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New Rules for Stylish and Proper Behavior with Guest Voice of Reason: Jerry Seinfeld

As technology pioneers, we are inundated with new gadgets, services, apps, messaging, games, and media. We’re doxing, vaping, and Lyfting. And that means there are new rules for how to behave. Is it ok to answer an email during dinner? Is Google Glass ever cool? We got some help from Jerry Seinfeld, keen observer of social mores and foibles, on how to cope with modern technology… and whether it’s ok to “Like” a Facebook posting that someone died.

Jerry-Seinfeld

An Interview with John Leonetti Cinematographer for Soul Surfer, Insidious, The Conjuring – Craft Truck

Over beers in the afternoon John Leonetti and Craft Truck’s Emily Buller cover everything from being inspired by Bethany Hamilton and shooting on the water for Soul Surfer, learning to shoot with less light on Insidious, taking cues from Poltergiest for The Conjuring, and the ‘bonkers’ lighting and Goro time on the set of Mortal Kombat.

John-Leonetti

Philip Bloom delivers his Panasonic GH4 Camera Review

Philip Bloom delivers his take on the new 4K capable Panasonic GH4

Processed with VSCOcam with c1 preset

Normally I would steer clear of in camera effects that burn in adjustments because in other cameras this was never a good idea and would result in image deterioration. But this does not seem to be the way with the GH4. Have a look at the short video below shot with screen overlays via the Atomos Ninja Blade for an idea of the results.

I wanted to see what in camera colour profiling would be like on the GH4. For this test I put the Luminance Level to 16-235 opposed to the higher 16-255. Mostly because I want a simple path of handing on files to production without wording about Luminance clipping.

Starting at Cinelike V I reduced the sharpness to -5 to take the edge away from the USM style in camera sharpening. I also but the Noise Reduction to -5 to remove the plastic mush that can occur in the images. I set the Saturation to -5 and +1 on Hue for personal preference.

Next I pushed up the Master Pedestal Level to +15 the factory is 0.
I then brought up the i.Resolution to ‘Standard’. This helps reduce the noise a tiny bit, trade off is slight.

Finally I set the i.Dynamic to ‘Standard’ too. This will really lift the image. On exterior daylight shooting I have set to high with great results.

If you treat the image to be colour graded you can reduce the blacks and mid tones done a little for taste. Its a much cleaner way then pulling up in post. May be handy for some situations, but its not a substitute for light and camera gain. Think of it more to enhance the image, bringing it closer to what your eye sees.

Once you grade your image any noise increase in the shadows will fall away giving slightly for dynamic range.

Philip Bloom | Read the Full Article

The Cinematography of Emmanuel Lubezki

Vimeo user  cuts together some of the best work of cinematographer Emmanuel Lubezki.

IMG_6297.dng

Movies:
The Harvest
Reality Bites
The Birdcage
Meet Joe Black
Great Expectations
Sleepy Hollow
The Ct in the Hat
Lemony Snicket’s A Series of Unfortunate EVents
The New World
Children of Men
Burn after Reading
The Tree of Life
To the Wonder
Gravity

Creating 360 Degree Timelapses of the Night Sky

Vincent Brady’s setup using 4 DSLRs creates some rather unique perspectives and adds a new dimension to the night sky timelapse genre.

While experimenting with different photography tricks and techniques back in 2012, I was shooting 360 degree panoramas in the daytime and long exposures of the stars streaking in the sky at night. It suddenly became clear that the potential to combine the two techniques could be a trip! Since the Earth is rotating at a steady 1,040 mph I created a custom rig of 4 cameras with fisheye lenses to capture the entire night-sky in motion. Thus the images show the stars rotating around the north star as well as the effect of the southern pole as well and a 360 degree panorama of the scene on Earth. Each camera is doing nonstop long exposures, typically about 1 minute consecutively for the life of the camera battery. Usually about 3 hours. I then made a script to stitch all the thousands of these panoramas into this time-lapse. I created my rig in January of 2013 while in my final semester at Lansing Community College before receiving an associates degree in photography. Given it was winter in Michigan, I didn’t get to chase the notorious clear moonless night sky as much as I had hoped as the region has lots of cloud cover that time of year. Though I was ready on the rare night to go experiment. After graduating in May I had built up quite the urge to hit the road. My rig has taken me to firefly parties in Missouri, dark eerie nights at Devils Tower, through Logan Pass at Glacier National Park, up the mountains of British Columbia, and around the amazing arches and sandstone monuments in the Great American Southwest.

Vincent Brady | Read the Full Article

360 timelapse

Vincent Brady: Planetary Panorama Project &emdash; Monument Valley

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