Ryan Connelly from Film Riot demonstrates how to make this cartoonish leap off a two story building.
Vincent Laforet discusses the bridging step from silver particles to zeros and ones.
In fact when I told my father I wanted to follow in his footsteps and become a photographer (my father was a photographer for Gamma Press, and then the Director of Photography and principle photographer for Premiere Magazine in France) more than 22 years ago – he was so against the idea, that he sent me to the 3 consecutive darkrooms over 3 summers, to try to dissuade me from my career choice…
The first summer was spent in a black and white darkroom with one of the top french master printers, named Guy Ben… the next summer was C-41 and C-41 printing… the last was at an E-6 lab, where I learned to process the film, and also Cibachrome printing… after 3 summers, he finally gave me his blessing because his efforts to dissuade me had failed…
These days, I hate to say it, but I do get frustrated when I see the Kodak ads in film trade publications. Not because I think they are wrong or irrelevant. But because I feel like they’re not only losing sight of the bigger picture (and the inevitable realities) but also ignoring the potential of what is truly out there…
There is no arguing that film gives you an incredible image that in most cases far exceeds what can be accomplished with a digital sensor (notably when it comes to highlight retention… However – when you look into the shadows, or into high ISO cinematography… it’s hard to argue against digital cinema cameras.)
BUT – I am absolutely convinced that in the coming years, that will all change. I am convinced that digital sensors will come to exceed the dynamic range of celluloid in time… and that it is in every DP’s interest to focus on learning how to best master the emerging (and future) technology (namely digital sensors) – as opposed to fighting what I consider to be a lost battle, in trying to clench onto their (completely justifiable) love of film.
Vincent Laforet | Read the Full Article
Besides making cool miniature effects, tilt shift lens have some very important industrial uses.
Everyone has probably heard of tilt-shift lenses. A tilt-shift lens is named as such because it has a ‘tilt’ mechanism that changes the angle of the lens relative to the body, tilting it to the left or right, or up or down. It also has a ‘shift’ mechanism that shifts the lens up or down or from side to side.
The tilt mechanism on a tilt-shift lens can be used to keep the whole of a subject in focus when it’s at an angle to the camera. It’s based on the ‘Scheimpflug Principle’ – see the diagrams in our photography cheat sheet below.
Tilt-shift lens effects are perhaps most popular for creating the ‘miniature’ effect you see everywhere these days, which is achieved by tilting the lens the ‘wrong’ way to make the depth of field more shallow.
This tricks you into thinking you’re looking at a diorama rather than a real scene. Usually these effects are created using digital blur rather than lens movements, but Lensbaby lenses use a low-tech tilt movement to achieve the same effect optically.
Digital Camera World | Read The Full Article
From the University of Michigan, Mark Cendrowski talks about the long road to his dream job, and the lessons he learned along the way.
If you are fortunate enough to read this site in a country that values freedom of speech and expression, count your blessings. There are filmmakers in this world who do not enjoy that right unless their films are in line with the views of the state.
Although the authorities denied any interference in the Ninth Beijing Independent Film Festival last month, organizers said local officials had warned them not to show the opening film, “Egg and Stone,” directed by Huang Ji, which is about sexual abuse in a rural family, in a public space. When the power went out, officials showed up and apologized, but then did nothing, witnesses said.
Whatever the truth, filmmaking free of the ruling Communist Party is discouraged. The Film Bureau, part of the State Administration of Radio, Film and Television, vets scripts, grants production licenses, controls studios and equipment and coordinates releases. Making a film without approval risks harassment, warnings and, in extreme cases, blacklisting, a caution to others not to work with offenders.
the New York Times | Read the Full Article
Marco Solorio of One River Media mounted a Blackmagic Cinema Camera to the top of a Canon 5D MkIII to compare the images created by the two cameras. Even with web compression the detail difference between the DSLR and the BMCC is quite dramatic.
That’s not to say you need to ditch your T2i and jump into this camera… but folks looking at a
$2500 $3500 5D MkIII may want to consider the Blackmagic Design Cinema Camera.
