For some people, weed can be a mild psychedelic. But for most, it’s not. I did some research to find out what can turn marijuana into a psychedelic, since it’s now legal in Canada and in some of the States. Here’s what I found:
1. Only smoke once a month (or less), as high tolerance kills the psychedelic ability. If after a few months you find that you’re losing the ability to get into the psychedelic mode, then don’t smoke for several more months, until THC is completely out of your system. This is key. You’ll have to decide if you’re doing weed for casual fun, pain management, or for spiritual purposes.
2. Turn off the lights to help intensify your visuals.
3. Get really high using specifically the Blue Dream strain. Use a product that contains high THC levels. Basically, any “haze” strain can get you there, but Blue Dream seems to be the most reliable.
4. Close your eyes, and relax or meditate. If you’re already a seasoned meditator it will help you remember your trip afterwards easier. So regardless, pick up meditation as your daily practice.
5. You will soon enter a dream-like state. When your eyes are closed, you’d be in such a mode, but because you’re not actually sleeping, if you open your eyes, you would completely jump out of that mode into a “normal” weed high. You can easily re-enter the dream state if you close your eyes again and relax. During that mode, you should be able to see patterns and more. For example, some people have reported carnivals and jesters, just as seen on DMT, but the user is not completely immersed into that world as they would be with DMT. They’re more like distant spectators, like in dreams, rather than having their soul jumping out of their body and flying in warp speed.
I put up a video showing the dynamic range achieved with various third party Canon EOS picture profiles in video mode.
In a previous article I mentioned that the best cheap cinema camera you can get today is the Canon EOS M, that can be found for $150 on eBay. In that same article, I listed the hardware you’d need to pull off a believable spectacle. The lens I suggested was the 7Artisans 25mm f/1.8 ($70). You can shoot a whole movie with that lens. But sometimes, you just need something wider. That’s where the Opteka 12mm f/2.8 comes into play ($199).
I own five cinema-worthy cameras, but the ones that are most in my heart because of their ratio of features vs price, are the EOS M, and the BMPCC. The M has a more manageable codec at 45mbps, some basic autofocus, and support for picture profiles to expand its rather limited dynamic range (I’d suggest either Miller’s CLog3 ($25), Technicolor Cinestyle (free), or if you don’t like color grading much, the VisionColor CineTech ($20)).
The BMPCC on the other hand, while more of a pain to operate, particularly because of its poor battery life, it delivers the most pleasing film-like image, since it has a lot of dynamic range. I’d suggest you shoot at ProRES LT with it (84mbps), since RAW takes too much space, and its other ProRES variants don’t have much difference between them. The first feature-length (and serious) movie shot with the BMPCC, the sci-fi drama “Cosmos”, was shot just in ProRES LT and it looks amazing.
Now, regarding the lenses. You’d need one long/portrait, and one wide lens. Whole movies have been shot with just such a two-tier selection. The 7Artisans 25mm f/1.8 and the Opteka 12mm f/2.8 lenses can fit that bill nicely. If you do have an extra $150, go for the 12mm f/2.0 Rokinon “cine” lens instead of the Opteka, however, it’s not necessary. I suggest the Opteka 12mm f/2.8 ($199) instead of the very similar 7Artisans 12mm f/2.8 ($188), because of a slightly better design, and because of a smaller filter thread on the front of the lens — which is important for the reason that I’ll mention below.
Now, one thing you have to consider when choosing lenses is the crop factor. The EOS M is an APS-C sensor, which has a crop factor of 1.6 compared to full frame 35mm. It’s basically a smaller sensor than 35mm. The BMPCC is tiny, being a super16mm sensor, having a crop factor of 2.88. What this means is when we speak of a 12mm lens, and we may think that nobody needs such a crazy wide lens, you’ll have to take into account the crop factor. So on the EOS M, the 12mm becomes a 19mm in 35mm full frame equivalency (12 x 1.6 = 19). As for the BMPPC, the 12mm lens becomes nearly 35mm! Not so wide now, is it? You can barely see the head of your actor from a close distance!
7Artisans 25mm -> 40mm (35mm equivalent)
Opteka 12mm -> 19mm (35mm equivalent)
7Artisans 25mm -> 72mm (35mm equivalent)
Opteka 12mm -> 35mm (35mm equivalent)
For the EOS M, these two lenses would be all you need. They’re wide enough to do the job. For the BMPCC though, you’ll need extra help. You can buy a “Speedbooster” accessory, that widens the field of view of your lens, but at $750, it’s a ridiculous purchase. Instead, a cheap $50 wide angle adapter (0.43x, with a 67mm thread) will help you fix the problem. These cheap wide angle adapters are quite fuzzy on the edges (low quality optics), however, since the BMPCC can’t see the edges of the lens (because of its massive crop factor), the quality that comes out of them is acceptable. In fact, the guys who shot ‘Cosmos’ also used such a cheap wide angle adapter without visual problems.
You will also need a 46mm to 67mm step up ring (to mount it to the 25mm lens), a 67mm to 72mm step up ring to mount it to the Opteka, and you will need to have a 72mm variable ND filter and an IR CUT filter when shooting outdoors (to mount it in front of the lens or the adapter when needed). You will also need a 46mm to 72mm step-up ring, in order to mount these filters in front of the bare 25mm lens.
Basically, with the wide angle adapter, it’s “like” you have four lenses instead of two, depending on the shot you need:
7Artisans 25mm -> 72mm (35mm equivalent, bare lens)
7Artisans 25mm -> 60mm (35mm equivalent with wide angle adapter)
Opteka 12mm -> 35mm (35mm equivalent, bare lens)
Opteka 12mm -> 29mm (35mm equivalent with wide angle adapter)
To put it in perspective, the guys who shot Cosmos, after using both a speedbooster, and a wide angle adapter, their widest lens they used (28mm) was only about 40mm in 35mm equivalency. If they can do a whole movie with a 40mm lens, why can’t we do the same with more readily available and more flexible options? Let’s get to work!