My goal with this blog is to share valuable information to people that have a similar interests in the one I do. I share videos, techniques, tips, tutorials, talk about people in the film and video industry. My intention is not to blast you with banner ads everywhere, but to make a little money to fund my filmmaking obsession, which you may understand. I have a background in design so I create all of the graphics and all of the web development myself. I don’t pay anyone to do anything for me, so this is very time consuming for me, but I highly enjoy it. You may see a couple of ads here and there, but compared to some other websites, this is hardly noticable. Also, I blocked certain categories from showing up like Finance, Sex, Health and Beauty and many others.
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An oldie but goodie! This short animated film shows off extraordinary interstellar and destructive designs.
A snippet on how Georgios created this.
“Nuke was used for compositing. Glows were done with loads of blurs on top of the image. If you mean the lens flares though , those were real elements. I tried a couple of plug ins, but in the end it was just easier, faster and more fun to shoot real lens flares and add them on top in combination with some textures.
3D is all in Maya. In a few sentences, the collision was done with with layering various animations techniques. Key animation for the main transform, deformers for the squash, a procedural wave done with soft body particle expressions and on top another soft body with actual dynamics. All these retimed in 3d before rendering.”
You can view more of Georgios’s work here
The great Cinematographer Roger Deakins talks about how lens choice can affect the overall look and mood of a film. By choosing to shoot with wide lenses such as 28mm, the mood can feel like you are like an observer or documentary style as opposed to using lenses around 100mm, which will give you a more “inside” look or feel to a film. Cinematographers take all of these things into account before shooting a movie, but like Roger Deakins talks about, sometimes it’s just instinct. You go with your gut and choose what you think will be right for the scene! Great stuff.
Film and Digital Times
I always enjoy James Bond movies. How he gets out of the dangers is the best part. Just when you think 007 is going to burn in an incendiary or have his parachute not open, James Bond figures out some clever way to escape! Check out this Behind the Scenes of the new James Bond movie called “Skyfall”.
Distributor: Columbia Pictures
Release Date: 2012-11-09
Starring: Daniel Craig, Javier Bardem, Dame Judi Dench, Ralph Fiennes, Albert Finney, Naomie Harris, Bérénice Marlohe, Helen McCrory, Ola Rapace and Ben Whishaw
Directed by: Sam Mendes
Produced by: Barbara Broccoli, Michael G. Wilson
Written by: John Logan, Neal Purvis, Robert Wade
Check out some Sony A77 video footage. I actually thought about buying this camera as they were saying it was going to be one of the best DSLRs that shot video out there. I’ve always been a huge fan of Sony gear and thought I would give it a shot. Well, I started reading and see actual sample footage that didn’t really make it on my rank.
“A quick first day out with these two amazing cameras from Sony. All shot with standard lenses, edited with Final Cut X. This clip should not be considered a true technical test, just wanted to see what how each of these cameras worked in the field. The footage was shot just just outside our apartment last week, we had some nice evening light, followed by some snow. Both of these cameras are wonderful to work with, each in their own way. For straight video shooting I prefer the ergonomics of the NEX VG-20, but if your primary mission is to shoot stills and at the same time shoot some video clips, the A77 is the way to go. In a perfect world you might own both. I have shot video with the SONY professional model EX-3, and these two cameras (along with the NEX-7) offer tremendous advantage, light, portable, and high quality for in the field documentary work, which is what we do.”
Do you stay after the movie is done to watch the animation end credits? Well, I do! I love the title animations from movies these days. They are so clever and use awesome animation and great transitions. If you remember the Spider Man title animations with the web and the type interweaving together, it sets the tone of what’s coming and anticipation. Check out some title animations below.
One of my favorite title sequences is from the movie, “Thank you for not smoking”. Check out how lovely the transitions are and how clever the design is as well.
Another nice one is from the movie “Catch me if you can”.
Here’s another short by Daniel Bérubé. Once again, it’s not about a story, it’s about testing a $20,000 camera! Not sure why people that buy these expensive cameras have these really bad stories or ideas. But let’s talk about the image coming out of this Canon EOS C300. Awesome! One word only. The bokeh is amazing. So clean, so crisp, and so razor sharp. With so many lenses in Canon’s line, you can achieve cinematic quality from L lenses or use older lenses if you have them still.
The Canon ESO C300 cinema camera is making a huge impact on the market and with it’s beautiful image and look, I can see why. Check out this short by Paul Antico. The Canon C300 footage looks beautiful, I see no moire in the bricks, by the way. The story, well, I think it’s a bit harsh in the end, but I don’t pay much attention to these “tests” from users. I only see what the cameras are capable of. Amazing that for under $20,000, you can get a cinema camera ready for the big screen!
