Now I’m not exactly sure what the “largest stop motion animation” actually means but there is no doubt this video is pretty spectacular. You may remember Aardman Productions from our post on the world’s smallest stop motion video which is equally as mind blowing. This time they decided to use the beach as their canvas and film the entire animation on a Nokia N8 cell phone.. It’s pretty amazing to think how much work went into changing each frame on a set this large especially with tourists and tides. Check out the video below and then jump to the full post to watch how they created this clever cell phone commercial.
Within 24 hours of announcing the Fstoppers 2011 Behind The Scenes Video Contest, we were shocked to already have our first submission. Marc Kuyer from Holland had an idea to have small model cars battling each other like they were straight out of Rock and Roll Racing (super cult classic). Marc does a good job outlining his plans and showing you all the photoshopping that went into this final image. Of course we’d love to see everyone on camera but sometimes with language barriers you may have to stick with subtitles and text. So I guess it’s safe to say right now Marc has taken the lead in our contest. If no one else steps up to the plate he will be moving on from small speed lights to a full studio worth of equipment!
We have featured a lot of Dave Hill’s unbelievable photoshoots here on Fstoppers. So when I saw his Adventure Series posted over at Strobist I thought it was an older video. Oh how I was wrong….way wrong! In his latest video, Dave Hill places his composite images into an After Effects type environment and lets you see every layer and all it’s photoshopped glory. The video outlines all 11 images so it’s a bit long but you will probably still find yourself watching all of them in wonder. This video was also a great reminder that Dave is to work making behind the scenes videos so you will probably see a lot more of him in the near future. What do you guys think? What is your favorite image from this series?
German motion graphics studio Sehsucht recently created a fantastic promo video for o2 Think Big. Unlike most commercials today, these guys decided to do almost everything by hand. Check out the finished product below and then the BTSV in the full post. I bet you will be pretty surprised by what is “real” and what isn’t.
Maybe I’m behind the times but when I came across this video sponsored by Red Bull Illume, I had no idea what I was about to watch. Photographer Dan Vojtěch teaches you how you too can make a moving lenticular image while he photographs professional wakeboarder Sasha Christian. The software he uses is the 3D Masterkit by Triaxes if you want to try to create one of these yourself. It’s definitely a cool effect especially when you can get different shots of your subject in the exact same pose.
Peter Langehahn is a photographer from Germany who approaches most of his images a bit differently than most of us. Instead of photographing a single moment, Peter captures the “collective scene” of an entire event. Standing at just one vanishing point, Peter takes panoramic images throughout each event and combines them in a unique composite image that features the best moments throughout the day. Sometimes these images total over 3000 captures and the edits can take up to 60 – 90 days. I must say I’ve never seen anything like this but it’s definitely a way of branding your own photography into something no one will forget. I’m sure someone out there has done something like this before; what are your thoughts on this technique?
Every now and then it’s fun to go back in time to see how photographers approached photoshoots requiring a large amount of production. Back in 1988 Brian King was on the cutting edge of digital photography with his use of Sitex imaging computers. Well before the advent of Photoshop, Brian was able to piece together multiple images by scanning negatives and turning them into primitive digital media. By today’s standards, the final product is pretty comical but this is what the first results of ‘digital photography’ looked like in the advertising world. I have to say, if a single photograph took this much effort and planning today I would probably have given up on commercial photography a long time ago.
This video was recently featured on Strobist but since we’ve been getting so many emails about it I figured we’d share it with those of you who missed it. David Myrick decided to try something rather strange when the electronic group Glitch Mob strolled into his studio. Basically he shot portraits of the band members on a white seamless background and then projected those images back onto the artists as they wore white clothing. If this sounds confusing just watch the video and it will all make sense. Fresh ideas like David’s “projection technique” continues to inspire me in my own work. What do you guys think – anyone tried this technique before?
Here’s a clever idea… EA decided to make the cover shoot for Madden 2012 a promotion in itself. How did they do it? Well they created a studio in the center of Time Square in NY and allowed thousands of people to watch the photoshoot take place live, and in person.
Have you ever seen a car ad in a magazine and wondered “how did they do that?” The car itself seems to be glowing and the location is always perfect. I’ve always known that tons of photoshop is involved by I didn’t know if the car was actually shot in that location or if it was shot in the studio and dropped into the scene in post. In the case below, the car was shot on location and lit with a very simple rig (umbrella on a stick). The magic happens in Photoshop afterwards.
Have you ever tried to shoot an interior photograph and have it look like the shots in magazines or high end property brochures? If so then you probably know there are two routes to go: HDR or Flash. Photographer Dom Bower recently made a video showing the differences in both techniques and how you can combine them both to create a sort of hybrid image. Keep in mind that Dom is only using one single speedlight directly above the camera. Many of the amazing images you see for high end hotels and expensive properties often have dozens of light sources accenting very specific elements in the image. What techniques have you guys used in your interior photos? If you have examples, feel free to post your images in the comments below and check out Dom’s final photos in the full post.
Over the weekend, one of our readers sent us this amazing behind the scenes video for the bicycle saddle manufacturer Brooks England. The basic concept for the photoshoot was a couple saving a fox from a bunch of hunting hounds while out in the British countryside. Photographer Frank Herholdt and his team had to balance two models, a tamed fox, four hounds, forest smoke, well placed studio strobes, and the natural elements to pull of this classic looking image. This is such a great example of taking your photography to the next level by pushing your concept and focusing on production value rather than just lighting a simple subject correctly. If any of our readers have any opinions on one of these saddles specifically, let us know on our Twitter because I’m in need of a new bike seat myself!
There have been a few conversations over at the Fstoppers Forum lately about how to composite two images together in a way that looks consistent. Aaron Nace has a history of producing interesting composite style images; recently he tackled the conceptual idea of “Going Home”. Although I’m a bit disappointed neither Aaron or Avery gave any insight on what they were wanting to accomplish in this video, the way the two approached such a tough logistical concept is really clever. Sure there is a LOT of photoshop required in a final image like this but what’s really important to take note of is how Aaron went out and shot as much of the concept in camera with consistent lighting so everything would work together when he started piecing the two images together. Since it’s May 21st I figured this was an appropriate subject matter to tackle
Everyone claims that they know how to shoot subjects on pure white but many of them still struggle with the background light washing out their subject. In the video below, Olivia Speranza shows us how she created the look for a video but the same techniques apply to flash as well. The key is to light the background as evenly as possible and expose it so that it is just barely pure white. If your background is a few stops past pure white, the light will begin to eat into your subject.
This video gives a quick look at Jay P. Morgan’s latest advertising campaign for Pedia-Sure. The video isn’t quite as informative as Jay’s average BTSV but there is still a lot to learn from it. I was really impressed by the size of the campaign and then range of images that were taken.