This video does not try to show that you can shoot everything Hollywood does with a low-end video-recording device. It is a honest comparison, pointing out the reason why high-end cameras cost more.
A lot of photographers are now starting to move into videography as well, and while there are undoubtedly a bevy of similarities between the two realms, there are some important differences as well. This helpful video will show you the basic things you need to be aware of when you move from one to the other.
If you are a shooter or video producer, you know that there are many things that go into creating great video. Sure, using the right gear is key. Composition and lighting are key. But after the video is shot, shot selection, pacing, and color correction have to be considered for the edit. Then there are graphics. Titles, lower thirds, transitions, and the like have to be designed and animated. There are tons of parts that go into making one complete, great-looking video. And it’s hard to master every aspect of video production – not to mention the fact that time and budget constraints make things even harder.
The combination of two visually striking methods resulted in this surreal video by Vincent Brady. After checking the video, read on for some more information on the rig Vincent used to shoot with, and some insight on the programs he used to painstakingly stitch his images together for the final timelapse video.
BBC Click shared a video that gives an in-depth look at the tools used by director Gareth Edwards at ILM London to better show computer graphics supervisor Steve Ellis his desired camera angles and movements throughout "Rogue One." Using just an iPad and an HTC Vive controller, Edwards was able to explore the virtual, computer-generated world to find the best shots, which were then communicated to the VFX team so they new exactly how to guide the virtual camera movements throughout the film.
In this Adobe Photoshop Playbook video, Bryan O'Neil Hughes suggests a variety of options to help you tackle noise when processing your photographs. Due to the improvement of pixel quality, noise isn't usually so much of an issue. However, it still can be a problem especially in your low light images.
This is one of the most interesting, and almost bizarre behind the scenes video I've seen. Musical artist Jack Conte came up with an idea for a video to go along with a music track he created called "Pedals", and through building his own spaceship set, using real working robots, and even getting Jeff Orlowski to shoot it, everything came together for an inventive final product.
Den Lennie from F-Stop Academy shot this behind the scenes video that documents James Tonkin as he creates visuals for his short film "A Night at Nine Elms" with the EF-Mount version of the BlackMagic Cinema Camera. James talks about his experiences with the BMCC and discusses using Canon EF lenses. See the final short film in the full post.
Aputure’s new flexible LED panels may be the best in class. Intellytech and Westcott will have some serious competition. How do they all stack up?
In the last few years, filmmakers all over the world have been expressing their creativity by shooting short and feature-length movies using their phones, showing that you should never be afraid to tell a story if you don’t own a $50,000 camera. Here are five great ones, shot on five different generations of iPhone, including one shot entirely on the new iPhone X.
If there's one thing I've learned from scoring films, it's that the importance of the interplay between music and moving pictures cannot be overstated. Here's how to choose the right music for your video.
A few quick things to consider when making the shift from still photography to cinematography.
Today, I'm excited to announce that our latest tutorial, "Intro to Video: A Photographer's Guide to Filmmaking," is now available.
The Third & The Seventh from Alex Roman on Vimeo.
Al Jazeera English just premiered the first episode of their new show, "The New African Photography." Following a time of great turmoil for Africa, the show centers on the changing image of the continent as told through the eyes of photographers. The goal is to ultimately replace the images of famine and war that often come to mind and with images that redefine what Africa is becoming today.
As if shooting actions sports such as trial biking isn’t difficult enough as it is, doing it in a dimly-lit historical hotel (without damaging anything) would certainly prove to be more challenging.
The five pillars of cinematic exposure are not all created equally, neither are they equally weighted. Here is how you use each, which should be avoided when altering exposure, and how many people get it wrong.
It was about five years ago that I first tried this out, and it’s crazy to me how camera manufacturers will omit such a great feature.
Watch tiny people hustling around the larger than life landscape of Norway and Iceland in this delightful timelapse by DAMP Design's Martijn Doolaard. The quick speed and tilt-shift focus along with unique sound engineering create an alternative world set in the dramatic landscape of Norwegian fjords and hot springs. Recently chosen as a Vimeo Staff Pick, Doolaard's "The Little Nordics" is a must watch video short.
Projection Mapping became a big hit in the past few years, and many brands use it for making cool looking ads outside over big buildings. Basically they all use the same shticks: Changing what you see in windows, making bricks fall down, or making part of the building explode. This is why AntiVJ's "Omicron" is so different.
Being able to record your camera's electronic viewfinder might not be the most pressing issue for a lot of photographers and videographers, however it can be quite useful. If you're filming a YouTube video or you simply want to demonstrate something behind the scenes, recording your EVF may help illustrate your point far more effectively.
“Star Wars” fans around the world are patiently awaiting the arrival of “Star Wars: Episode VII The Force Awakens” on December 18. That being said, the hype train has been running full steam ahead since the initial trailer for “The Force Awakens” was released almost 10 months ago. Since the release of “A New Hope” in 1977, “Star Wars” has created a fanatical fan base, with an expansive universe and many stories to be told. Fan films have been a part of that universe for many decades now, and they have gotten so big that “Star Wars” has an entire section of their site with awards dedicated to them.
Meanwhile, in VR news, today, Canon announced a new addition to its lens lineup, the new RF-S 3.9mm f/3.5 STM Dual Fisheye lens.
Filmmaker J.J. Abrams; Star Trek, Star Trek Into Darkness, Super 8, Lost, Revolution, Fringe, the upcoming Star Wars movie (the man is everywhere these days,) gives us a peek into his process during a recent sit down interview with the British Academy Of Film And Television Arts.
Abrams discusses the transitions between television to the big screen, balancing hyper-reality with intimacy, why television leaves room for surprises, the best advice he's ever been given and what advice he would give to future filmmakers.
Remember the World Press Photo contest winners from earlier this year? Well, World Press Photo recently introduced (just last year, actually) a similar contest for multimedia and video entries. The winner is a stark, harrowing, and sobering documentary view into the Kommandokorps in South Africa, an apartheid-era relic that still lingers in the country.
Wait a minute. Who would dare to shoot at such an ISO? Just use a fast lens and don't go over ISO 1,600. Well, in this case, the camera was set to such an uncommon ISO to help us understand if it's worth paying for the Canon C500 Mark II to use it in low-light situations.
Strap yourself in, and get ready for a really dorky article on lighting. I promise to get only slightly technical and hopefully open your eyes to the amazing differences you get from the various options available to both motion and still photography.
For many filmmakers who are getting into raw workflows for the first time, or perhaps wanting to up their postproduction skill set, color grading can at first appear to be a big, scary monster full of weird tools and a puzzling workflow that makes college physics seem simple. In this Q&A video from Film Riot, Colorist John Carrington answers some frequently asked questions regarding his approach and process to doing color work on video footage.
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