Canon Cinema EOS C300 camera obviously was used. We used it handheld with just the built in EVF and grip, and also on a slider and sticks with the full monitor setup. The waveform monitor is a godsend. It was difficult judging white balance in the setting sun however, even with the EVF, because we shot C-Log the whole time. The camera has a View Assist LUT but it isn’t foolproof. Lenses used were the Canon EF-S 17-55 F2.8 IS (the lens hood can come slightly into the frame at 17mm so be careful) which had useful IS for handheld shots, the Canon 70-200 F2.8 IS II, The Tokina 11-16 F2.8, the Canon 100mm F2.8L IS Macro, and the Canon 50mm F1.4 USM. Sound was all recorded foley effects on a Zoom 4HN with a Rode NTG-2 in the backyard, except the gunshot. Music by the talented and giving Kevin Macleod from his website. Locations were in Haverhill MA, and Salem NH. Kessler gear supplied by me (opening shot is a programmed Oracle/Elektra Drive slide) and Mike Sutton for full length pocket dolly. Graded in Magic Bullet Looks. Edited XF Codec natively from the cards using Adobe Premiere Pro. It was pretty fast and rendered out very fast (as compared to AVCHD). The only place codec fell apart was when I took a nearly white shot (one of the ECUs of the face in the beginning) and crushed the tones severely. You may or may not notice it over the Vimeo compression. The download file is encoded at 10Mbit 2 pass VBR. The original render out file is ProRes 422.
Check out this beautiful documentary called, “The Shot”, all shot with the Sony NEX-5n. It’s amazing to me that you can take a tiny little interchangeable lens point and shoot camera and get these results. Who would know that this was shot with the NEX-5n, the footage looks beautiful!
Check out this amazing animated music video animated using Cinema 4D. Cinema 4D is getting to be a standard in motion graphics and broadcast design.
Video: Daihei Shibata
Artwork: Hiroshi Sato(Semitransparent Design/aloye)
Anna Foerster, Director of Photography for the movie Anonymous, The theory that it was in fact Edward De Vere, Earl of Oxford, who penned Shakespeare’s plays. Set against the backdrop of the succession of Queen Elizabeth I and the Essex rebellion against her. She briefly talks about how she lit some of the scenes in the movie. This movie has an almost “Paint like” look to it, meaning, it looks like a painting with the strong contrast backgrounds. This is what fascinates me about cinematography, the DP, creates the mood or look of the film by lighting it a certain way. Yes, there are tons involved in making a movie have a certain look, like wardrobe, set design, but, lighting and cinematography takes you inside the movie, into a certain era, and transfixes you into believing you are actually there! Amazing!
Arri Alexa, Zeiss Master Prime, Ultra Prime and Lightweight Lenses
Film length (metres)
3552 m (Portugal, 35 mm)
Film negative format (mm/video inches)
Printed film format
35 mm (anamorphic) (Kodak)
2.35 : 1
Check out DSLR Accessories by Arri! They have risers for mounting your camera. I really liked their Arri Follow Focus which uses zip ties, which is so fast to adjust compared to the others. Also, I really love the way the matte box compliments the whole rig. The Bellows system is key to not allow any light to leak in, causing unwanted side lens flares. Backed by industry leader, Arri, this DSLR rig accessories is a winner!
Over this past weekend, I attended Masters of POV – Cinematography Conference. It was a 2-day conference talking about cinema lighting, visual effects cinematography as well as camera techniques.
There were 2 Master Cinematographers there speaking ang giving workshops. One was GABRIEL BERISTAIN, ASC, BSC and the other was KARL WALTER LINDENLAUB.
Some background on Gabriel Beristain.
GABRIEL BERISTAIN, ASC, BSC was born in Mexico into a theatrical dynasty. His father, Luis Beristain, was a renowned lead actor of stage and screen whose last film was Luis Buñuel’s “Exterminating Angel”. His interest in filmmaking began with his involvement in Mexico’s independent film scene in the seventies.
He worked as documentary and newsreel cameraman throughout Europe, covering sensitive political, social, and ecological issues.
Accepted by the National Film and Television School in Beaconsfield, England, one of the top film schools in the world, he shot Jenny Wilkes’ Academy Award Winner for Best Foreign Student Film, “Mother’s Wedding.”
