camera performance in a mini package. “Mini” Package. It just shows that Blackmagic Design are kinda listening. …Probably.

Canon EOS Rebel T3i 600D 18MP DSLR Digital Camera [ Review ] | Get Fixed

Canon EOS Rebel T3i 600D 18MP DSLR Digital Camera [ Review ] | Get Fixed


What’s going on guys? Bendji D. Here from
Get Fixed and today’s review is on the Canon EOS Rebel T3I. After three seconds of using
this device, I was immediately intrigued by it. This was a major upgrade for me in terms
of specification. My previous camera, the Nikon D3000 did pretty well in terms of taking
pictures. With its 12 mega pixel sensor, the images come out quite sharp. But I knew I
needed an upgrade. This camera is at least 10 years old, I know this because my dad gave
it to me. To make matters worse, it does not record videos which is the main reason I wanted
a camera. The Canon EOS Rebel T3I comes with a 18-55
millimeter stock lens, which also comes with a built in image stabilizer to reduce the
shaky handheld effect. I wouldn’t recommend using the stabilizer on the stock lens because
it is very hard to pinpoint the difference when the stabilizer is turned on. The T3I contains a CMOS sensor which stands
for Complementary Metal Oxide Silicon. It is ten times less sensitive than the CCD sensor.
I know many people say the size of the sensor does not matter too much in terms of getting
great quality images, but I still think the pixel counts plays a big role in sharpness.
Here are some sample videos I took with the Canon T3I.
I am currently using this and the Samsung Galaxy S6 Edge Plus to record these videos,
all I need now is good lighting. If you would like to see part two to this review where
I show you the best settings to get great quality images no matter where you are, be
sure to click the subscribe button and ill see you next week.
Any ways guys, Bendji D. Here from GET FIXED and I’m out. Peace.

Review of Perfect Memory Camera

Review of Perfect Memory Camera


We’re looking at the Perfect Memory Camera It is small in size it comes in a plastic box, in the box you will find the USB cable and some clips as well as the manual This clip is magnetic, it clips on to the back of the Perfect Camera you can switch between the clips , and use the one that gets attached to a necklace perhaps around the neck this clip can be added to a tripod This clip attaches to your belt perhaps you can use the USB cable to access the photos and videos but mainly most of the work will be between the Camera and your phone this is the manual , it’s one page only. it has information to get you started with the Wi-Fi Syncing The camera will not run unless you insert an SD Card it was suggested to use the 32 GB SD Card instead of the 64 GB, as they ran into some issues with the 64 GB one. inserting the SD Card is a bit tricky. press the card all the way in, until it no longer appears Syncing via Wi-Fi will only work with IOS and android for the time being. using the iOS you will need to access the setting and into the Wi-Fi. Turn the Camera on, it will blink in a red color , until you see a solid green light once the light turns green, you will click it one more time to get a blue color and that’s when it will be viewable on your phone from the Wi-Fi setting you look for ParaShoot , and start the pairing, the password is available in your one page manual […] Make sure you have downloaded an application called Perfect Memory Camera on your iOS or Android . The camera is now is tethered to the phone via the app you have downloaded, whatever the camera is pointing at will be viewable from your phone’s screen you can access the Camera’s setting from within the app video quality 1080, 720 photo setting is 4 MP, 8 MP or 12 MP to choose from there is the RetroSave feature it’s as if the Camera is running on standby if you happen to be wearing for instance the camera around your neck, and you happen to see something that you would like to capture you simply tap on the camera or double click for it to start saving automatically it can save up to the last 5 minutes maximum [I have not tested the Retrosave ] it also has the Car DVR Looping those are features controlled from the phone’s app not the camera the camera has only three buttons , one to power it , one for video recording and one for picture taking The Car DVR Looping , records a regular video but if you run out of space on your SD card , it starts deleting chunks of time (previously set ) and overriding them with new content if you choose the setting of 10 mins , then