For most of us, no matter how much fancy kit we buy, no matter how good we think we’ve got it, something comes along that just makes us feel totally inadequate. The iconic dolly crane from Saturday Night live is such a thing. And it makes the cranes that most of us might use in our own productions look like toys.
Where I am in the UK, each year, there’s a big battle between the supermarkets over who makes the best Christmas ads. Much of the population waits for them to appear in order to praise or criticise. It’s a bit like the Superbowl commercials in the USA. But UK supermarkets aren’t the only ones making great adverts at Christmas.
Although Christmas may seem like a distant memory for many of us now, Artlist has just allowed us to go behind the scenes on how they made their Christmas 2018 commercial. It took a very talented group of people, a lot of ingenuity, and a whole bunch of passion to bring the vision to life.
Swedish photographer Erik Johansson is known for his dreamy and surreal images. This time, he decided to depict the change between day and night. As always, the artist of great imagination took a lot of time and effort to turn his idea into a photo, and in this video, he takes you behind the scenes of his latest project.
If you didn’t know better, you’d swear this almost-two-minute sequence from new TV show, Kidding, was multiple takes with motion controlled cameras and some nifty cutting. But thanks to Episode 3 director Jake Schreier, who posted the final clip side-by-side to his Instagram with an overhead view of the stage, we do know better.
I’m a documentary photographer. I work really closely with families, business and professionals and I create candid unposed images that show love when comes to families, and passion and hard work that comes with it when it comes to professionals. No posing, no smiling, no lifestyle images that pretend to be real. Pure photojournalism. Street photography principles taken inside.
It all started as a joke. When watching Vikings (History channel’s hit show on HBO Nordic) together with my wife, I pointed out several times that she seemed to share both the looks and a similar attitude with Lagertha -surprisingly similar considering that the other one is a scientist / mom from Finland and the other one a shieldmaiden from 13th century.
I always love watching how things are made, especially the tools that man of us use on a daily basis. So, when I see a new video pass my screen showing the inner workings of the production line, I’m fascinated.
In this video, we take a look inside the Hocus Products factory. This is where they assemble all the components for their $2,000 Reflex follow focus by hand. And I’m not just talking about putting motors in a case, either. They actually assemble the motors themselves from the basic parts, completely by hand.
There’s only a hundred Pagani Huayra BC in the world, and each one costs a cool $2.5mil. The “BC” in its designation stands for Benny Caiola, the first person to ever buy a Pagani automobile. With a Mercedes AMG designed V12 bi-turbo engine built exclusively for Pagani and pulling more than 750bhp, it’s a beast of a car.
When it comes time to photograph it, one also needs a beast of a camera. So, LA based automotive photographer Richard Thompson chose the Phase One XF 100MP for this Huayra BC advertising shoot. They also shot a behind the scenes video, so we can see what goes into a shoot like this.
While usually quite exciting to watch, shooting timelapse is often rather boring. You turn up at a location that doesn’t yet look its best and set up your equipment. Then you wait, ready for just the right moment to tell your camera to start shooting away. Then you wait, and wait, and then wait some more, until it’s finally done. You could spend an hour sitting there waiting for what will become a 5 second video clip.
Sometimes, though, shooting it can be quite exciting, too. Especially when you’re at 13,000ft in subzero temperatures in the Swiss Alps. In this video, filmmaker Drew Geraci of District 7 Media takes us behind the scenes on such a shoot. We see how the shots are set up, as well as the results they produce.
Saturday Night Live isn’t a show one usually associates with terms like “visual effects”. But there’s actually a lot going on in their digital shorts. The SNL team as a whole may have the whole week to prepare for each show. The visual effects department, though, aren’t so lucky. They typically get only about 12 hours to do all of the effects for that evening’s episode. Which is live, remember, so there’s no slacking.
The 2016-17 season has now come to an end. It’s set to return in the autumn. To tide us over, though, the SNL team put together this video showing some of what goes into the visual effects they create for each show. Some of them are quite obvious, while many others probably go by completely unnoticed.