Marc Donahue from Permagrin Films keeps popping up with new and interesting timelapse or GoPro projects– and his latest work features the gorgeous city of San Francisco. Using unique motion timelapses, Marc and his team put together another amazing piece of work. Marc shared some insight on the production, and we've also got some behind the scenes video too so you can see how it was made.

Super Bowl XLIX is just two days away and most of us are looking forward to the commercials as much - if not more - than the actual game. This year will feature a Snickers’ commercial that is bound to be the talk of the work place come Monday.

The commercial follows the familiar “You’re Not You When You’re Hungry” campaign – only this time, it takes place within an episode of The Brady Bunch.

As much of a Game of Thrones fan as I am, the scene in Sunday's episode that has had everyone talking, "Battle for Winterfell" or "Battle of the Bastards," resonated with me for two reasons. The first is the same as most people who watched it: the scene was epic — not epic in the way kids these days use the word, but in the sense of it being truly gargantuan and awesome. The second reason was the curiosity of the photographer in me on how something of that scale could be shot.

Visual effects (VFX) are a great way of achieving spectacular results when the budget doesn't allow filming for real or it's too risky for the actors. Up till now, these were achieved mostly by filming on green or blue screens. This new way of filmmaking presents a way for shooting scenes with VFX directly in camera.

Time-lapse Photographer Rufus Blackwell put together an interesting video for DJI, featuring their Osmo stabilizer/camera system, but using it in a way that might not be the most obvious: for hyperlapses. Check out the video, then read on to see what improvements DJI has made in their latest firmware update to the Osmo.

London-based Director Oscar Hudson recently released a mind-boggling music video for Bonobo’s “No Reason,” and it's incredible. The music video, which is an homage to Hikikomori, a growing problem in Japan of adolescents and adults who withdraw from society and become increasingly isolated, was filmed using one continuous shot and only in-camera effects and no CGI.

It’s amazing how photos and video have become ingrained in events, especially when fashion and arts come together. Art and Commerce, an agency representing Photographers, Hair Stylists, Makeup Artists, Illustrators, Creative Director, Set Designers, and Directors have documented the small ‘studio’ space at the Met Gala. Art and Commerce represents Gordon von Steiner, who directed and brilliantly executed these images and video.

55 nights of shooting. Your favorite characters fighting for their lives, some never to be on the screen again. How was “The Long Night” episode shot to keep us in suspense for the longest battle scene ever created for television or film? Spoilers ahead.

Whether you're a fan of the Jurassic Park franchise or not, it's going to continue to be pushed in hopes of reaching the status of the original blockbuster by Steven Spielberg. A tall order indeed, but with the first trailer slightly sparking my interest, it was the newest CGI-filled update during the Super Bowl that really brought me back to that first movie's excitement and unpredictability.

Whether you're a filmmaker, videographer, or just a stills shooter, there's a lot that can be learned from some of the greats of cinematography.

Filmmaker Stephen Vitale and Writer Eric Carrasco​ created a truly epic Star Wars fan fiction. When I came across this short, I found myself wishing they made a behind-the-scenes video so I could post them both for you all to enjoy. Turns out they did. So I did. And you will.

The term "centripetal" refers to a force that makes a body follow a curved path, and in this case, an iPhone 6 is that body. "Centriphone" is a play on that term, as an orbiting iPhone shoots super slow-motion footage of a skier at the center of its path, as they cut their way down the side of a snowy slope. This clearly takes selfies to the next level.

After getting familiar with the general interface of your chosen video editing software, and perhaps after your first few simple edits, the next step for most aspiring editors or YouTube creators might be to start learning a few fancy transitions to flex those creative muscles and spice up your new videos. This YouTuber has just made your lives a little easier.

Chris Godfrey, VFX Supervisor on the film The Great Gatsby, recently released a 4 minute clip of before and after shots from the movie.

The sweeps reveal the sheer amount of post production that goes into a Hollywood movie like this. As a viewer, we know the movie magic is happening and that the heavy amount of FX are standard in blockbusters that hit the silver screens. It is interesting seing how some of the wide shots

Frozen, The Hobbit, Toy Story, Wall-E, Jurassic Park... these are just a handful of the blockbuster movies over the years that have utilized Pixar's award-winning VFX software, RenderMan. In fact, RenderMan has been around since 1984 - used to render computer graphics in Star Trek: The Wrath of Khan. Now you have the chance to own the software yourself - for free! You read that right - FREE!

