Check out this B&H video on Metabones Speed Booster adapters which include a lens element that refocuses full frame lens information onto the smaller APS-C sensor area while adapting lens mounts. Additionally non-Speed Booster adapters change mounts and offer additional controls.
In this basic tutorial, B&H’s Kelly Mena lays out a few simple steps on how to manipulate depth of field. A sharp subject against a pleasingly soft background is one hallmark of professional photography. This video explores the three variables that comprise control over your camera’s depth of field: Aperture, focal length, and distance from the subject.
One technicality here. Focal length doesn’t actually change the Depth of Field. A higher Focal Length only magnifies the bokeh of the blurry background – the Depth of field (the range that stays in focus) will remain the same. Zoom in essence can be used to exaggerate bokeh but in itself does not affect DOF.
The Transom Online Workshop asked videographer/director Slavik Boyechko, of the PBS series INDIE ALASKA, to walk us — also slide, pan, tilt, and rack focus us — thru the mysteries of making beautiful B-Roll visuals for feature stories. –TOW
Vashi Nedomanski examines the shower scene from Psycho, comparing it to the storyboards by Saul Bass. Both Bass and Hitchcock claim to have directed this scene – compare the final shots and storyboard and decide for yourself.
In a violent act caught on camera by a KTLA photographer, a man bashed in the windows of a Los Angeles Police Department patrol car while Darth Vader and Superman watched from the sidelines. The dark side is indeed strong with this one.
I dream for a living. Once a month the sky falls on my head, I come to, and I see another movie I want to make. Sometimes I think I’ve got ball bearings for brains; these ideas are slipping and sliding across each other all the time. My problem is that my imagination won’t turn off. I wake up so excited I can’t eat breakfast. I’ve never run out of energy. It’s not like OPEC oil; I don’t worry about a premium going on my energy. It’s just always been there.”
I have no rules. For me, it’s a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You’re looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I’d like it to be something you can see 10 years later, and it becomes a different movie, because you’re a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
Here are six bits of wisdom from Joseph McGinty Nichol, better known as McG, is the writer-director-producer behind some of this generation’s most popular franchises such as Supernatural, The O.C., and Chuck.