Feed: Momentum - AggScore: 45.7
Summary: Momentum
A multithematic blog dedicated to Independent Filmmaking with the use of HD DSLR Cameras emphasizing into HDSLR Cinematography, Cinematic Documentary, Modern Filmmaking & Contemporary Photography.
F1 shot at 120fps with ARRI ALEXA
High Speed ARRI ALEXA Option
Formula 1 at 120 fps with ALEXA
DP Jonathan Jones of Ember Films in the UK recently shot a Formula 1 season-opening promotional film for the Caterham F1 team using the ARRI ALEXA's 120 fps high speed option. ALEXA Software Update 6.1 is out.
Also watch: F1 Shot on DSLRs, ARRI 35mm & RED
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Date Published: May 23, 2012 - 12:48 pm
Ridley Scott talks Prometheus
With Geoff Boucher - LA Times Hero Complex
Ridley Scott talks Prometheus with Geoff Boucher
For the debut episode of Hero Complex: The Show, Los Angeles Times reporter Geoff Boucher talks to Ridley Scott, the director of Blade Runner, Alien and the upcoming Prometheus. Ridley reveals the role storyboarding plays in his films, what it was like returning to the Alien franchise and how he may return to the Bladerunner franchise in the future.
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Date Published: May 18, 2012 - 8:10 am
Getting Creative with White Balance - RAW Photography quick tip
RAW Photography quick tip
Aegean Sunset Before & After - View: Large Size
All digital cameras can capture the image from the sensor into a JPEG or RAW file using settings for white balance, colour saturation, contrast, and sharpness that are either selected automatically or entered manually by the photographer before taking the picture.
However, RAW has numerous advantages over JPEG such as higher image quality bypassing undesired steps in the camera's processing, higher dynamic range, finer control, 12 or 14 bits of intensity information (not the gamma-compressed 8 bits stored in JPEG files), and much much more. The ability to control White Balance is one of the greatest advantages of RAW over JPEG.
White balance is the process of removing unrealistic color casts, so that objects which appear white in person are rendered white in your photo. Proper camera white balance has to take into account the "color temperature" of a light source, which refers to the relative warmth or coolness of white light. Most people approach White Balance with the mindset of getting true color representation and that's the right thing to do. You want your whites to be white and all your other colors to be true representations of the original scene as you shot it.
But sometimes you can play with White Balance to achieve artistic effects and a more interesting photo. For example i shot the above sunset (Canon 7D, 17-55) in the middle of the Aegean sea. The original file is nice with a more accurate color representation of the actual scene i was looking at but, is it interesting?
In order to make the shot more interesting i deliberately dialed "wrong" White Balance settings for a more dramatic effect. At the screenshots below you can see the Adobe Camera RAW Settings of the Original RAW File as well as the Edited File. Don't be afraid to play with White Balance, you can have wonderful results and much more interesting shots.
Original RAW File
Adobe Camera RAW
Edited RAW File
Adobe Camera RAW settings
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Date Published: May 21, 2012 - 1:49 am
Cineflex Elite - First Footage
Brain Farm Beta Test
1st Footage from the new Cineflex ELITE Camera System
The new Cineflex ELITE is a light-weight, compact super 35mm digital stabilized camera system featuring a design that ensures quick, affordable transport, and simple rigging onto a wide variety of mobile platforms.
The Cineflex ELITE integrates the proven 5-axis stability of the Cineflex camera systems with the award winning ARRI Alexa M® camera inside and state of the art Canon Premier® lenses. Originally designed for helicopters and aerial platforms, Cineflex camera systems deliver superior image quality, offer versatility, and are easily integrated onto cable and rail systems, aircraft, automobiles, boats and other mobile platforms.
The ELITE is compatible with a variety of certified mounts and can be rigged in one-fourth the time of other gimbals on the market. The exceptional image performance is achieved through fiber optic data transfer with extended, clean highlights, natural skin tones, excellent color separation, and cinematic depth of field.
