Long takes in films are always impressive because they show a continuous performance of the actors within the scene without any cut. This requires very focused work both from the actors and the people behind the camera. I say "people" because it's not only the camera operator, as you can see in this behind the scenes from the movie "Atonement." It shows how they achieved a spectacular five minute long take that involved hundreds of people, horses (even dead ones), and an abundance of historical props. I thought it was all shot by a steadicam operator walking with the actors but I was surprised that it wasn't that easy.
Articles written by Tihomir Lazarov
When I first started in filmmaking, I didn't want anyone in the world to know how I made my first video because I knew filmmakers usually have expensive tools and expensive software. At that time I didn't have either but I made that video anyway. Today I'm going to share the details with you.
You may have just started your journey in photography or you have been on the market for quite some time, and you still wonder if your website has more to do with getting more clients than you might think. The answer is yes, but only to some extent. Let me tell you what I thought was important for my website and what I think is important today.
Fight stunts are not something that I'm into when shooting video, but I'm always curious how the pros do them. In this video the stunt coordinator of the "Atomic Blonde" movie, Sam Hargrave, breaks down how the fight moves were choreographed. Not only that, but being a second unit director, he also gives insight of how they shot and cut the footage from these scenes.
Full-frame cameras are superior to the crop sensor ones. There's no doubt. Most of the professional photographers out there are making a living with full-frame bodies and thus those cameras are considered professional. What if you shoot with smaller sensor cameras? Let me share my own story.
No matter how small I am in the business I always try to watch how the big ones do it. Probably I won't be able to do most of the work those big budget movies do, but I still want to know the principles. Who knows what may come up my way that may need key knowledge I get from videos like these. In that segment the stunt coordinator Darrin Prescott describes how they shot the opening scene from "John Wick 2."
There is a great abundance of Star Wars fan films and honestly I don't like most of them. Some of them have too fake fight scenes, some are too long, and some are way heavier on VFX. Most of the time it's all about showing the result from a "how to make a light saber in Premiere" tutorial. But this short film is different and I liked it.
Video cameras' resolution war has already started. So has the frames-per-second race. Current DSLRs shoot high resolution stills and lower resolution video. What if you can have an 8K video camera that captures both raw stills and raw video in 8K? Would you replace your stills camera with it?
A video camera is a machine that has recording capabilities that captures images through an attached lens. Whether it's your phone, DSLR, film, or a digital cinema camera, that's the basic principle. But wait. You watch a behind-the-scenes footage of a movie and you see a gigantic monstrous camera that has lots of cables and gadgets. If it's the camera body and the lens that do the essential work, why complicate things that much?
Blend modes in Photoshop are still confusing lots of us even after years of using the software. This article is about two of them: Luminosity and Color. You may start using them more frequently after you understand their strengths and cases when you should use them.
As with every new product, Canon sponsors a number of projects to show the capabilities of their upcoming C200 cinema camera. Indeed, it has great features at its price level, but what is a great camera without a good example how it was used? The perfect film marriage is between a beautiful story, captivating visuals, and audio that ties it altogether. I think we have them all here, including a glimpse of how it was done behind the scenes.
Whether you are a professional photographer or an amateur, you will face situations where you have to make compromises with the image quality or image concepts. I'll share nasty situations when you can't get the job done the best way, but you have to come up with a decent solution anyway.
For a western film you may need authentic props. Maybe you need a cool location. Maybe you need an Arri Alexa with anamorphic lenses. Maybe you need a ton of lighting. Maybe you need an expensive software to edit the project. Well, some of these are not that essential.
Becoming as a commercial photographer can't be defined with a formula. Each story is different but lots of stories share similar basic principles. They can be applied not only in the areas of photography and filmmaking, but also in other businesses.
Whether it's a style or a genre, film noir has that signature high contrast look we've seen in many old black and white films. Modern filmmakers also adopted that style of lighting and post-processing in their drama and thriller movies. In this video you'll go behind the scenes of how to achieve that film noir look in camera.
Being good at photography or filmmaking doesn't automatically lead to a successful business. You have to make yourself known to the world. Making that possible doesn't always require a lot of money. In this article I will share my personal approach to marketing my photography and filmmaking business.
When you hear about the Atomos monitors, most of you will think about their portable small and rugged monitor-recorders many amateur and pro filmmakers use. This time they leveled it up by creating a big 19-inch monitor-recorder with exciting features many other monitor brands in this category still lack.