Make Your Own DIY Inline Dimmer Switch

John Hess demonstrates how to wire up an inline dimmer to help control the strength of your lights.

Keep in mind that most lights “warm up” when you dim them and unless a CFL says it’s dimmable, you’ll have weird results when dimming those bulbs.

As always with Electrical wiring, be extra careful and follow the instructions on your dimmer.

Keanu Reeves on Gains and Losses of Technological Revolution in Filmmaking

Reeves dissects the gains and losses of technological advances and industry shifts in filmmaking, which he details in the documentary, Side by Side.

Keanu Reeves has maintained a steady film career with diverse credits that include a mix of big-budget features, like the blockbuster Speed—which made him an instant A-lister—and The Matrix trilogy, as well as low-budget indies and roles on the stage. Born in Beirut, Lebanon, Reeves grew up primarily in Toronto, Canada and, at age 15, opted to pursue acting over his interest in playing professional hockey. While he carefully chooses his acting roles, he’s also transitioned to working behind the camera, producing and narrating the documentary, Side By Side, and making his directorial debut with Man of Tai Chi.

Watch Actor Keanu Reeves on PBS. See more from Tavis Smiley.

Blackmagic Cinema Camera and Sony FS100 Low Light Shootout

Frank Glencairn pitted the Sony FS100 against the Blackmagic Design Cinema Camera in a gas lamp lit battle of gaslamp-photon-gathering contest.

Blackmagic Cinema Camera vs FS100 Lowlight Shoot-Out from Frank Glencairn on Vimeo.

Sorry for the shaky footage at the FS100 part, but it started raining and I just grabbed the Fs100 and shot the rest hand held in a rush.

I used a Samyang 35mm f1.4 at f2.8 and a Heliopan IR/UV filter.

Lighting was the oil lamp on the table, a oil lamp about 8 ft away on the wall and a garden torch in the background.

Changing the ISO on raw, doesn’t make any difference, it`s just metadata (that`s the reason I just used 800 ISO), but makes a difference while ProRes recording.

Of course I could have gone way higher with the ISO on the FS100, but why compare ISO 16000 to ISO 800?

Regarding the speed of the camera, the FS100 wins hands down because of way higher usable ISO. It’s the queen of the night, period.

But the BMC gets a way nicer image out of 800 ISO, than the FS100.

The grading was done pretty rudimentary. If I had used masks and secondary grading, I could have get even more out of it.

But this is just to give you guys an idea, what to expect.

Shane Hurlbut: Storytelling through Composition

Shane Hurlbut covers some different types of shots and why he uses them.

Part 1:

Wide Shot aka Doinker:

This usually is used to educate the audience on place and geography. The establishing shot lets the audience know where everyone is. In my opinion, these frames are underutilized. I like seeing where my characters are, the time and space. It sets the tone, the mood, and it is where all light comes from, all motivation, all conception. This can be used to show the peril that your character is about to face; it can show scope; it can make you cry; it can ground you, create a sense of loneliness, move you, have you just say “WOW!” There is power in a wide shot. I have been spinning film through a camera for about 20 years now, and I still go to movies and drop my jaw with the incredibly talented cameramen/women who bring this art of cinematography to life.

Depending on the film, it can be a helicopter shot, a sweeping crane shot, a slow moving dolly or just a Doinker, which is one of those weird terms. This was introduced to me by McG on We Are Marshall. He kept saying, “We will set the camera up here for the Doinker.” I loved it and have been using the word to describe a locked off shot that “doinks” onto the screen ever since. McG has a passion for the entire process of filmmaking and inspires me creatively with his humor and vision.

Hurlblog | Read the Full Article


The Dirty OTS (over the shoulder):

This frame is another favorite. It can be used to show characters coming together because they are in love or for a particular cause or set of circumstances.

