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The Digi Swap DoF adapter to use your smartphone as a “digital sensor” for film cameras is finally available (sort of)

Apr 14, 2022 by John Aldred 4 Comments
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Back in January, we heard about the Digi Swap. It’s essentially a depth-of-field adapter that parks on the back of your 35mm film camera and lets you use your smartphone to actually take the shot instead of using film. But because it’s a DoF adapter, you still retain that 35mm format depth of field. It’s a bit like the Letus DoF adapter that let you use Nikon F mount lenses on the Sony PMW-EX3 way back when. Except, for your film camera and your phone.

The big difference between this and the Letus adapter, though, is that other than the ISO (which is set in the app), you’re using the controls from your camera to expose your scene and shoot your photos. Aperture and shutter speed are both controlled by your camera’s settings, not the phone. And now, finally, it’s available on Kickstarter (hence the “sort of” in the title).

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The Digi Swap is an adapter to shoot your old cameras with your smartphone’s sensor instead of film

Jan 27, 2022 by John Aldred 3 Comments
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Well, we never really did see “digital film” come to fruition, but this might be the next best thing to let you use your film cameras digitally – sort of. It’s called the Digi Swap and it’s an attachment that allows you to connect your iPhone to the back of your camera and see through its lens. They’ve posted a couple of videos to show how it works and the kind of results you can expect.

But essentially you remove the back from your camera, connect the Digi Swap, which features a built-in focusing screen for the lens to project on and a macro lens allowing your iPhone’s camera to focus on it, and then fire up the app. What makes it special, though, is that the only setting on the app is the ISO. It monitors your actual camera’s shutter for shutter speed and the aperture is defined by your lens, so you just shoot your camera as you normally would.

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Oblivion: The Cinematography of Claudio Miranda

Jan 10, 2015 by Maaz Khan 3 Comments
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Out of the top ten highest-grossing films of 2014, nine were either sequels or reboots for franchises already long-established – the remaining film was Christopher Nolan’s Interstellar. With the current film industry an unarguable golden age for comic book adaptations, it’s become customary for most studios to play it safe and rely on audience familiarity to sell their productions. And it’s unfortunate – original stories like Edge of Tomorrow end up suffering in sales as a result while at the same time gaining critical acclaim (Edge of Tomorrow was even retitled Live Die Repeat around the time of its home video release in an attempt to re-market the film).

Given the criticisms warranted towards Interstellar (Oh man, that dialogue…), it was still refreshing to see a new, original, and all-around good science fiction film become a box-office blockbuster in the middle of Oscar season. For directors not as well-known as Nolan, making a film like that is a particular risk when taking sales into account; back in 2013, Director Joseph Kosinski took that exact risk with the release of his second film. After his debut with Tron: Legacy, Kosinski brought the cinematographer Claudio Miranda on board once more for a story he’d been working on since 2005. The result was a film released eight years later, titled Oblivion.

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Unforgiven: The Cinematography of Jack N. Greene

Aug 22, 2014 by Maaz Khan 2 Comments
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Last year, actor Ken Watanbe starred in the Japanese remake of a film called Unforgiven. Though it may have had a limited release, its reception wasn’t diminished in the slightest. Acclaimed by critics worldwide, Yurusarezaru mono continued the cinematic relationship between samurai epics and spaghetti westerns at full ignition; the tradition’s beginnings are rooted in Sergio Leone’s A Fistful of Dollars, which was a scene-by-scene remake of Akira Kurosawa’s Yojimbo.

Out of everything the film achieved, Yurusarezaru mono reminded us that Unforgiven still remains an ageless masterpiece. After its release, the film became known as a eulogy to classic spaghetti western cinema; in other words, it signified the end of a generation. If that statement holds any truth to it all, then it’s fitting that Unforgiven was helmed by Clint Eastwood, who starred in the Sergio Leone trilogy that pioneered the genre in the first place.

The reason I bring up the fact that it eulogized a generation for this post is because of the fact that Unforgiven was entirely rooted in it; every element that made it what it was borrowed from the old classics, and that included direction, music, writing, and cinematography.

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Let Me Know When You See Fire: What a Video Shot at 1000 FPS Looks Like in 4K

Jul 7, 2014 by Maaz Khan 10 Comments
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Whether we may think it’s excessive or not, 4K is slowly starting to become the next standard in video. It makes me think of a criticism I once heard against digital filmmaking: that it becomes too real for the viewer to suspend disbelief. Growing up, many of us have been used to movies being shot on 24 FPS film; in a way, it allows us to “escape” the real world and watch a story set in a fantasy world. The blurs, light leaks, and contrast burns – every imperfection from that film – separates the world of the movie from the reality of the world in which we reside.

Fast-forward to today’s time, and you have the Hobbit films being released in 48 FPS across theaters worldwide. When Peter Jackson filmed the trilogy, he described watching the final result as looking through a window. The problem is that many people don’t want to view movies in a world that real.

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Alex Baker is a portrait and lifestyle driven photographer based in Valencia, Spain. She works on a range of projects from commercial to fine art and has had work featured in publications such as The Daily Mail, Conde Nast Traveller and El Mundo, and has exhibited work across Europe

Dave Williams is an accomplished travel photographer, writer, and best-selling author from the UK. He is also a photography educator and published Aurora expert. Dave has traveled extensively in recent years, capturing stunning images from around the world in a modified van. His work has been featured in various publications and he has worked with notable brands such as Skoda, EE, Boeing, Huawei, Microsoft, BMW, Conde Nast, Electronic Arts, Discovery, BBC, The Guardian, ESPN, NBC, and many others.

John Aldred is a photographer with over 20 years of experience in the portrait and commercial worlds. He is based in Scotland and has been an early adopter - and occasional beta tester - of almost every digital imaging technology in that time. As well as his creative visual work, John uses 3D printing, electronics and programming to create his own photography and filmmaking tools and consults for a number of brands across the industry.

Dunja Djudjic is a multi-talented artist based in Novi Sad, Serbia. With 15 years of experience as a photographer, she specializes in capturing the beauty of nature, travel, and fine art. In addition to her photography, Dunja also expresses her creativity through writing, embroidery, and jewelry making.

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