Having settled in England, The Berlin Film Festival honored him in 1987 with a Special Silver Bear ‘for outstanding single achievement’ in cinematography, for Derek Jarman’s “Caravaggio”.
Subsequent work in films like the multi-part ‘Aria’ (1987), as the sole cinematographer with two segments, one of them for legendary director Ken Russell, earned him an invitation into the British Society of Cinematographers in 1990 and, a decade later, was invited into the prestigious American Society of Cinematographers, where he’s actively involved.
In 1991, after shooting ‘K-2′ in the Himalayas, he moved to the U. S. to work in cult classics like ‘Blood In, Blood Out’ and ‘Dolores Clairborne’. Cinematographer credits hence amount to over two dozen motion pictures and a hundred commercials and music videos. His was the look that launched Liv Tyler in her father’s Aerosmith videos, re-energized the filmography of David Mamet (The Spanish Prisoner) and Guillermo Del Toro (Blade 2), and broke new ground in films like ‘S.W.A.T.’, ‘The Ring 2′ and ‘Blade Trinity’. His latest film: “There Be Dragons” for film legend Roland Joffe.
On Television, he has shot two powerful pilots: “Hawaii 5-0,” for Len Wiseman, and “Exit Strategy,” with Ethan Hawke, directed by Antoine Fuqua. He is currently engaged to photograph the beautiful ten-part TV mini-series “Magic City” for Starz network.
Some information on KARL WALTER LINDENLAUB
KARL WALTER LINDENLAUB (Director of Photography), a native of Germany, studied at Munich’s Hochschule für Fernsehen und Film (Academy of Television and Film), before earning a scholarship to England’s renowned National Film and Television School.
While still in film school in Munich, he first collaborated with filmmaker Roland Emmerich, with whom he co-wrote the 1980 telefilm “Altosax.” Lindenlaub went on to enjoy a long association with Emmerich. He served as the cinematographer on the director’s sci-fi mega hit “Independence Day”; “Stargate”; “Universal Soldier”; “Moon 44,” for which Lindenlaub won a German Camera Award; and “Ghost Chase.” He also lensed “Eye of the Storm,” which Emmerich executive produced.
Lindenlaub has also worked multiple times with such directors as Michael Caton-Jones, on the features “City by the Sea,” “Rob Roy” and “The Jackal”; Wayne Wang, on “Because of Winn-Dixie” and “Maid in Manhattan”; Garry Marshall, on “Georgia Rule” and “The Princess Diaries”; and Jon Avnet, on “Red Corner” and “Up Close & Personal.”
His additional film credits include James McTeigue’s “Ninja Assassin”; “The Chronicles of Narnia: Prince Caspian,” for director by Andrew Adamson; Paul Verhoeven’s World War II drama “Black Book”; Bob Dolman’s “The Banger Sisters”; and Jan de Bont’s remake of “The Haunting.”
His latest movie is “Dolphin Tale”, directed by Charles Martin Smith and shot in 3D.
Information Courtesy of
Masters of POV
Check out Tom Lowe’s setup. Wow does he have hard drives or what? But you gotta have all that storage with the hundreds of thousands of images taken from his timelapses. He has a RAID 5 system to protect all the hard work he produces, 10 Terrabytes and in 4K resolution! He’s using Adobe CS5.5 Premiere and After Effects and a custom, overclocked Origin PC with Nvidia GTX 580.
Check out Tom Lowe’s amazing work here
Check out this really cool and crazy music video shot with the Canon EOS C300 Cinema camera. I’m not really a fan of the band, but it’s definitely a great production and cool concept.
Check out this great idea from Cinevate. They always find these little cool ways to make their rigs so versatile. They added skateboard wheels to each end of their Simplis rig. It rolls and gives you a fast and easy dolly. By giving your footage a slight move, this adds tons more detail and emotion to your video.
Have you ever heard of the Arrinera supercar? Well, it looks like a Lamborghini, similar styles and look. Check out this really cool video and the making of. Lazniak from Poland created an awesome spot with 3D animation and live action. This is a great example of collaberation between teams. Real live footage mixed with 3D is the future. Lazniak used 35mm film cameras, 5D mk2,7D and RED to produce a really exciting spot. All to about 1 week to shoot and post production took 3 weeks.
ARRI – 35mm
RED ONE – 4K
CANON 5D MK II – HD
CANON 7D – HD
View the making of video below.
Paweł Łaźniak – LAZNIAK.COM
Check out this little spot for JSports – Japan. I’m assuming they used Cinema 4D or 3DS Max for the animation, but not sure. I really love the low poly renders and style. This uses very stylistic and modern designs.