while recording , each 10 mins will be considered as one chunk. once you run out of space, the first chunk will be deleted entirely which in this case will be the 10 minutes and it will be overwritten. [ ..further explanation … ] upside down setting , flips the camera view upside down 🙂 timer setting : is self explanatory , set how many seconds before a picture is taken . Good for selfies Time-lapse setting: you can enable it to take photos every so often intervals could be set at every 1 second , 5 seconds 30 seconds use can you the magnet clip and attach the camera on a steel surface and it will start snapping photos on its own based on the intervals Photo Quality : High , Medium Low Camera Off Setting: how long before the Camera shut off when idle LED indicator: based on the color on the buttons in the back , you can tell if it’s connected to your phone or not Blue means it’s connected via Wi-Fi Wi-Fi Password setting: is where you can change the password whenever they send updates, you will have to unplug your SD Card from the Camera Plug the SD Card in your laptop, and download the update the root of the SD Card Then plug the SD Card back into the Camera The USB Cable can be used for Photos and Videos Downloads as well as Charging your Camera on the camera itself, you can take videos directly bypassing the phone app by recording directly from the camera it disconnects from the phone. it can work as a stand alone. to stop the video recording, click on the button one more time. to take a photo , same thing , just click on the button that has the photo image on it the USB connector is for the USB cable it’s a small device , but it is sturdy. Extremely convenient. it is very light, unlike having a bulky Camera at all times. Photo quality is really good and so is the video quality. Hope you enjoyed the video , and hopefully it was informational as well.

Pentax K-S1 Digital SLR Camera: Product Overview : AdoramaTV

Pentax K-S1 Digital SLR Camera: Product Overview : AdoramaTV


Hey this is Daniel from Adorama. I’m
here the world headquarters in New York City with the new Pentax K-S1. The K-S1’s equipped with the newly
developed CMOS image sensor, with approximately 20.12
effective megapixels. With a maximum ISO of 51,200. Also for
this camera you can shoot 5.4 frames per second at
a shutter speed of up to 1/6000s of a second. That’s going to be really good for sports
photographers or action photographers. The K-S1 has seventy seven segment multi pattern metering system for very precise metering. Also dust removal
system using vibrations to clean the sensor, and 3-inch LCD screen on the back. There’s all kinds of effects built into this camera, you just switch the mode to effects and you can go through your images make any changes. It’s got a cool new design, comes in a lot of
different colors. It’s got these kinda modern LED’s on the back. They’ve changed up the whole menu system to make the whole thing really easy to use. What’s nice about this camera is its got a pentaprism with almost
100 percent viewfinder, so it’s we really bright if your the type of person that likes to look through the camera like me, as opposed to holding the screen out in front of you and using it. Also the vibration reduction or the shake Reduction
in this camera is in the body. That means that of corse you can use all of Pentax lenses
but if you want to get like a vintage lens for for a certain looking you can put it on here and your gonna have that modern shake reduction in your camera without using a modern
lens. This shoots both stills and video. In the video you can do 30p and 24p. You
also have some manual control of the audio recording and it’s a stereo recording. So one of the trends right now with
cameras is to remove the anti-aliasing filter, so you can have over all sharper
images, but what that does create is a chance of
producing more array when you’re shooting repeating patterns. Things like
fences, fabrics, grass. So Pentax solution to that is they’ve
got an anti-aliasing simulator. Essentially on a sub-pixel level it will
vibrate the sensor to get rid of that. You can turn this on or off depending on if your shooting a
problematic subject or if you want the sharpest images possible. This is a great new DSLR from Ricoh Imaging. It packs a punch with a lot of Pro features. Thanks for watching, like, comment, share
this video. Be sure to subscribe to Adorama TV and I’ll see you next time. Do you want great-looking prints at low-cost? Be sure to visit our easy to use online printing service.