The person whose shoulder is being shot over is dirty, out of focus in the frame. To do these frames effectively and give your actors room to breathe, I suggest going on a slider, which in this instance we call “The Over Keeper” because you slide to keep your perfect dirty over. Sometimes your actors can lean, move, adjust themselves, and you don’t want to not see the actors’ eyes.

Being obsessed with the subtlety of shot design:

Other times, you can do overs that do not include the actor in the foreground. The director John Stockwell and I did this on Crazy/Beautiful in the beginning and used this style as a vehicle to bring the two together in a subtle way. We did not want Jay Hernandez and Kirsten Dunst to feel like they were together at first, so we shot clean overs. Then as they befriended one another, we started to link them together in wide dirty overs. Jay and Kirsten’s dirty overs became more and more claustrophobic as they fell deeper in love. We visually showed this by slowly narrowing that gap between them until they were literally on top of each other in the dark room scene.

Hurlblog | Read the Full Article

Stanley Kubrick and the One Point Perspective

Stanley Kubrick owns the term “Obsessive Visual Filmmaker” and one of the hallmarks of the Stanley Kubrick look is the one point perspective shot. This supercut by kogonada demonstrates the persistent vision of the filmmaking master.

Submited by Caleb Herring

Why Are We So Obsessed with Camera Specs?

Evan Luzi dares to ask the unaskable question.

BTW, Fisher-Price PXL2000 is the best camera ever.

It happens everytime a new camera is released.

The film vs. digital debate gets dragged out of the mud it’s been trampled into and is subject to another beating. After that runs its course, a more nuanced debate starts happening: one digital system vs. another digital system.

But no matter how you slice it, these arguments often whittle down to a spec-sheet face-off: “How many stops of dynamic range does your camera have?” “1080 HD is dead, 4K is the future!” “It’s not about resolution, but pixel density.”

These debates rage on and on and they aren’t likely to stop anytime soon.

Yet I still constantly wonder — why are we so obsessed with camera specs?

There’s no doubt that different cameras produce different visuals. I’ve worked with enough cameras and on enough sets to know that an ARRI Alexa does not look the same as a Canon 7D. Nor does a T3i look anything like 35mm film.
But why do we feel the need to constantly push spec sheets against each other and go row-by-row ticking check marks next to the “winners”?

Why do pixel-pushers take a microscopic eye to the resolution of a sensor? Why do dynamic range enthusiasts throw parties at the idea of an extra 1/3 stop possible in a new sensor?

The short answer is because — on some level — it matters. Minute differences in technology add up over time and enable us to achieve a greater quality in the video medium. Just look at the difference between HD cameras now and Mini DV 10 years ago.
But the long answer, I’m afraid, is a bit more complex. It’s not as simple as maybe you and I had hoped. It speaks both to human nature and to the cameras themselves.

The Black and the Blue | Read the Full Article

How a Photographer Confronted a Newspaper and Got Paid as a Result

Jean-Charles Renaud was asked by a major newspaper if he would grant permission to print some of his photos with appropriate photo credit. When the credit was left off the paper, Mr Renaud stood up for what’s right.

On May 22nd, 2012, the feature came out as part of the daily edition of the newspaper. They had chosen a few of the images I had submitted, and they were nicely printed, in colour. The first image contained my name at the bottom, but was barely big enough to be legible. On the second image I saw that there was something written there, but the writing was warped and not at all legible. Two other images were printed without any photo credit whatsoever.

Case in point: my fiancée, having seen the feature before I did and recognizing my style in images right off the bat, did not notice any photo-credit whatsoever.

Needless to say, I was disappointed to seeing my images used in such a way. The whole point in agreeing to do this was to get people to see my images and to be able to see my name attached to them. I understand some of you will say that it was foolish of me to agree to such terms to begin with, but I still maintain that there was, somehow, something to be gained in having images published (for free) in a newspaper where (potentially) there would be thousands of eyes directed at said pictures.
PetaPixel | Read the Full Article

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