Jack Fusco captured the below time-lapse during Canada's Jasper Dark Sky Festival in the Jasper Sky Preserve. Explains Yahoo News Canada, "The Jasper Dark Sky Preserve, in Jasper National Park, is currently the second-largest dark sky preserve in the world, topped only by Wood Buffalo National Park in northern Alberta/southern Northwest Territories. These preserves are set up as regions with no light pollution at all, to keep the night sky as natural as possible."
Watch below and read more here.
Filmmakers Aske Lokken and Malte Lokken talk to RedShark News about production on their 15-minute short film, "Gold Digger," which was shot on a Blackmagic Cinema Camera.
They say of lighting the night scenes, "We lit the night scene with two tungsten lights outside the window, and used the frame of the window + some duct tape on the window to get the textured lighting inside. Then we softened it up with another tungsten on the inside, bouncing off the back wall. We had a few smaller tungsten lights that we moved around when we needed fill. But we pretty much had the same lighting setup for the entire scene downstairs...We knew that BMCC would need plenty of light, to get a proper exposure in the night scene, so we bought an extra powerful flashlight, to still get the feeling of darkness in a well lit room."
Speaking from Filmgate Interactive, Philip Bloom explained how he balances the art and commerce of filmmaking.
He says, "I do a lot of my own projects which are my own ideas and I just go and do it. Corporate films leave me frustrated. Commercials leave me frustrated. Broadcast leave me frustrated. If you don't direct, shoot and edit it, it's never going to be the way you want it."
Read more here on Indiewire.
AbelCine's Andy Shipsides explores how to calculate whether your lens will cover your sensor.
He writes, "At AbelCine, one of the most common questions our techs get these days is about lens coverage with different cameras. It's no wonder that we get these inquiries, as there's an endless stream of new cameras coming out, all of which have different sensor sizes and specs. We frequently get questions like this: 'Does my 16mm lens cover the Blackmagic Cinema Camera sensor?' or 'Does my lens cover 6K on the RED DRAGON camera?' These are both great questions, which we can generally answer with a simple yes or no. But they bring up some really interesting points that all modern cinematographers need to understand when choosing a lens, camera and recording format. So this column is all about lenses, image circles, sensor sizes and resolutions."
Dennis Hlynsky's time-lapses of birds in flight showcase flight patterns and a beautiful sense of natural design that can't be seen with the naked eye. Using a time-lapse and layering technique, Hlynsky edits together short videos that make the the birds' trajectories akin to skywriting.
Watch a few below and read more here on Visual News.
Behold a new time-lapse video from expert photographer Randy Halverson. "Huelux" was shot over the course of 7 months in South Dakota, Wyoming and Utah.
Explains Halverson on his Vimeo page, "I came up with the title 'Huelux,' which comes from hue (a color property), and lux which is latin for light. Some of the Aurora and Milky Way were difficult to color correct, so I spent a lot of time with the hue settings, white balance, etc. during the month and a half edit. The low Aurora on the horizon were often yellow, while closer (higher in the sky) Aurora were green. If I adjusted the yellow Aurora on the horizon green, it threw the rest of the colors, such as grass, way off and made the whole image too blue."
RedShark News reviews the JVC GY-HM650, writing, "This is a hotly contested market segment with a number of similarly priced rivals. While the JVC lacks 50Mb/s recording it does offer on the barrel lens controls that are not available on much of the competition, and the dual recording option is an attractive and useful feature for its intended market. We should not forget that the 650 is aimed primarily at journalism, although it may also be an attractive option for some corporate and industrial video producers too, and this factors into my conclusions. The BBC has put in for a large order of 650s and so clearly feels that it offers something above the competition.
Filmmaker Noam Kroll provides a primer on choosing the right lens for your shoot.
He writes, "The choice between prime lenses and zoom lenses has been always been a difficult one for professional DPs and amateurs alike. While primes are traditionally more cinema-oriented than zooms, there are also some great cinema zooms out there, which can make choosing lenses as difficult for a pro shooting on PL glass, as it is for a first timer who is just looking to buy their first lens kit. Let's brush up on the pros of each lens type before getting into what purpose they each serve best."
Read the full story here on Indiewire.
Jason Ankeny of Entrepeneur profiles the work of Aerial Media Pros, who are making high-quality helicopter drones capable of capturing some spectacular shots.
He writes, "Look, up in the sky! No, it's not a bird. Not a plane, either. It's a state-of-the-art digital video camera attached to a remote-controlled drone--and it could revolutionize filmmaking by capturing flyovers, 360-degree panoramas, chase scenes and other 'How did they do that?' action sequences at a fraction of traditional production costs."
Read the full story here.