Adorama pics has professionals who treat your
images with the utmost care that you can count on. For a quick turnaround on photos, cards or
albums use adoramapix.com

The Sound of Better Call Saul | Beyond Pictures

The Sound of Better Call Saul | Beyond Pictures


Explosive. Dangerous. Angry. Bald. WALTER WHITE: You’re God damn right. ♪Uh! by Fujiya Miyagi plays♪ Breaking Bad has had enough smoke blown up its volatile bumhole and honestly, there’s not a lot I can say about why I think it’s great you haven’t heard before. Much of school teacher Walter White’s journey into the meth business has already been well deconstructed. The way shots were composed and edited to provide wordless, complex commentary. How great scripts and performances justified the haphazard actions of deeply flawed individuals. The use of colour to attribute subtext to a characters journey. Except Marie. S’just purple. ~Jesus Christ Marie~ Another big talking point was its use of music, both Dave Porter’s score and the tracks either chosen or commissioned for the show. It’s not the first time television has used music to great effect of course, but never on this scale. Even the best shows were guilty of using needless underscoring to tell us how to feel or slapping in a track that just about does the job. In Bad, the choices were integral to the cut of an episode. It can front-load a turning point or a characters’ personality, represent a slice of life in the wider land of Albuquerque. The other half of the show didn’t even use music at all- which makes the tracks used feel like big, noticeable tent-poles marking the emotional rhythm, helping certain moments stick out stronger than they might have otherwise. My favourite musical through-line concerns the working relationship between Walt and Jesse. When they begin to cook, the music is weighted towards Jesse’s style. It’s a little freeform, messy, downbeat. ♪Dead Fingers Talking by Working for a Nuclear Free City plays♪
Singer: Dead fingers talking ♪Dead Fingers Talking by Working for a Nuclear Free City plays♪
Singer: Bare foot boy walking ♪Dead Fingers Talking by Working for a Nuclear Free City plays♪
Singer: Dead earth to cosmic dust ♪Dead Fingers Talking by Working for a Nuclear Free City plays♪
Singer: What’s on the TV When Walt splits off to work for the successful drug distributor Gustavo Fring, alongside the precise and, umm, quirky Gail, ♪Ginza Samba by Vince Guaraldi plays♪
B-Mask: ahh, man, yes, this is the life, my friend, we’ve entered the premium content doors now, open bar, comfy chair, masseuse, feed me that chicken baby, aw keep it comin’- Contrasted when Jesse hits the skids wondering if it’s all his own rotten luck, the odds against him from the start. ♪1977 by Anita Tijoux plays♪
Anita: 1977
Translation: 1977 ♪1977 by Anita Tijoux plays♪
Anita: No me diga no, que no lo presiente
Translation: That one foresees all that changes, ♪1977 by Anita Tijoux plays♪
Anita: Todo lo que cambia lo hará diferente
Translation: that would one would do differently ♪1977 by Anita Tijoux plays♪
Anita: En el año que nace la serpient-
Translation: Born under the year of the serpent- But it was that collaboration we’d grown to realise was the OTP. MVP. DTF. PCP. Sure, replacement Todd makes it work, but it’s on the nose, it’s an expected success, it’s obvious ♪Crystal Blue Persuasion
By Tommy James & the Shondells plays♪
Tommy: Ain’t it beautiful, ooh, ooh
Crystal blue persuasion Compare that to the pureness of Walt’s working relationship with Jesse in his brief return, the smooth running of classic partnership with a contemporary, exciting new twist- and suddenly- everything becomes clear. ♪On a Clear Day -Cover- by The Peddlers plays♪
♫Original “On a Clear Day (You Can See Forever)” by Burton Lane and Alan Jay Lerner♫
Singer: On that clear day ♪On a Clear Day -Cover- by The Peddlers plays♪
Singer: You can see forever, and ever, ever more Yeah, it’s been said before, but I’ll say it again. Breaking Bad was a phenomenal series, and its use of music was unchallenged. Was. ♪Boulevard of Broken Dreams by Esquivel plays♪ The prequel series, Better Call Saul, follows Walt’s old business associate and lawyer, Saul Goodman, back in the day when he was still toting his real name, Jimmy McGill. There’s a lot of branching narratives that come with the ensemble cast- the descent of ex cop Mike Ermentraut into the hands of the drug trade, growing tensions between the Fring and Salamanca operations, the colleagues and family of Jimmy and their impact on his journey from criminal-lawyer to criminal/lawyer. It’s still serialised, but it’s actually a much looser story, connected by one charismatic fella. Saul: Better call Saul!