KEY FEATURES:
• Arri Alexa M super 35mm sensor
• EI 800 base sensitivity (EI 160-3200)
• 14 stops of dynamic range
• Integrated Canon Premier® Lenses
• Fully integrated filter set
• Modular design for future upgrades and integrations
• Recording Options:
• Codex Digital Recorder-
• Up to 2880 x 2160 ARRIRAW 12 Bit
• 0.75-60fps Variable Frame Rate
• Onboard SxS Card Recording-
• 0.75-120fps Variable Frame Rate
• Up to 1920 x 1080 ProRes 4444 12 Bit
• Multiple output options-
• ProRes, DNxHD, ARRIRAW and HD-SDI
• Log C, Rec 709 or DCI P3
• ARRI Look Files for custom looks
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Date Published: May 03, 2012 - 1:16 am
Genie: Motion Control Timelapse Device
Motion control timelapse device
Genie, by Chris Thomson & Ben Ryan
The Genie! A simple, affordable and extremely easy to use device used for motion control and image capture for Time Lapse Photography + more. The Genie is an all-in-one device used to combine image capture with motion control, capable of either panning or linear movement that’s commonly used in Time Lapse Photography. Simply attach your camera to the top of the Genie, plug it in, and program it to move and shoot to your desired needs.
The Panning and Linear accessories provide ultimate flexibility for a range of movement and it’s transportable size means you will never have to go without the option of motion controlled Time Lapses no matter how constrained your location may be.
Features.
Panning or Linear Mode. The Genie can be setup to record either panning or linear time lapses. Attached to any standard tripod head or legs the Genie connects to your camera and is programmed to move and shoot in a panning direction at your desired speed. To switch between modes simply detach the panning accessory and attach the linear accessory. This is commonly used with sliders or dollies so the Genie can now drive in a linear direction along a track to capture perfectly smooth tracking time lapses.
User Presets.
A lot of time has been spent refining the Software on the Genie to make it extremely easy to use. Being able to save presets into the recording menu is one of the key features. This means that if you are happy with your final time lapse then you can simply save your settings into the recording menu so that you can easily revert back to them at another location. The time between setting up your shot and pressing 'Start' is drastically reduced resulting in an increased possibility that you will get the shot you're after.
Preview Mode.
Preview mode allows you to watch your time lapse movement before starting your camera move. Once you have your time lapse settings refined you can simply press preview and the genie will drive at the 'real time' speed of your final time lapse movement. This means you can refine exactly how fast or slow your final speed of movement will be, once again increasing the chance of getting your desired shot. In this mode it is also possible to record perfectly smooth real time video shots such as panning or slider shots. (Note that there are some limitations to how fast the Genie can drive).
Portability.
Our research and experience with Motion Control equipment indicates that often film makers will put it in the 'too hard basket'. We believe much of this reasoning comes about due to bulky and heavy equipment. It's easy to rule out the option of taking your motion control kit along with the rest of your camera gear particularly in constraining environments such as in the wilderness or around cities. With the Genie all components are packaged into one neat device with integrated screen, keypad, motor, batteries and controller all inside one unit. This allows you to always have the option of Motion Control time lapse whether you need it or not; as it easily fits alongside your camera in a standard camera bag.
Sensors.
The Genie has an interface port that allows users to connect a variety of sensors including light, motion and sound sensors that will trigger the genie to start a recording, take a photo or take multiple photos.
This application will be primarily valuable for Natural History and Nature Documentaries where capturing animals in remote locations is difficult. The sensor port also allows for integration with smart phones providing additional functionality via updateable external mobile Apps.
Smartphone App.
Currently a mobile App for android and Iphones is in development. This will allow full control of the Genie and the various settings from your smartphone.
Sources: Cinescopophilia | Engadget
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Date Published: May 01, 2012 - 10:44 am
Grandma commercial
by Martin Hodara
Director: Martin Hodara
Martin started working in movies at 18 years old. He worked in different departments until 1986 a year in which his focus geared more towards the directing department. From there he worked as a first A.D. working in features and commercials.
He assisted big names such as Robert Logevall, David Dennen, Ed Nammour, Sebastian Chantrel, Fredrick Bond, Joao Daniel Tikhomiroff, Jaume, George Muskens, and others giving him a great sensibility of Film Directing. These great experiences combined with his strong still photography background gave Martin the talent he has today for treating the image and telling a story.
He has directed three short films, including one that screened at the International Film Festival from Sao Pablo, Brazil. Since then, Martin has been directing commercials and video clips with big success including a "Lapiz de Oro", one of the most prestigious prizes in the Argentinian Industry.
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Date Published: Apr 27, 2012 - 2:25 pm
SloPro: Slow motion on iPhone [Free App]
Slow motion on iPhone
SloPro App
Did you ever think you could make beautiful slow motion video right from your phone? Well, with SloPro you can. This app shoots 60fps slow-mo video at 720p with 30p playback. Free Download: SloPro [App Store]
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Date Published: Apr 30, 2012 - 5:00 am
Side by Side Documentary
The Science, Art, and Impact of Digital Cinema
only one way to make a movie — with film.