Produced by Seattle-based Mindcastle, the short film “From 1994” was shot entirely using Freefly Systems’ MoVI camera stabilizer and an ARRI Alexa M camera. “I’ve shot with cranes and jibs and things like that. Once you set them up, you can only try shots you can reach from where the base is set,” says the film’s co-director, Casey Warren. “But with MoVI, the base can be anywhere.”
Santa Monica post facility Prehistoric Digital graded the music video for Lorde’s new single, “Team,” on Blackmagic DaVinci Resolve 10. Directed by Young Replicant, the video features two contrasting looks to demarcate the two-part narrative of the story. Kevin Cannon, colorist on “Team,” says he wanted the color grade to preserve the mystery for both scenarios and keep many of the details just visible through the haze.
Andy Shipsides of AbelCine reports on the gear and gadgets he saw at CES that he thought would have the most impact for filmmakers.
He writes, "Last week I visited the Consumer Electronics Show in Las Vegas, which features millions of electronic gadgets that would make any geek smile. I went with purpose though, touring the massive halls looking for new gear and technology that might have an impact on filmmakers. It was tough sifting through all the cellphone accessories and headphone booths, but I think I found some key trends in the mix."
Read the full story here.
Olly Lambert, the director of British television documentary Syria: Across the Lines, discusses what it's like to film in a combat zone.
A young boy is consoled in 'Syria: Behind the Lines.'
He says, "As a filmmaker, I am not remotely interested in war or conflict. War is usually very dull, and at best slightly comic, and then occasionally painful and tragic. What I am interested in is how ordinary people’s lives are affected by vast, external events."
See winter unfold in glorious 4K in Henry Jun Wah Lee's "Fathom," shot in Yellowstone National Park.
He explains, "'Fathom 4K' is a journey into Yellowstone, Grand Tetons and the Wyoming wilderness. It is a film about the stories told by nature through the natural world: clouds, stars, trees, rivers, geysers, mountains and more. In our everyday lives, it is difficult to observe these stories being told. To the casual eye, our world appears to be static and unchanging. But these stories are seldom told on the human scale. They are often told on the scale of cosmic or geologic time. Years, centuries, millennia and eons."
The film was shot on a Canon 1-DC and 5D Mark III. Watch below.
Cinematographer Den Lennie recently took part in a Facebook chat about the Sony HXR-NX3 and Notes on Video has some of the highlights.
Says Lennie about his favorite feature of the camera, "For me it's stunning image quality and great looking IAuto features combined with terrific ergonomics. This camcorder packs a big punch for the money."
Read more here.
Joseph Oxford's labor-intensive, stop-motion short film "Me + Her" was shot with a Blackmagic Cinema Camera and Pocket Cinema Camera. The film took over 6 years to make and was created out of sculpted cardboard.
Writes Fstoppers, "The form factor for each camera was a huge advantage because they were filming in such confined spaces (think shooting from ten inches off the ground rather than the normal six feet). It doesn’t hurt that it shoots raw and the quality of the footage is outstanding."
Read more here.
Marco Solorio of OneRiver Media shot the below short video with a beta version of Blackmagic Production Camera 4K.
Writes RedShark News, "This footage looks razor sharp. And well it might, because it's come from a 4K Blackmagic Production camera - and one running Beta software... we have to say that this is very well produced and graded - and completely shows what potential this has as a documentary camera. It's going to be an interesting year with this camera arriving at a very low cost and 4K resolution, and the Arri Amira - another "documentary" camera that is essentially HD but with a proven, and sought-after - sensor."
Read the full story here.
In the below scene from BBC nature documentary Penguins -- Spy in the Huddle, a camera disguised as an egg goes on an unexpected adventure to capture rare, unique footage of a colony of penguins.
Watch below. (via The Verge)
Justin Bachman of Businessweek explores how resolution technology may soon supersede the capabilities of the human eye.
He writes, "At what point do the capabilities of the technology outpace those of our eyes? Farhad Manjoo, writing in the Wall Street Journal, declared that we’re almost there: 'Nobody’s eyes are good enough to appreciate resolution above 4K.'"
Read the full story here.
Vimeo has partnered with crowdfunding sites Indiegogo, Kickstarter and Seed&Spark to provide a wider distribution platform for independent filmmakers who are able to successfully complete their films. Vimeo will select from films that have raised at least $10,000 on those sites and offer an exclusive premiere window on Vimeo on Demand. The filmmakers will receive free Vimeo Pro accounts and aid in project promotion.
Said Greg Clayman, Vimeo's General Manager of Audience Networks, "Vimeo is committed to empowering filmmakers with the world’s best platform for direct distribution. While crowdfunding has changed the game in getting films made, Vimeo is taking the next step supporting filmmakers to get their work seen and purchased on Vimeo and across the web.” (via Filmmaker Magazine)