B-Mask: Saul was always a showman. Of all the characters in Breaking Bad, he was the one most comfortable in his own skin, and even though he panicked and got beat up on, ~aww~ he was very happy to flamboyantly present himself as the solution to their problems, cleaning up everyone else’s messes in-between making use of needless comforts that made him look like an ass-bag. The guy had an answer for everything, seemed to have a million contingency plans, to save his own skin as much as anyone else’s. He thought on his feet, talked fast and off the cuff, everything’s gonna be fine, s’all good ma- but, underneath, there was always a sense of desperation, a need to “try” and do something good. An ugly, crawling guilt festering deep down in a man who could, under the right circumstances- (Saul breaks a bread stick as the show says “cha-cha”)
B-Mask: break. ♪Boulevard of Broken Dreams by Esquivel continues playing♪ B-Mask: Truth is, someone with that kind of personality has to live by music.
♪Banzai Pipeline by Henry Mancini plays♪ He likes the attention, the attention likes him, he has a way with words that gets that sweet over 70’s demographic eating out of the palm of his jello cup. Why did I write this? Saul Goodman isn’t a name, it’s an attitude, and an attitude that demands the correct staging. So, this is a different flavour of show, the-uhh-red fruit pastille to Breaking Bad’s black. There’s a bold analogy for ya. Music is at the forefront of the narrative in the same way it’s at the forefront of his showboating persona, and it’s integral to the shows attitude to storytelling. Music supervisor Thomas Golubić has talked at length about the choices made in designing a soundtrack that reflected this personality, taking all of Saul’s traits into consideration. This ranged from the mixtapes they’d assemble to make a wide pool of options to pick from, or the commissioned music made especially for the show. B-Mask: Take Barrie Cadogan’s intro theme, a song that embodies Saul’s effortless charm,
♪Better Call Saul title theme by Barrie Cadogan plays♪ his good-time-vibes, his freestyle attempts to claw back victory from the jaws of defeat, undercut by his own crippling fla- Saul Goodman was even given a theme outside of the show, created by the teams in house composer Dave Porter, one that, much like the Heisenberg ballad, establishes Saul as a mythic western figure even beyond the shows universe. ♪Better Call Saul: The Song performed by Junior Brown plays♪
Singer: You get to the bank and the cops say “woah!” ♪Better Call Saul: The Song performed by Junior Brown plays♪
Singer: Who you gonna dial when they lock you down low? ♪Better Call Saul: The Song performed by Junior Brown plays♪
Junior: Saul, Saul, you better call Saul ♪Better Call Saul: The Song performed by Junior Brown plays♪
Junior: He’ll fight for your rights when your back’s to the wall ♪Better Call Saul: The Song performed by Junior Brown plays♪
Junior: Stick it to the man, justice for all ♪Better Call Saul: The Song performed by Junior Brown plays♪
Junior: You heard me, you better call Saul ♪Better Call Saul: The Song performed by Junior Brown plays♪ Of course, inside of the show, we see many other sides to Sauls personality we weren’t aware of,
♪Concerto for Strings in G Major, RV 151 “Alla rustica”: I. Presto plays♪ which is why I’m going to refer to him as Jimmy from now on. We like Jimmy, we’re all drawn to Jimmy, a conscientious guy at the bottom of the totem pole working his ass off to make an impression. He has an old school appeal, be it in his love of classic films or his genuine attempts to do right by people where possible, at any cost. That’s heard in the marriage of music and action on a regular basis, his working practices accompanied by tracks that give voice to Jimmy’s irrepressibility. Jimmy: Okay so, a fire was started, we all know that- Jimmy: Freezin shivering as she is now! Jimmy: In fact, wrote a book about it. *smacks lips* Jimmy: To make some cookies! He’s more comfortable playing out and against these styles. Walt was beyond his field of expertise, choosing to dip himself in a world he and others didn’t anticipate, the soundtrack more reflective of that world and his own self discovery. Jimmy’s different, he’s been at this game a while and has a reference library of what works, he’s seen it happen, and winning people over means being adaptable. If you like movies, hopefully you’re aware of “The Third Man”, and its famous theme played on a zither. ♪The Third Man Theme by Anton Karas plays♪ It’s playful but also harsh, cheeky, walking a razors edge, Harry Lime’s personality represented in an instrument. That comes back in use here, but it’s tempered for Jimmy’s purpose- nostalgic, and softer to silver haired ears. Jimmy: Oh, what we got here…err I see…he’s trying to get away…enjoy the jello! Thomas described this personality,