Photojournalist Jonas Ginter always wanted to take the idea of the still-2D spherical panoramas and somehow make them in video format. It took him 2 years to develop the idea and tools, but finally last week he achieved his goal. Jonas used a 3D printer to build a special mount that holds 6 GoPro cameras, and placed them as close as possible to each other to make sure they overlap. The result is simply great.

Sometimes you need to ensure that you set your shots apart from the norm, which is easier said than done. Well, this is one example that really achieved what it set out to do!

"Mindhunter" is one of the recent Netflix releases that has me hooked. It has psychology, mystery, analysis, and how the FBI and police went about training for the serial killers who didn't have a motive. It's based on true events, and because the series is set in in 1977, which has different cars and fewer people and buildings than we have now. In this video, you'll be able to see how these shots were altered in postproduction to give the story the 1977 setting. Buildings and trees are added, marks on roads replaced and colors changed to give the series its moody, raw film look.

Featured last year for his "Wedding Day Zombie Apocalypse" composite, Photographer Josiah Moore is up to his old tricks again. This past fall he shot a wedding where both the Bride and Groom were car enthusiasts. He decided to make a fun chase scene out of a photo from the reception, and this video shows his process in Photoshop.

If you've seen "I, Tonya," you may have noticed the film isn't just great for its incredible acting, script, and fresh approach to an old story. What really pulls you in are the long takes of Margot Robbie actually skating like her character, Tonya Harding, as though she herself was a true Olympian.

This Cinemagraph time-lapse was made using only 12 JPEG images. The software allows photographers to create motion within a static photograph. You need to upload each image to the website, and then you design the movement within each image. Once you get a moving image "flowing" you can render it out and import it into Adobe Premiere Pro to create the final time-lapse.

A VFX artist has produced a beautiful feature-length film that compiles the work of 2,400 artists around the world.

Unless you have been living under a rock for the last year or so, you probably have noticed that the force is awakening! After a wait that has spanned a generation, Star Wars fans are finally getting a sequel to the saga that started in the seventies! With the arrival of Star Wars come hordes of its most endearing fans dressing up as their favorite Jedi or Sith heroes! Which means an awful lot of opportunity for photoshoots, but there is one problem. Those dull, plastic, toy, lightsabers just don't have the same epic feel that will do the rest of the costume justice. Luckily creating a lightstaber blade in Photoshop using visual effects is quite easy!

Have you ever wondered what it takes to film detail shots of a product? If you haven't ever tried it, you may not fully appreciate all of the effort that goes into every second of this footage. Luckily, we get an insider's look at what it really takes.

We've covered the pros and cons of color grading many times before on Fstoppers, though when it comes to big-budget movies like "Man of Steel" do you think its overall tone can decide whether it's a financial success? The guys at VideoLab have created a side-by-side comparison of what the latest Superman would look like if it was done the original way, in full saturated color rather than the darker, more gritty version we know today.

Remember watching the trailer for "Fast and Furious 7" and chuckling to yourself about how unrealistic, improbable, and over-the-top it was to be air-dropping sports cars from a cargo aircraft thousands of feet above the ground? Me too. Just 24 hours after the release of the trailer, the filmmakers put out this featurette to prove us wrong.

Wired's Design FX has given us a great behind the scenes video of everything that was involved in the updated Helicarrier crash scene for Captain America: The Winter Soldier. The sheer scale of the project is astounding as FXGuide.com's Mike Seymour and ILM's Digital Models Supervisor Bruce Holcomb take us through the design of the crash and its scale to the actors on the green screen.

With videography taking far more of a central role in the industry than it once did, perhaps it's time to sharpen your video editing skills.

Adobe has released Premiere Pro CC 2015.3. The new welcomed features are something I haven’t yet seen implemented in any other NLE. If you use Premiere, here is a look at what’s new, and if you’re not a subscriber, this might make you consider switching.

Undoubtedly, audio is one of the most important story telling tools in cinema. Improper use or overuse of sound can dramatically affect the impact of the viewing experience. After the recent release of Christopher Nolan's Interstellar, there has been a lot of buzz about the 'mix being muddy'. Many theater goers are reporting sound issues; that the booming sound effects are too loud.

