Scott Spears goes over the use of Gels and Diffusion for lighting in this Tech Tip for beginning filmmakers and cinematographers.
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Alexander Benedik is an underwater filmmaker who is diving since 1998 and doing videos since 2008. In this interview Alex will tell us why he started with underwater filming and share with us some of his best experiences while shooting in remote locations like Alaska and Antarctica. You can learn more from him and discover what it is that has pushed him to start diving and doing these amazing underwater videos.
Alex: After 10 years of scuba diving I have started my underwater video career. In those ten years I had many of exciting and once in a life time experiences underwater. The key moment to start underwater video was in Bali 2007. I was alone on 5 meters with a dozen of very relaxed Bumphead Parrotfish that swam close around me for 10 minutes or more. The dive buddy with the camera was out of sight, so no one was there to capture this unique scenery.
Still in Bali I grabbed a German underwater magazine and did some research on video housings. Three weeks later I bought my first housing on a water sport convention in Vienna, Austria.
Alex: Good fellows of mine had a scuba license. I spent a vacation with them at Dominican Republic. They went for scuba and I was alone on the beach. It was really boring lying on the beach. For me it’s a waste of time. So I booked a scuba course. From that moment scuba became an obsession.
Alex: For this question I have to make a big swing. I was very lucky to meet an Austrian underwater photographer on an Egypt live aboard in 2002 or 2003. He is a really macro and critters specialist. He showed me some of his pictures. Until that time I had no clue about what you can really find underwater – if you have a closer look. Usually people see colored fish, corals and that’s it. We both share the same underwater interests, so we travel and choose our dive spots and dive vacations together since then. Only the cold water regions, like Antarctica, Iceland, Alaska, I dived without him.
Cinematographers Patryk Kizny, Robert Paluch and Fabian Weber joined toguether to shoot “Altissimo. Changes in pace”. Filmed in the Swiss alps this motion-controlled timelapse was shot with the Canon 5DMII and the Canon 7D and the DitoGear™ OmniSlider.
Amazing views of boiling clouds from the highest mountain peaks, landscapes of the glacier of Saas Fee and other locations develop into much more abstract audiovisual form along with the weather changes. The film is also a tribute to free of light pollution places featuring fantastic views of the MilkyWay.
The short timelapse film “Altissimo” has been shot entirely with the motion-controlled timelapse technique. The team shot over 45 000 single frames (over 700 GB of RAW data) using a few cameras in various locations of Switzerland during a one-week stay in Switzerland in May, 20111.
Kizny and Paluch are also creators of the motion-control equipment they use- the DitoGear™ OmniSlider, which is a precise device allowing to move the camera very slowly while shooting still images.
If you look carefully, you’ll discover that a very long timelapse sequence spanning across over 2 days has been used, although it was cut for dramatic purposes.
The film is not only an example of great timelapse cinematography skills, but also a refined in every detail post-production and tasty music choice.
Production:
LookyCreative
Cinematography:
Patryk Kizny
Robert Paluch
Fabian Weber
Editing and grading:
Patryk Kizny
Music:
The Cinematic Orchestra – Evolution II (Mr. P remix)
Written by Jason Swinscoe, Phil France, Patrick Carpenter
Published by Just Isn’t Music
(P) Ninja Tune 2002 – Licensed Courtesy of Ninja Tune
Motion Control Timelapse Setup
Motion-controlled timelapse sequences shot on DitoGear™ OmniSlider. Learn more at ditogear.com
Footage available for licensing in 4K Digital Cinema.
For press, licensing or projects inquiries please contact looky@lookycreative.com
Follow Patryk Kizny:
Twitter.com/pacocreative
Vimeo.com/pacocreative
Facebook.com/pacocreative
Follow Fabian Weber:
Fabianweber.com
Twitter.com/weberfabian
Vimeo.com/fabianweber
Facebook.com/weberfabian
Follow LookyCreative:
Lookycreative.com
Twitter.com/lookycreative
Vimeo.com/channels/lookycreative
Another amazing timelapse made by filmmaker and cinematographer Daniel Lowe.
There are two shots of the Stumpy Point wildfire that has been burning in eastern North Carolina, U.S. for some time now. Most of the shots have wisps of smoke in the air from this fire. The lighthouse is Hatteras Lighthouse, the tallest in North America.
Photo by Daniel Lowe
The light streaks you see in the Milky Way shots are shooting stars, no airplanes this time. Shooting stars & meteors happen all the time all over planet Earth; you can’t see them except in the darkest skies. Especially look for them right before dawn (in the film & real life), they seem to increase in frequency at that time.
Gear:
Canon 5DmkII (one BTS w/Canon 7D & 16-35mm)
Canon 24mm f/1.4 lens rented from BorrowLenses.com
Canon 16-35mm f/2.8 II-L lens
Tiffen UV filters
Pearstone ShutterBoss remote timer
MX2 controller from Dynamic Perception
Orion AZ-G telescope pan/tilt mount
(Orion controlled with MX2 unit and custom interface cable)
Dynamic Perception Stage Zero 6 ft. motion control dolly
2 Aluratek ADMPFB100 external battery packs
Manfrotto 460MG 3D Magnesium Head
Manfrotto quick release plate used w/Orion
Universal Ball Head
2 Sunpak 6600DX tripods
All photo gear purchased from bhphotovideo.com
You can order still prints and postcards of Daniel Lowe work here Fineartamerica.com
More about Daniel Lowe:
DanielDragonFilms.com
Twitter.com/Daniel_Dragon
Vincent Laforet presents in this video some camera test footage shots during his first week with the Red Epic M – Serial # 308. The footage was shot in California, from Big Sur to Ft Bragg, back through Mono Lake and Death Valley.
The RED Epic M has the possibility to film in 5k (5120×2700) and with the HDRx technology as well.
The time lapse shots were shot with the Canon 5D MKII (Tree on top of hill, Mono Lake push, Death Valley slider shots) and the Canon 1D MKIV (BMW astro time lapse.)
Duclos, Zeiss CP.2 and Schneider Cine Xenar PL lenses as well as Canon EF lenses were used. Kessler sliders and cranes were used for moco and time lapse.
Full post here
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