♪Unsquare Dance by The Dave Brubeck Quartet plays♪ as depicted in the intro theme, as talent meets improvisation under pressure, and that set the palette of Jimmy’s sound, the pressure part creating the shows real drama. The problem is that, against the ordinary, downtrodden landscape he lives in, filled with people who just aren’t on the same page and who can’t all be coaxed into giving him a chance, life is not all that Jimmy would like it to be, and not as easy to manipulate successfully without, to his mind, breaking the rules. The longer and louder he talks, the more the true Jimmy comes through- a man wallowing in sheer desperation. Jimmy: Just…what? Betsy Kettleman: You’re the kind of lawyer guilty people hire. ♪Sugar Town, written by Lee Hazlewood, performed by Nancy Sinatra plays♪ That tone is openly handed to us at the start of every season, where we see Jimmy Hiding out after the events of Breaking Bad as another of his identities, Gene. He’s a captivating figure locked down in his tiny, less glamorous new lifestyle as the Cinnabon boy, and all he’s got is time. ♪Sugar Town performed by Nancy Sinatra plays♪
Nancy: And pretty soon all my troubles will pass ♪Sugar Town performed by Nancy Sinatra plays♪
‘Cause I’m in shoo-shoo-shoo, shoo-shoo-shoo ♪Sugar Town performed by Nancy Sinatra plays♪
Nancy: Shoo-shoo, shoo-shoo, shoo-shoo Sugar Town ♪Sugar Town performed by Nancy Sinatra plays♪ Fronting every season with this impending sense of tragedy isn’t just a good way to make the characters future accessible to anyone who hasn’t seen Breaking Bad, and the emotional atmosphere around that, it’s an incredibly powerful connecting motif, and one I think maybe strings the show together even more successfully than its predecessor. It’s an end promised to us before we’re even out of the starting gate. A sandwich of sad. This underlying sense of melancholy is the major struggle throughout the show, and that is equally commented on in the sound of the ensemble cast. Michael Mando &
Rhea Seehorn &
Giancarlo Esposito:
SPOILER ALERT!!! The situation Mike Ehrmantraut finds himself getting knee deep in takes a different route.
♪Coffee Cold by Galt MacDermot plays♪ He suffers from self loathing in a way similar to Jimmy, but the events that lead to it were much heavier, the result of lasting wounds that, this far down the line, he passed judgement on a long ago. Dave Porter mentioned that, when compared to Saul, Mike is much closer to the character we remember- so the original score, when it concerns Mike, would sound closer to what we got from Breaking Bad. Mike’s always been more reserved, the laterally minded component of the industry Walt entered, carrying the more oblique heaviness and cutting through the BS, so it doesn’t make sense to have him steeped in a bombastic point of view, nor is he beholden to any nostalgia. Mike: And it was for nothing. Mike: I made him lesser. Mike: I made him like me. Same can be said for the various figures in the trade he begins to collude with- windows into the mind of Gustavo Fring come across entirely in Giancarlo Esposito’s performance, who’s all about keeping up appearances. Nacho’s not that far away from employing the same tactics, but from the angle of someone keeping his head down and figuring out how not to get stuck in this crazy war. Lack of music presents an otherness to Jimmy’s experience or an inability to relate to his view of the world, which trickles down to many of the other characters not quite drawn to his panache- or you know, drawn to simple things like waking up in the morning and breathing. Daniel Wormald: Ola! Have you watched the “zimzam” yo-yo man yet? Ah man, go fuckin, check it out. There are exceptions of course. The Salamanca’s are well known to Breaking Bad fans for their chaotic lifestyle, each member of the family being more intense than the last Music is part of their flair, they’re characters who are more classically mythic, wild banditos. ♪Mi Cucu by La Sonora Dinamita plays♪
Female Lead Singer: No te metas con mi cucu
Backup: (Cucu)