Movies were shot, edited and projected using photochemical film. But over the last two decades a digital process has emerged to challenge photochemical filmmaking.
SIDE BY SIDE, a new documentary produced by Keanu Reeves, takes an in-depth look at this revolution. Through interviews with directors, cinematographers, film students, producers, technologists, editors, and exhibitors, SIDE BY SIDE examines all aspects of filmmaking — from capture to edit, visual effects to color correction, distribution to archive. At this moment when digital and photochemical filmmaking coexist, SIDE BY SIDE explores what has been gained, what is lost, and what the future might bring.
James Cameron
Robert Rodriguez
Steven Soderbergh
Left: Keanu Reeves - Right: David Lynch
Read also: DP Phedon Papamichael, ASC on Momentum
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Date Published: Apr 26, 2012 - 12:09 pm
John Cleese on Creativity
How to be Creative
John Cleese on Creativity
In this brilliant 36-minute video, John Cleese gets to the core of what it takes to become creative. "Creativity is not a talent" he states, "It is a way of operating."
“So, the prospect of settling down for quite serious study of creative for the purpose of tonight’s gossip, was delightful,” states Cleese in the introduction, “and having spent several weeks on it, I can state categorically that what I have to tell you tonight about how you can all become more creative is a complete waste of time.”
Specifically, Cleese outlines "the 5 factors that you can arrange to make your lives more creative”:
1) Space (“You can’t become playful, and therefore creative,
if you’re under your usual pressures.”)
2) Time (“It’s not enough to create space; you have to create
your space for a specific period of time.”)
3) Time (“Giving your mind as long as possible to come up
with something original,” and learning to tolerate
the discomfort of pondering time and indecision.)
4) Confidence (“Nothing will stop you being creative
so effectively as the fear of making a mistake.”)
5) Humor (“The main evolutionary significance of humor is that
it gets us from the closed mode to the open mode quicker than anything else.”)
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Date Published: Apr 26, 2012 - 12:07 pm
Amazing photography trick! Take your camera and follow the instructions!
Follow the instructions
Take your camera and follow the instructions! Set your aperture to f/5.6 and your shutter speed at 1sec. Use a tripod or hold your camera as steady as possible facing the above video, shoot the static and see what happens! [Warning: Spoiler]
The FIAP is an international federation which affiliates as operational members, the national associations of photography. FIAP counts more than 85 national associations in the five continents and represents the benefits of nearly one million individual photographers. Since September 2004, camera-clubs and regional groups ouf clubs can join FIAP, under some conditions.
Its purpose is the promotion of photographic art under all its aspects and by all kinds of photographic events. All considerations of political, ideological or racial order are absolutely banned from the activities of FIAP. FIAP was founded by DR. M. Van de Wijer, belgian, who has established links between different national photographic associations through the world, since 1946.
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Date Published: Apr 24, 2012 - 2:37 am
The most beautiful neoclassic building in the world
The Academy of Athens (shot with Instagram)
View on: Instagram | Twitter
The Academy of Athens' Building constitutes one of three parts in an "architectural trilogy" consisting of the Museum (the National Library) - the University - and the Academy. The latter was designed in 1859, by the Danish architect Theophil Hansen (1813-1891), the younger brother of the University's architect, Christian Hansen. It is considered the most important work of Hansen, and is regarded by experts as the most beautiful neoclassic building worldwide.
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Fashioned out of fine marble, the facade of the Building of the Academy of Athens, faces Panepistimiou Avenue. One side faces the University of Athens and the other two face the garden of the Academy, which extends north to Akadimia Avenue and east to Sina Street.
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The Building consists of a central part with two wings, and displays characteristics of the Ionian rhythm. Its central part is designed along the lines of an amphiprostyle temple.
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The Building of the Academy of Athens has a rich sculptural decoration, which was executed over the course of a decade, from the 1870s up to the mid 1880s. The major part of the decoration is the work of the sculptor Leonidas Drosis (1843-1884). The terra-cotta sculptures adorning the eight smaller pediments of the building's two wings, are based on designs by Hansen
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On the right side of the Academy's building there are two statues: Apollo the guitar-player (3.71 m. high) and seated Socrates (2.40 m. high).
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On left side of the Academy's building there are two more statues: Athena the defender (4.11 m. high) and seated Plato (2.40 m. high).
