Internationally acclaimed time-lapse film maker and photographer Rob Whitworth brings magical Cappadocia alive in his flow-motion hyper-lapse film for Turkish Airways. The visually stunning clip, which highlights the tourist attractions in the region, took six weeks to shoot over the course of two months and two seasons. The effortless blending of multiple photography techniques and precise After Effects work culminates in a breath-taking finished product which pushes boundaries and leaves no doubt as to why Whitworth's videos have over 9 million online views.
Motion Array has been hard at work adding new features recently. For example, they recently came out with a video portfolio site builder. With this feature, any paid subscriber can create a custom site to show their video work, complete with text, images, and contact information (all editable). Users can even use their own custom domain or have one supplied by Motion Array. But now, Motion Array is at it again with Requests. Essentially, any paid member of the Motion Array community can put in a request for any type of creative asset that Motion Array offers.
It's set in a ghost town, the Tianducheng development in Hangzhou, Zhejiang Province. It has an Eiffel Tower replica and empty buildings which sets a perfect scene for this incredibly choreographed music video. Directed by Romain Gavras, the video has hundreds of kids with peroxided, yellow-white hair and matching outfits running through the deserted city to the foot of the replica Eiffel tower, and a very unique dancing style captured with great aerial video.
For those of you familiar with the band OK Go, in addition to their catchy songs, they've also made a name for themselves with their intricately planned out and executed music videos. With their newest video "The One Moment," they sought to literally film the entire video in just one moment.
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.
The new MacBook Pro's release has stirred the Internet with a mix of positive and negative reactions. We've seen praising and hating. We've seen reviews claiming faulty ports, cables, and adaptors. We've seen the fancy videos. However, there are still few real-life experience reviews from working pros. Here's one of them. It's quite intriguing.
Adobe Sneaks is the software company's behind-the-scenes sneak peek into ongoing projects that could eventually — if we're lucky — find their way into one or more products. This year at MAX, Adobe previewed a number of tools that should excite virtual-reality editors, desktop designers, and audio editors working on long-form speech formats.
Adobe concentrated its Creative Cloud 2017 updates heavily in newer media areas as it announced an After Effects improvement to render 3D elements up to 20 times faster, a Premier Pro update that automatically detect and create settings for different types of virtual reality content, and a new project, Project Felix, to aid in the creation of photo-realistic images by combining 2D and 3D assets. Meanwhile, cloud-based document collaboration across Creative Cloud, universal search in Photoshop, and other new features improve usability across a number of applications.
With the advancement and affordability of video technology available to consumers now, the number of budding and aspiring film and video makers has seemingly raised exponentially. One of those advancements has most definitely been in regards to how the color correction process is handled. There's certainly no one path to success sort of idea with this either, but there are some things that you can do to help simplify and organize your process in order to work quicker and more efficiently.
Audi took advantage of Monday night's presidential debates with its "Duel" ad spot. Nearly the entire clip plays in reverse, allowing the chronology of the true story and how the action unfolded to the point at which you began to unravel itself in an action-packed scene. The rewound clip -- fit for a 007 film -- features quite the production, complete with excellent, blockbuster-born sound effects to sell every punch and shattering glass shard. But it doesn't take much studying to see this was hardly as easy as rewinding an otherwise-normal action sequence: it took great audio to create this spectacle.
Once you start doing a lot of video editing, watching your favorite movie or TV show is never quite the same. The way dialogue scenes are cut together, the framing of characters in a shot, and of course scene transitions. In this supercut from the popular TV Show "Stranger Things," see how the editor used a variety of cuts to create compelling transitions.
Chances are, if you're serious about this industry or have been doing your homework, you've heard about the importance of having color-accurate monitors in order to produce the best quality images possible. This point cannot be driven home hard enough: you can have all the correct techniques and execution, but if you're working on a monitor without a correct color calibration, your final image will not deliver the same impact as what you see on your monitor. The answer? A color calibration system.
It's about time for a new approach. There are a few online stores and stock libraries where you can get templates, videos, and music that help you save time when creating professional videos. Some of them can get really tricky when dealing with prices and licensing.
Last week, the team over at RocketJump Film School released this awesome video about sound production in film. Sound production is probably the most overlooked aspect of filmmaking, mainly because you don't notice great sound design; it seamlessly helps you submit to the willing suspension of disbelief. Check out RJFS's experiment to see how much sound actually does affect the audience.