Translation: Don’t mess with my cucu (cucu) ♪Mi Cucu by La Sonora Dinamita plays♪
Female Lead Singer: Nunca falta los mirones
Backup: (Cucu)
Translation: There’s always pervs looking (cucu) ♪Mi Cucu by La Sonora Dinamita plays♪
Female Lead Singer: Como tú y lo de más
Backup: (Cucu)
Translation: Like you and all the rest (cucu) Newcomer Lalo shows early on that he too is something of a showman, a highly charismatic gentleman who’s as every bit a crazy bastard as his cousins, and his introduction is literally a smokescreen underscored by the maddening radio noise Nacho thought he’d just about gotten away from. ♪Al Compas de Mi Caballo by Los Imperials plays♪
Lalo & Singer: Taca Taca Taca Taca en mi caballo
Translation: Taca Taca Taca Taca on my horse ♪Al Compas de Mi Caballo by Los Imperials plays♪
Singer: Ya mi caballo conoce el camino por do-
Translation: On my horse it is the best for its mod- Lalo: Woah, hey-eh-ehh! He has history with Saul that fans of Breaking Bad are aware of, and it’s clear that this is going to be an issue moving forward. And it does slip into some of the other lives as the series builds. Take Mike again, his growing self confidence in being able to outfox and manage his new industry associates sets him on a complacent path, and as such those presentational rules begin to slip. The Germans hired to commit to the job of blasting rock underground to produce Gus’ lab, the purpose of which nobody knows of yet, don’t really see this as any kind of threatening situation, Mike certainly doesn’t either. It’s strictly business, and it’s not uncommon to whistle while you work. ♪Big Rock Candy Mountain by Burl Ives plays♪
Singer: Where the lemonade springs and the bluebird sings in that Big Rock Candy Mountain That is all to the benefit of paying off when Mike’s judgement proves to be wrong, and, well, huh, yeah. By Jimmy’s absence, we comment on the sound he’ll eventually bring to the criminal world at large, but what is it that puts him there? These are the immediate forces pushing on his conscience, his associates and family at the offices of HHM, and their impact is distinctly heard too. ♪Bali Ha’i by Oscar Hammerstein II & Richard Rodgers♪
♫Performed by Jimmy McGill♫
Jimmy: Bali Ha’i will whisper ♪Bali Ha’i by Oscar Hammerstein II & Richard Rodgers♪
♫Performed by Jimmy McGill♫
Jimmy: On the winds of the sea ♪Bali Ha’i by Oscar Hammerstein II & Richard Rodgers♪
♫Performed by Jimmy McGill♫
Jimmy: Here am I, your special island ♪Bali Ha’i by Oscar Hammerstein II & Richard Rodgers♪
♫Performed by Jimmy McGill♫
Jimmy: come to me, come to me… Howard Hamlin, the man he initially believes stopped him from being a legit lawyer, is more in line with the folks who don’t get involved with the soundtrack.
♪Sicilienne, for piano, Op. 78 bu Gabriel Fauré plays♪ When you look at this character, you make an assumption as to his confidence, and frankly that’s pretty much what you get. The complexities of Howard are something he tries not to let come into the conversation. He’s the big dog on campus, it’s all about exact dialogue with Howard. Patrick Fabian is a guy with a look and a voice and hair, that does all the talking, which is why it’s really effective when it suddenly doesn’t. Howard: I think I’ve shared enough. More than enough. ♪Alfonso Muskedunder by Todd Terje♪ Kim has a much larger role, one more directly involved in Jimmy’s life, and it’s a complicated relationship with a capital C. You’re looking at a successful, astute woman aspiring to a clean working life, and she’s far from blind to her partners flaws. If Jimmy’s personality is self destructive, hers is self sustaining. The solutions she comes up with are dependable, and pragmatic, and wholly unique, though you needn’t take just my word for it. ♪A Mi Manera by the Gipsy Kings plays♪
Singer: Hay nada más, Oh sí my way
Translation: And nothing more, oh yes my way Her relationship with Jimmy realises another side to her. The sharing of their cigarette is more than just innuendo, man, they share an addiction to work, hard work, often not for the right reasons. There’s a need in both to prove themselves beyond measure, we hear it in the score, even though what they’re achieving maybe isn’t worth the efforts, especially in Kim’s case. It’s a classic addiction trait, no no, I gotta do this, I can control it it’s fine, I don’t need to be told to stop you can- Kim’s good, more than good, but she’s terrifyingly close to falling into a trap, ponytail and all.
