But 9.solutions really got me by surprise when they announced the C-PAN camera guide. I am not exactly sure how to categorize it in terms of movement, because it can function as a jib, slider or curve, depending on how you set it up.
Video autofocus capabilities has been getting better and better over the years, but nothing yet can beat the range of control and precision as the ability to properly use a manual focus. Unfortunately, using manual focus isn’t as easy as it may seem, especially when relying only on the live view display on the back of a camera.
Usually we see Parkour artists being shot with gimbals, I think this is the first time where we are featuring a parkour artist which IS the gimbal. Steadycam operator gimbal ninja posted a behind the scenes showing him taking a complex shot while following a cyclist getting ran over.
The Twist? The camera operator jumps through two car windows to get the shot.
2015 was definitely a year of video for everyone, especially with Sony and Canon releasing the A7RII and 5D SR which made (semi)pro video available at a pretty low price point (assuming you consider 3K low).
If you think that 3k is too high, here is some perspective for you. The other side of the production continuum has cameras where 2-3 thousand dollars can be their daily rent fee. Of course there is a reason for that, and those cameras provide superior image quality (usually at low light), dynamic range and bit depth, as well as other non-quality related features.
To get your GAS going cinematographers Tom Fletcher and Gary Adcock compiled a list of all available production cameras for 2015. Starting with the Alexa 65 which shot parts of The Revenant through the Sony F65 (shot Tomorrowland) and Red Epic Dragon (The Martian) all the way to the affordable Canon C300.
Blood is crucial to movies. And it is not just the gore-filled, army oriented, zombie killing movies. Every time someone get hit and need to bleed a bit, there is the issue of where blood comes from.
Of course, you can not use real blood. There are moral and ethical issues with that. Not to mention the hygiene catastrophe that would unfold with real blood. But then, movies have been showing blood for a really long time. So how do they do it? Using fake blood.
This tutorial from Filmmaker IQ shows how to make fake blood and how fake blood was used throughout the cinematic timeline.
One of the interesting facts on the tutorial is that much of the blood was cut out from films during the 1930 because of self censorship coming from the big Hollywood studios (A.K.A the Hays code). Then in the 50’s the code died, when television came in, among other reasons.
As a child of the 90’s I can testify that there was nothing bigger than Jean-Claude Van Damme. Back when he had all his hair. But in the early 90’s it was harder to shoot Van Damme, to get a good camera move, you’d have to physically move the camera, either by foot, on a crane, or on a frigging flying sofa. It was a lot harder than navigating a camera-mounted drone. Not to mention more expensive.
Paul Raimondi was a movie maker back in the 90’s and one of his demo reels – The Moving Camera – shows how you can make a camera move to get the shot. Some of the simpler ways were steady cams and ‘helmet cams’ but there are also huge cranes, motorcycle mounts and one sofa tied to a cable. At approximately 1:03 we also see what the 90’s used as a drone.
Achieving a “film look” is something that most aspiring filmmakers strive to accomplish. We always want our work to appear as masterpieces, but sometimes we aren’t sure how to capture those little nuances that could help push it over the edge. The advent of dSLR video helped bring video production capabilities to the masses, but getting that classic look of film continues to be a steady pursuit of many.
But, don’t be feint of heart! With some simple tricks, from adjusting camera settings to tweaking in post-production, you can be well on your way to getting the result you want!
As someone who covers a lot of photoshop action (no pun intended) it was quite interesting for me to see this talk about the equivalent of what photoshop is to stills on cinema. CG (Computer Generated) effects. Pixel peepers and sharped eyed viewers are fast to catch on #failed photoshop disasters, but all and all I think it is fair to say that we are satisfied with how photoshop plays a role in our industry.
CG effects are a complete opposite though. If you watched any big summer blockbuster, you probably have some complaints on how poorly the CG effects are. Heck, Star Wars VII has taken into practical effects because fans were so deeply disappointed with the amount of CG in the 1-3 prequel.
So, here is some thursday fun. After the jump you’ll get photos of cameras from twenty five movies. See if you can match each camera to its right movie. The highest score is 25. Good luck!
P.S. we are going to publish a delicious quiz each thursday now, sharpen your minds.
Making the move from stills to video may seem trivial. I mean as far as gear goes any camera can tke some decent video, right?
But film making is an art on its own and getting a few good pointers when you start can make a long way. The folks at DSLRguide are celebrating their (hair short of) 50,000 subscribers, and we for 50 filmmaking tips for absolutely free.(including sound, cinematography, business and some misc tips)
It’s a short 7 minutes video, but if it will save your movie once it was worth watching.
[50 Tips For Filmmakers via iso1200]