Alfred Hitchcock is the master of audience manipulation. We combed the internets and gather every TV and written interview the famed director of such classics as Psycho, The Birds, North by Northwest, and Rear Window.
Welcome friends the new Filmmaker IQ – Our latest version isn’t just a cosmetic redesign, we’re setting out to redefine how film and filmmaking is discussed online.
It has taken a long time to get here. Not long in terms of all of human history or a glacier’s path through the side of a mountain – but long when compared to the useful life of a tweet. A long time… but, more importantly, it’s been a long time really to figure out who we are.
It started off as a collection of filmmakers that met on MySpace. Yes… that crap site. We saw what could be done with the internet and social communities and what wasn’t being done there. In fact we were banned from there… long story… So we formed our own site.
And for a while we treated IQ like every other filmmaking site treated filmmaking. Let’s talk about cameras and software… but after quite literally thousands of articles on every subject of the filmmaking process – it was becoming clear that something was seriously missing in the online filmmaking discussion.
We tried our hand at Facebook. At first we were just posting images that inspired us… cool little odds and ends that collected in the crevices of our browsers that didn’t quite fit the traditional mold of a “filmmaking” site. The Facebook page became hugely popular despite the common question “What does this have to do with filmmaking?” – The fact is these little posts have everything to do with filmmaking.
Unfortunately it was becoming clear to us that Facebook was heading down the path of MySpace. Corporate scandals broke and we couldn’t bear to tie ourselves to that site so we stopped being active on the page… but not before learning some key lessons.
While pictures were popular in terms of numbers – they had a dramatic impact on my own personal approach filmmaking. If you do this long enough you come to a point where you realize that anything really is possible. Once you get past the technique you’re stuck with the burning question, “what do I shoot now?” This is point where you realize that it has never been your technical skills that have been holding you back – it’s always been your lack of imagination.
This was the BIGGEST missing thing from the online filmmaking world. While other sites continued to report on the latest gear and fanboys berated each other over camera specs, no one was talking about the real reasons we even bother to take the lens cap off the camera.
“How” something was shot is an essential part – but “why” something is shot, “why” it works – those are the questions that are much more interesting and much more important to crafting of good films. Sometimes the “why” can be intuitive but bringing it to front and discussing it was something we had to do.
We won’t stop talking about cameras and the tools of making film for they will always be needed in service of story. And yes, we love playing with cameras. But Story is King and everything else is subject to it. You cannot make good film unless you pay tribute to Story first, last and every step in between.
We have to talk about story. It’s not easy and there’s no camera manufacturer pushing for better written stories. But we must do it.
We also learned about Community Standards from our time on Facebook. You can either have an organized discussion that encourages civil debate and understanding or you can have a free-for-all dominated by trolls who rule by fear. Filmmakers, as all creative artists, have enough anxiety over snarky criticism already. We will not stand for it.
We have only one rule. NO ASSHOLES.
There will be Bugs
A site can not be fully tested until it goes live. There will be a few bugs. Some we know about, others we may not. We will continue debugging over the next few day. If you find a bug please report it here:
Just say NO to Internet Explorer!
No version of IE is a “modern browser.” What that means is it is incapable of displaying several site features and just won’t look near as good as other browsers. We no longer support IE7. We have limited support for IE8. IE 9 the latest version will work, but not very well. This is not a question of taste. All other browsers will work and look just fine. There are also very serious security issues with IE and should not be used by anyone. You can download alternative browsers for free here:
Just the Beginning
The site redesign is a platform not only for great content today, but for even more features tomorrow. Over the next days, weeks and months we have many more features and enhancements coming your way. User Profiles, Groups, Forums and more will see new upgrades coming soon. We also want to hear your ideas about how to improve IQ. Please leave your comments below.
So whatever camera you own. Whatever camera you’re saving up for. Whatever crew you can assemble. We’re here to expand your imagination and raise your Filmmaker IQ!
Welcome friends, to the new FilmmakerIQ.com