There is a lot that goes on behind the scenes. In this video Rodrigo Prieto, the DOP of the movie, discusses how they used three cameras and infrared markers to make it possible to de-age them in post. He also talks about using different LUTs in different eras of the movie to emulate the most popular film stock colors used in these different times.

I'm a big fan of sci-fi and action movies but cheesy looking special effects have been destroying scenes more and more these days. Tom Cruise has become known for his incredible, self performed stunts; especially in the Mission Impossible series. This video covers all of Tom's most impressive and dangerous scenes in each of the MI movies.

You might have heard of Stu Maschwitz before, possibly from his work on these Red Giant video projects, or perhaps the Plastic Bullet app he made a few years ago. His latest creation is a custom set of presets that integrate with Lightroom, and gives the user a set of vintage photo looks to choose from.

As filmmakers, we often find ourselves in less-than-perfect circumstances; we may be losing sunlight at the end of a shoot or trying to capture a fleeting moment before it disappears. Often times you’ll find that you've captured great moments with an undesirable camera shake. I've found myself in this situation countless times and I want to share something that has changed the way I deal with shaky footage.

Few months back we featured a great video showing how Joe Fellows creates his stunning parallax videos. After posting the article, many of you had follow-up questions on his techniques and methods, so he decided to release a 'part 2' video explaining some of the cool tricks he uses to transform a 2D photo into a 2.5D video.

Smooth video is critical for a professional touch on any video shoot. Currently, there are a number of stabilization options from traditional and expensive Steadicam systems to simple weight-balanced gimbal-based rigs like the Steadicam Merlin. Arguably, none do the job more intuitively, however, than the BeeWorks 5 Camera Stabilization and BeeWorks' special sauce, the Kinetic Remote.

This video covers a wide range of tips and tricks to make your set runs smoothly, things occur as you planned, and small items don’t go missing. I’ve seen some of these used by YouTubers mostly, but there are a hundred of them, so use what you think is best suited to your shooting style.

We all know that visual effects have come a long way in recent years, but it’s always worth remembering that the best of the lot are the kind you don’t notice. This video – a wonderful tribute to VFX – is a smart way of showing off exactly what can be done.

If you're into video editing you are probably interested in visual effects to some extent. Even if you aren't, bookmark the current article as you will eventually be. Visual effects is not some software magic that works with any footage. With video you have lots of still images per second and the process of making a composite needs to be automated as much as possible. Working on a frame by frame basis is avoided as much as possible. In this video you will find 10 quick tips on the importance of having appropriate video content in order to help easily create more realistic visual effects.

This brilliant video edited by Nelson Carvajal shows just how much visual effects have changed throughout movie history. The video starts with 1977's Star Wars and ends with this year's nominees for "Best Visual Effects". It wasn't until 1977 that the Academy Awards created an official category for "Best Visual Effects". Although, until 1995 the Academy Awards occasionally fell back to its old umbrella of "Special Achievement Academy Award".

From the company that pioneered the use of virtual car reskinning for video use, comes the newest innovation of film technology. The Mill, in partnership with JemFX, Performance Filmworks, and Keslow Camera, launched their new product onto the scene, dubbed "Blackbird." Resembling a mix of a Caterham 7, a dune buggy, and maybe some sort of Batman-esque type vehicle, the Blackbird is a small electric car that has pre-mapped tracking points on it to allow for easy replacement in post.

I spent a Sunday in Paris with a friend, Jason Boone, who's made a video about Adobe Rush and what makes it such a good video editing tool. It has been presented as being easy, syncs over Adobe Creative Cloud and has a lot built in to make you a more productive editor. This video shows whether that's true.

I have mad respect for Swedish independent film outfit Crazy Pictures for their big-budget cinematography skills that are being utilized on a moderately small budget with rigs and labor that are within reach of almost any videographer. They've put together an incredibly informative behind-the-scenes video that covers in detail the massive amount of work that goes into such a short segment of film.

I've never been too impressed with the job of an "actor." I guess I've always thought that most people are capable of acting (pretending), they've just never tried it. I just ran across Benedict Cumberbatch's motion capture performance for the Hobbit and I have to say I was impressed.