Read also: DP Phedon Papamichael, ASC on Momentum
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Date Published: Apr 22, 2012 - 2:15 am
Constantine Manos Documentary
Leica & Magnum
Vimeo description: Constantine Manos was born in 1934 in South Carolina to Greek immigrant parents. He went on to attend the University of South Carolina, from which he graduated in 1955. Joining Magnum Photos in 1963, he then became a full Member in 1965. This video, produced in partnership with Magnum, is a personal documentary of Manos' wide-ranging subjects – from desegregation in the American South to life in Greece and his later work throughout America which he shot in color. One thing has remained constant throughout his career, it's been Costa and his Leica rangefinder.
Constantine Manos was born in 1934 in South Carolina to Greek immigrant parents. His photographic career began when he was 13, in the school camera club, and within a few years he was a professional photographer. At the age of 19 he was hired as the official photographer of the Boston Symphony Orchestra at Tanglewood. During this time he attended the University of South Carolina, graduating in 1955 with a BA in English Literature.
After military service, he moved to New York, where he worked for Esquire, Life and Look. His book Portrait of a Symphony, on the Boston Symphony Orchestra, was published in 1961. For the next three years, he lived in Greece, producing work that resulted in A Greek Portfolio, first published in 1972 and an award-winner at Arles and at the Leipzig Book Fair. In 1963 Manos joined Magnum Photos.
Manos's work is in the permanent collections of the Museum of Modern Art in New York, the Museum of Fine Arts in Boston, the Museum of Fine Arts in Houston, the Bibliothèque Nationale in Paris, the Art Institute of Chicago, the George Eastman House in Rochester, and the High Museum of Art in Atlanta.
His book Bostonians, which celebrates the people of that city, was published in 1974. A new edition of A Greek Portfolio was published in 1999, accompanied by a major exhibition at the Benaki Museum in Athens. In 1995 Manos's American Color was published, and in 2003 he was awarded the Leica Medal of Excellence for his continuing work on that project.
Photo/Bio: Constantine Manos Wiki
Read also: DP Phedon Papamichael, ASC on Momentum
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Date Published: Apr 20, 2012 - 12:22 pm
Blackmagic Cinema Camera
13 stops of dynamic range, 2.5K sensor
April 16, 2012. Blackmagic Design today announced Blackmagic Cinema Camera, a revolutionary digital cinema camera design that includes powerful features such as super wide 13 stops of dynamic range, high resolution 2.5K sensor, built in high bandwidth SSD recorder, open file format support, color correction with full version of DaVinci Resolve and a built in LCD with metadata entry, all in an attractive compact design for only US$2,995.
Many current generation video cameras suffer from a "video look" due to a limited contrast range, a maximum HD resolution sensor, poor quality optics and lenses, the use of heavy video compression for file recording and poor integration with NLE software metadata management. With these limitations, they cannot be used for high end work or feature films.
Blackmagic Cinema Camera has been designed to eliminate these problems so customers get a true feature film look, and at an affordable cost can shoot high end television commercials, episodic television programming and feature films.
Blackmagic Cinema Camera includes a super wide 13 stops of dynamic range, large 2.5K sensor, a built in SSD recorder that has the bandwidth to capture open standard CinemaDNG RAW, ProRes and DNxHD files, a built in capacitive touch screen LCD for direct metadata entry, standard jack audio connections, built in high-speed Thunderbolt connection, 3 Gb/s SDI output, a refrigerated sensor for low noise, and is fully compatible with extremely high quality Canon EF and Zeiss ZF mount lenses.
Blackmagic Cinema Camera also includes a full copy of DaVinci Resolve for color correction and Blackmagic UltraScope software for waveform monitoring. UltraScope can be run on a laptop connected to the camera via a Thunderbolt connection.
One of the most important features of the camera is its super wide dynamic range of 13 stops, allowing feature film quality images. Commonly people focus on more pixels, however often this just creates a higher resolution, but still "video" looking images that suffer from highlight and black clipping that limits details. Blackmagic Cinema Camera's wide dynamic range eliminates this problem and provides film quality with dramatically more detail retained in black and whites in the image. Once the shoot is complete, the included DaVinci Resolve color correction software can be used to adjust images and take advantage of this extra range in the images. The high quality EF and ZF lens compatibility also helps create sharp and cinematic images that look incredible.
To eliminate the damage that low bit depth and high compression video storage creates, Blackmagic Cinema Camera includes a fast SSD recorder. The built in SSD recorder can record on fast solid state disks the full sensor detail in 12 bit Log RAW files in the open standard CinemaDNG format. These files can be read by all high end video software. The full 2.5K sensor data is stored in the files completely uncompressed because the SSD has the speed to store video data at the required rate. Then this high quality file can be color corrected on DaVinci Resolve for the same high quality result currently only possible on cameras costing tens of thousands of dollars.