♪Sicilienne, for piano, Op. 78 bu Gabriel Fauré plays♪ Her approach to work is her approach to her relationship. Something unworkable she thinks she can make right, but err, it’s just not gonna happen. That becomes difficult to ignore, but they’re both in denial, so steeped in fact, that we can hear it. ♪Somethin’ Stupid -Cover- by the band Lola Marsh plays♪
♫Original “Somethin’ Stupid” by C. Carson Parks♫
Singers: And then I go and spoil it all by saying somethin’ stupid ♪Somethin’ Stupid -Cover- by the band Lola Marsh plays♪
Singers: Like I love you ♪Somethin’ Stupid -Cover- by the band Lola Marsh plays♪
Singers: I love you (x3) I’m not going too far into that. It’s, uh, too good. The lack of communication provides all that great fiction between the characters, and the soundtrack serves to impart that on the audience and get them to pull their own conclusions by offering a feeling rather than an answer. It’s a lot of disconnected voices, and in a series about a guy who runs his mouth into the moon that’s a pretty big deal. Don’t cry Jimbo, y-you got better friends, people who understand you now.That all stems from the most difficult person for him to talk to- Chuck, sorry, Charles M. McGill- the senior partner at HHM, and Jimmy’s Brother. Rhea Seehorn: Spoiler Alert!
Giancarlo Esposito: *Gasps* When I talked about the distance between Jimmy and the ensemble, Chuck is perhaps the furthest on the spectrum. You’d think the natural flipside to Jimmy would be total silence, but actually, act-ua-lly, Chuck goes a step further. His sound is totally alien. *Inhuman noises play* A self diagnosed disease, Electromagnetic Hypersensitivity, one of the more fascinating studies the show calls upon to draw an entirely new character. He was successful at everything in law, but not at making people smile, unlike his little brother, forming a resentment that may or may not have resulted in this bizarre and entirely bogus handicap, revealed to us in a slow burning fuse of an arc with a real kick at the end, heh-heeeh. Chuck is the most hated, the most despised amongst fans and even people working on the show. Kelley Dixon: Chuck who’s a fucking sonofabitch, he’s a conniving motherfucker Chris McCaleb: Whoo
Kelley Dixon: Sorry, imma say it! There’s plenty of allowances for the fact he’s genuinely mentally ill, and that a series of personal failings lead to it- but all from a hatred of his brother, as far as we’re aware. There’s more than an otherness to him, his disease and the way it’s treated creates an other-worldly quality, of impending doom when you know he’s going to enter a door before he’s even opened it, like the Jurrasic Park T-Rex or the parting of the red sea. I think it’s that which, added to his uncompromising treatment of his brother, makes him appear increasingly unsympathetic- and his sound seals the deal. Buzzing Whirring Clicking Humming Zip Zap Grrrrrerrr It’s all very unpleasant and totally alien. The life of an insect. That foil blanket is the space age image needed to throw this into the realms of sci fi, and it’s also the visual wall between he and his brother, the reflective shield to stop Jimmy’s bullshit from seeping in. The two simply do not speak the same language, or at the least, don’t want to believe that they do. Jimmy’s more emotive qualities, presented through song in a lot of cases, paint him as the sympathetic underdog fighting to be recognised in an unfair circumstance, and it seems as “Cain and Able” as it gets, no wonder Jimmy buries his emotions below sea level when the bastard kills himself. You’d be forgiven for finding it all perfectly justified. Yeah about that. ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Jimmy: I was in your arms. Yeah! ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: Thinking I belonged there ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Jimmy: I figured it made sense, Building me a fence ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: Building me a home After seasons of getting us to doubt the possibility that Chuck ever loved his brother, a couple years of getting us entirely on Jimmy’s side and the possibility that there was no way out, it’s po-e-tic when Chuck finally enters Jimmy’s world and rocks it. ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: The gods may throw a dice ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: Their minds as cold as ice ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: And someone way down here ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: Loses someone dear ♪The Winner Takes it All by Abba♪
