Articles written by Tihomir Lazarov
"Underwater Beauty" was an image commissioned by a local company as a part of their campaign supporting various independent artists. The image was created as a composite for obvious reasons. In this article, I'd like to walk you through the process of creating it from the initial idea to the final result.
You have to see it to believe it. Canon's new 470EX-AI Speedlite has built-in artificial intelligence (AI), so that even if you don't know what a perfect bounce flash is, it will do it for you. At the end, you will get a perfect, naturally exposed image.
We've never been fortunate to fund our expensive gear with money from a generous Nigerian prince. When filmmaker Adam Grumbo met such a scammer online he decided to pay and hire him as a photographer and a videographer, and the results are quite interesting.
The process of color correcting and color grading in filmmaking is an art of its own. Even if you do not work with video, such techniques can bring your photographs to the next level. The goal of this short tutorial is not creating an orange and teal look, but rather teaching you how ambient light affects highlights, midtones, and shadows of the skin. Knowing this technique you can color grade visuals the way you see them in many films.
Working with multiple cameras in filmmaking is almost inevitable. Most of the time you are in a situation working with cameras of different brands or different models. Matching the picture from these cameras can be a painful process involving color charts, reference frames, creating custom LUTs (look-up tables), etc. PolarPro tries to make our workflow easier by releasing presets of cinematic LUTs that can be used to match footage from different cameras and drones.
I just watched Justin Timberlake's "Say Something" video, and then, I watched it again. No doubt that's professional production work. Knowing the technical challenges of such a video, for me it felt like I was watching a reality show. The almost "unplugged" vibe of the song was so right for that video that the rest of my senses could be focused on how those guys pull that work off (pun intended). This article will be a humble attempt to reveal how they shot the video.
Erik Almas is an inspiration to many of us not only with the work he does as a commercial photographer but also as a person who shares the struggles and successes he had in his career. No doubt that he works with many companies and brands we can only dream of, but in a recent interview he confessed that despite that there wasn't a moment in his life when he could say he "finally made it." It is exciting to hear what his measure for success really was.
New and shiny gear from Apple is always good looking and always sounding good on paper. We've seen lots of paid reviews on various products of theirs and lots of boring laboratory benchmarks showing soulless numbers we had to believe in. How about ditching all that and making a real-world test in workflows that demand a good amount of hardware resources? You guessed it: video processing. The guys from cinema5D got an iMac Pro and decided to see if it could get the work done better than what they already had.
Files from our cameras get bigger and bigger and we expect our workflow to get better and faster. This is not possible without using new technology for transferring our work to a backup storage device. The trend today is the portable SSD. This year several brands released their first portable SSD devices, which might make you update your on-location backup arsenal after you see the crazy speeds they can transfer data at.
Shooting with various cameras is not uncommon in the video world. Most of the time, it's because of budget constraints, but sometimes, it's because different parts of the project require different cameras. In this video, Tom Antos shares his way of matching footage from three camera brands.
The "bullet time" effect keeps evolving and today it can be achieved not only with an array of digital cameras, but with high-speed robots equipped with high-speed cameras. We, the lower budget society, always try to get the latest visual techniques in our work, but, if possible, on the cheap. This video will help you imitate a high-speed camera movement with simple tools you may already have in your video production workflow.
You've probably seen thousands of articles on screen calibration and you may strive to deliver perfect images and videos. Unfortunately, in the end, your client views them on their non-calibrated way-too-blue or way-too-orange screens. Sometimes they say "looks good to me." Other times the response may be "it's too dark," or "it's too blue." They may even edit your photos to make them look "better." How do you handle these situations and is it really critical for you calibrate your monitors?