Blackmagic Cinema Camera has been designed as the perfect companion to Final Cut Pro X and Avid Media Composer NLE software. Unlike other cameras, which require the use of custom video file formats that are not compatible with popular NLE software, often making the post production process a nightmare, the Blackmagic Cinema Camera includes absolutely no custom video file formats, and every file type included is open standard. It records into CinemaDNG format for RAW files, ProRes and DNxHD for HD resolution files compatible with Final Cut Pro X and Avid Media Composer.
The built in large LCD display makes focus easy, and allows playback of captured files. Blackmagic Cinema Camera includes a built in microphone, as well as external jack based mic/line level balanced audio connections. When playing back recorded clips, a speaker is built in, and there is an included headphone socket, as well as embedded audio on the SDI output and Thunderbolt connection. The SDI output includes all camera data such as timecode, transport control, shutter angle, color temperature setting and ASA information overlaid in attractive anti aliased fonts.
For easy metadata entry, the built in LCD features fast and responsive capacitive touch screen technology. When the user taps the display with a finger, a data entry window called the "slate" appears. This lets the user enter shot information just like typing on a smart phone. This data is then stored in the files so can be accessed by NLE software when editing content later. Metadata is compatible with popular software such as Final Cut Pro X and DaVinci Resolve. All camera settings can be changed on this touch LCD, such as frame rate, shutter angle, color temperature, dynamic range, focus assist settings and more.
Blackmagic Cinema Camera includes an innovative industrial design built from solid machined aluminum metal which results in an attractive but rugged design. All of the camera, recorder and display have been shrunk down into a lightweight design thats very portable.
"This is one of the most exciting products we have ever created and its been a work in progress for a very long time," said Grant Petty, CEO, Blackmagic Design. "Ever since I was a telecine engineer back in the 1990's I have wished that video cameras would include features that allowed them to perform creatively similar to film. However current digital cameras are too heavy, way too expensive and need costly accessories to work. We felt there was a need for a camera that delivered these features in a design that's optimized for professional video shoots, as well as being a compact, elegant design that's easily affordable. We think we have achieved that!"
Availability and Price
Blackmagic Cinema Camera will be available July 2012 for US$2,995 from Blackmagic Design resellers worldwide.
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Date Published: Apr 20, 2012 - 11:46 am
DP Phedon Papamichael ASC Interview
Phedon Papamichael, ASC, was born in Athens, Greece and moved with his family to Germany, where in 1982 he completed his education in Fine Arts, in Munich. Working as a photojournalist brought Phedon to NYC in 1983, where he started crossing over into cinematography.
Phedon now counts 50 feature films to his credit as Director of Photography. His credits include many critically acclaimed films, such as Phenomenon (1996), Mousehunt (1997), Patch Adams (1998), The Million Dollar Hotel (2000), America's Sweethearts (2001), Moonlight Mile (2002), Identity (2003), Sideways (2004), Walk The Line (2005), The Weather Man (2005), The Pursuit of Happyness (2006), 3:10 To Yuma (2007), W. (2008), Knight and Day (2010), The Ides of March (2011), The Descendants (2011) & more.
On the music video side, his work includes: U2 (Electrical Storm, The Ground Beneath Her Feet and Stuck in a Moment you can't get out of), The Killers, Eric Clapton, Bryan Ferry, Pearl Jam and more.
Phedon has also shot and directed over 100 commercials for such clients as BMW, VW, Audi, Seat, Cadillac, Nissan, Hyundai, Renault, Fuji, Barilla, McDonalds, Fosters, Bud Light, Coors, Beck's, Goodyear, ESPN, Powerade and Nespresso.
Phedon's many international Awards include the Orpheus Career Achievement Award given by the LAGFF in 2010 AWARD. He has been accepted as a member of the Academy of Motion Picture Arts and Sciences in 1997, where he served several years on the Cinematographers Branch Executive Committee. Phedon is also a member of The American Society of Cinematographers (ASC) and the International Cinematographers Guild.
I had the pleasure to have a long talk with Phedon on Skype discussing cinematography. The following lines is the transcript. There is so much fascinating stuff in this talk so make a cup of coffee, sit back and enjoy the ride with my personal favorite DP and one of the best in business.
Alex Maragos: Ok Phedon, let's take it from the beginning. You were born here in Athens Greece, you've moved in the States, then back in Europe and then back in the States. When did you become interested in Cinematography?