♫Karaoke by Jimmy and Chuck McGill♫
Chuck: The winner takes it all This, to me, was the clincher of the show’s handling of music. At the biggest turning point in the show, where Jimmy begins to free himself of the guilt that pulled him back all these years, denying he had any reason to fondly remember his brother, we see Chuck in a place Jimmy used to see him, as an equal, and a liked man. A turning point addressed by the most high profile song on the show, by one of the biggest bands in the world, one heard and understood by so many, not insects, and hey Jimmy, Jimmy-Jimmy, what’s happening? Wh-where you going? Wh-Who are you becoming? What Happened Jimmy? Saul: S’all good, man. I’ll tell you what happened. You let go of the wheel, you’re free falling into the ravine, your confidence, your success, Chuck was wrong to go at you the way he did, but oh, he had a point alright. He warned us, no going back, we’re on the ride now baby. Slippin’ Jimmy becomes Saul Goodman, and the audience is told, right upfront by Chuck, this is inevitably doomed to fail. We know what happens next. ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLLLLLL ♪The Winner Takes it All by Abba♪
Agnetha Fältskog: THE WINNER TAKES IT ALLLLLLLLLLLLLLLLLLLLLLLL Ladies and gentlemen, Mr Vince Gilligan. Vince: I wish someone had made me take lessons, cause I love music, uh, but I am not- Vince: I-I-I… Vince: Y’know in the editing room I said this before,
Marc Maron: Yeah. Vince: And it bears repeating, in the editing room, it’s the closest I feel I’ll ever get to being able to write music. B-Mask: Yeah. I feel that. Exactly. Music is magical to me. I never learned an instrument, god knows I tried, but I get too caught up in the immediacy of the emotion, I can’t work the methodology through my fingers to achieve any real greatness. Editing is a placebo for that problem. I can impose an emotion or argument through the combination of music, close enough to what i’d like, chosen against images, and that can go a long way in turning something okay into something hopefully more resonant. Probably not doing myself any favours doing this instead of, you know, actually making stuff. I coulda made that Jem musical, dear lord why, where was I. Well it’s not too dissimilar from James McGill, attorney at, and around, law. Saul Goodman is a mask that hides Jimmy’s insecurities, and music is a mask the show uses to best represent the personas effect. It’s a universal key to emotion, expressing ideas and feelings that cannot be communicated as words alone, no matter how hard we try. Yet, only an audience can hear this and get the full picture, and find deeper empathy for these characters through what it tells us. The world of Better Call Saul can hear none of it. They have no clue. What is said and left unsaid is what they’re stuck with. To them, it’s silent. ♪Shared Smoke by Dave Porter plays♪ Watching the opening episode of Better Call Saul, in the moment where all the unspoken rage first presented itself, a solid point was made by someone else in the room I was watching with. Walt and Jesse… …never said thank you. Michael: Is it a comedy or a drama?
Giancarlo: Who knows, but watch. Thanks everyone for watching! A big shout out to my patrons for keeping me going, they’ve been incredibly nice, and it’s all been good man, so, HAAAAAAAAAAA! So this videos probably not gonna make any money cause I can’t make the points I wanna make with the music, so its entirely thank to them this even exists, so, err, thank you! I’ll be back with other things, maybe, some point, we’ll see, see ya then, bye. ♪Smoke on the Water by Deep Purple♪
♫Humming by Saul Goodman♫