Phedon Papamichael: When i was a high school student in Munich i first started having interest in cinematography. When i was 15 i bought a Super8 camera and i start filming, making films and edited them. Later that format became very limited for me and i actually transitioned into still photography just because i could afford a professional camera. I felt like i could deliver some higher quality work with something that was affordable, so i bought my first Nikon and then i got very seriously into still photography. Of course i was a film-lover. There was one particular film called Le Mépris, its Godard's with Michel Piccoli and it was cinemascope, it was very graphic.. the colors... I related with that movie because first of all i loved Brigitte Bardot but second of all i realized that: "oh, there's somebody doing this job!". I mean i knew some directors but that's the first movie i wrote down the name of a cameraman. I wrote down Raoul Coutard. And i got: "ok, so there's somebody that does that. He moves the camera, he designs shots, he helps to tell the story, he helps the director." So at least i knew there was such a thing. Growing up in Munich.. it wasn't like a big society of filmmakers at the time. There was Wim Wenders and Robby Müller so.. we were looking mostly at French & Italian films. Then i finished my school, i did my military service and i left for America right away because my father, Phedon Papamichael, he was working on a John Cassavetes movie, he was an art director, so i just went there to check it out, i had no plan and i couldn't really afford a film school. So i was living in New York and then i started making a short film with Liz Gazzara, Ben Gazzara's daughter. She hired me based on my still photography. From that point on i just kept shooting, i never went to film school but i shot UCLA graduate films & various short films. Cassavetes had a Eclair NPR in his closet that he shot Faces with, so i asked him if i could borrow it and then i learned how to use it. I think it helped me get work. I had access to a camera and i got actually pretty busy, pretty fast.
• So you've learned the craft of cinematography from within the job.
Yes. I mean, i made mistakes in the beginning. I knew still photography so i knew exposure, i knew depth of field, i knew composition, but in terms of how to make a movie as a cinematographer i've discovered it along the way.
• After 45 films in your career, are you still learning things?
Of course you learn things, first of all everything is constantly changing. The technologies are evolving. But besides that, that's why our profession is special. Every time you've given a new script, it's a new approach. I really make an effort not to repeat things and also my work is very diverse. I don't have one style that i imprint on everything. If you look at Mousehunt is very different than The Million Dollar Hotel and very different than Sideways. I really try to not be unidentifiable through my work.
• You mentioned technology. What's your opinion about digital cinematography? We have ARRI Alexa, we have RED Epic at 5k, now we have Canon's C300...
The C300 was the weakest camera in the whole group that tested by the ASC & the PGA which is The Producers Guild of America. They do a big Shootout every year.
• What about the Mark III?
Mark III supposedly is very good. People prefer the Mark III i think over the C300 and it cost like the 1/5th or something.
• What do you really think about the DSLR revolution?
I just directed a movie that i shot with a RED Mysterium X chip and 5D combination. I used the 5D everywhere i didn't have permits to shoot. In the subway, on the streets at night, at Santa Monica Pier, and i think it's fantastic. You know, i'm still shooting film. I've shot all my features on film except the last one, a Judd Apatow film called "This is 40" i've shot with Alexas and it was the right thing to do because he shoots an incredible amount of film. On his last movie "Funny People", that Janusz Kaminski shot, they shot 2 million feet of film. It was really convenient to use Alexas, because of the multiple cameras and to have 30-minute takes. There are stories that should be shot on video and then there's films that are gonna be shot on film for a while. I think it depends on the preference of the director.
George Clooney wanted to shoot film mostly because he's more traditionalist. He's happy when he gets to direct a movie and he wants to shoot it on film, there's no other reason. I did very extensive test with Super 35, Anamorphic Alexa, Epic, all 2.40:1 aspect ratio and then i did color correction in the DI suite. First i colored the film, it was Kodak Vision 500 and then i matched all the other formats to that, i added a little bit of grain to the digital cameras and then i went to film, so i printed everything and i filmed-projected everything side by side A/B Projection and the reality is that i could have tricked most people, probably everybody, by labeling it anyway i want. No one would be able to tell the difference. Certainly an audience will have no idea what they're looking at.
So, that's when i went to Kodak and they asked me 'what kind of film stocks we should develop?'. And i said, 'if you can give me a 1000asa stock that is completely neutral and has 20 stops of latitude, it has no grain, then ok!'. I said "look, you're a moving target but there is a big Mack Truck on the road coming up behind you, you're not gonna make it. You have no chance." And i told this lady at Fuji "find another job", she's a friend of mine. The reality is, it's over, in terms of film. There is no more release prints. By the middle of next year all the movie theaters will just receive DCP (Digital Cinema Package). So, Fuji is gonna keep making film, for Kodak we're not sure. Depends if they re-invent themselves, it's going to be difficult though and you know, i might shoot film, i'm not gonna fight shooting film. If somebody wants to shoot film i'm happy to shoot film. It's still very beautiful. I don't like the workflow on the Alexa.. or any digital cameras. Because now instead of lighting to the eye with my light meter, i have to light of a monitor. There is no other way to do it. I can't trust my eye and i can't trust the meter. So that's a little bit annoying. Just because i have to have a big monitor on set.
• Do you have any particular favorite film stock for day & night scenes?
No i think all film stocks are so similar that it doesn't really matter. I mean between Kodak & Fuji. I usually use just Vision 500 or Fuji 500 tungsten because i like a little grain, so i don't really go lower speed stocks. I like having consistent textures, i don't mix stocks.
• How do you decide if a story requires a shallow DOF or a narrow DOF? Correct me if i'm wrong but i think you've shot the entire "Weather Man" at 2.8
Yeah i usually shoot around 2.8. It depends on the lensing. Some movies are little longer lenses. I usually shoot a little wider, i also intend to shoot close-ups like a little bit wider and just get physically closer to the actors. Longer lenses work for Tony Scott i guess but, it's less intimate for the characters when the camera is physically removed. If you shoot wider lenses you have to keep a shallow depth of field in order to isolate them a little bit better and keep the background out of focus. I do ND down a lot, but there is no rule to it. With Alexa you kinda have always narrow DOF which is nice.
• Are you talking with the colorist before filming about the DI process later?
Normally no, on "The Weather Man" yes. We picked what we call our "cocktail", which was a little bit of desat, a little bit of green, so we dialed in the look and then we maintained that look and applied it in the DI afterwords.
• Are you using any filters?
No, not really any more. I try to get the sharpest image now and then i can always degrade the image or soften in specific areas if a need to. With Alexa i shot Panavision lenses - i've Panavised Alexa - they're not as sharp as with Master Primes anyway. They are older lenses, they're not really made for digital cameras so they're little softer anyway.
• Where exactly are you focusing during filming? What are you thinking?
Not to gain too much weight! [laughing]. It depends on the movie, you focus on consistency. You have to stay focused. Anyone can make a couple of scenes look good. That's why commercial DPs don't always do so well in features. It's very hard over a duration of 10 weeks, or 12 weeks, or 5 weeks depending on the movie, to have every day come together in the final product. You have to stay focused just like an actor has to stay focused on the performance. And it's mostly experience that makes you accomplice consistency. You have to be able to predict what's gonna happen, you have to know how to layout the day especially on day exteriors.
• Are you shooting any commercials or music videos now? You shot three U3 music videos in the past.
I don't really shoot music videos. That was just because we had a connection to Bono and he was asking me to do it.
• I'm a big U2 fan you know!
I met Bono because he wrote the story of The Million Dollar Hotel. He invited us to Dublin and we went out a lot. We went to his house, he cooked pasta and we did a music video for the Million Dollar Hotel, "The Ground Beneath Her Feet". Then he called me for "Electrical Storm" which Anton Corbijn directed and i went to Monte Carlo. That was very nice. We did another one that he again requested me, but it's been a while since i have seen him.
• Electrical Storm is a very beautiful b&w video...
...Later with Anton Corbijn i did a Killers video and then we did another one in L.A, "Stuck in a Moment". It's fun when you do U2 videos, other than that i'm not really into doing music videos. Of course i do commercials because that helps me bridge time between features.
• Are you planning to shoot any movies in Greece?
There's one script that takes place in Greece but it's not financed yet. Most of the movies that take place in Greece are not financed. But, of course i would like to work in Greece. I directed a lot of commercials in Greece.
• I think you've also directed an Ouzo commercial, Plomari?
Yes, Plomari, Volkswagen TSI..
• Are you staying in LA now?
I was 4 months in Greece, from October till mid-January. I came back to shoot "Nebraska" with Payne which is black & white. No casting yet, it's been pushed back.
• Is this your 4th collaboration with Alexander?
3rd i guess. Everybody thinks i did more. I've only done two. "Sideways" and "The Descendants". I have a house in Leonidio. So i come to Greece. I like coming to Greece. I want to come there and i want to work there more but also i don't want to come and take work away from the few people that they're working. Cause when i come down, its like 'oh do this, do this commercial, do that' and then i directed and shoot, so i don't want to take work away from DPs in Greece.
• I see. When you come here again i woud love to have an ouzo with you in Leonidio!
We'll do that!
• Ok, one last question.
What's the best way to learn the craft of cinematography?
By shooting all the time!
• Simple as that!
Yes, what else is there? What are you gonna do? And watch movies! I think younger generation doesn't watch movies. Maybe in Europe its better but here they have no idea. They don't watch any of the great classics and French & German New Wave cinema. They watch contemporary films. People need to watch Bergman movies.. Kurosawa movies.. David Lean movies. I'm really worried about the classic storytelling style. Somebody asked me 'what is the most important thing for you in cinematography?'. I go 'Lighting'. They go 'Lighting?!'. Like it was some kind of surprise to them. That's how you tell a story. You create a mood. You set the light for the character.
I'm worried a little bit that the new generation is not gonna know how to tell a story like that. There's a trend now of running around handheld with available light. It's very appropriate sometimes - some of those movies are interesting - but it doesn't mean that other kind of more traditional storytelling is gonna disappear completely.. There's gonna be a demand for that. But also the way people view films is going to change, which doesn't help. It's really getting very difficult for young DPs out there. We're losing respect of the craft. You know, there used to be a mystery about us. We had a light meter and a viewing glass and we've been talk to the lab about printings. Everybody thought they can write and direct, but nobody knew exactly what we do and now everybody feels like they can just stand by the monitor and have an opinion. So, i'm just worried about we're going to lose the respect for our craft and that the DPs are going to get under-appreciated and underpaid.
• One of the things the DSLRs done was exactly that. Everybody can have a 5D or a 7D and shoot just about anything with only available light.
Yeah i know. If you think about it -maybe it's not true but- we went from 1 out of 100 people having a Nikon film camera and now everybody's having a digital still camera. I'm on Instagram and it's amazing, the amount of images & photography, it's just mind-blowing.
We're starting to do online film school. It's going to be streaming probably on Facebook. It's gonna be, myself, Wally Pfister and Janusz Kaminski. And it's gonna be not really a film school in the technical sense. Its more philosophical, its more career advice and tricks of the trade and dealing with the industry. Because when i give seminars & Masterclasses it's all these questions i've been asked that you don't learn in film school and no film teacher can ever tell you about.
• Only on Facebook?
I think that's how we're gonna launch it yeah. It's gonna have about 25 courses, you can purchase them individually or as a package. And there going to be maybe 25 to 30 minutes long each. I'm not sure the pricing yet but it's really trying to reach out to all these countries that have young cinematographers or filmmakers in general.
• When will it go online?
We have to shoot it so i'm hoping to do it next month. It will go online after the release of "The Dark Knight Rises".
• Ok Phedon, thank you very much. It was a real pleasure!
All the best, γεια χαρά!
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Date Published: Apr 25, 2012 - 1:03 am
Canon EOS-1D C 4K DSLR
The first 4K DSLR Camera
April 12, 2012. Canon has announced the highly anticipated EOS 1D C Digital SLR Camera with 4K Video Recording up to 4096 x 2160 px res.
Delivering outstanding video performance, the compact, lightweight EOS-1D C provides video recording at 4K (4096 x 2160-pixel) or Full HD (1920 x 1080-pixel) resolution to support high-end motion picture, television production and other advanced imaging applications. Equipped with an 18.1-megapixel full-frame 24mm x 36mm Canon CMOS sensor, the camera records 8-bit 4:2:2 Motion JPEG 4K video to the camera's CF memory card at 24 frames-per-second (fps) or Full HD 1920 x 1080 video at selectable frame rates from 24p to 60p, making it possible for next-generation visual expression with even higher image-quality and resolution performance.
"The Canon EOS-1D C digital SLR camera was designed in response to the needs of filmmakers, television producers, and other high-level motion-imaging professionals," stated Yuichi Ishizuka, executive vice president and general manager, Imaging Technologies & Communications Group, Canon U.S.A. "Not only does it combine 4K and Full HD video capture with a convenient design, its use of dual CF cards also offers an efficient workflow compatible with today's post-production requirements."
The Canon EOS-1D C digital SLR camera incorporates Canon Log Gamma to enable the recording of high-quality video with rich gradation expression, making possible the type of impressive image quality required in motion pictures by maximizing both highlight and shadow detail retention while also providing a high level of color-grading freedom. The EOS-1D C's full-frame 24 x 36mm 18.1-megapixel Canon CMOS sensor makes possible a wide range of creative imaging expression, such as image-blur effects.
Additional features include an expanded sensitivity range of up to ISO 25600 for exceptional motion-imaging results with reduced noise even in low-light settings. The camera's ability to record 8-bit 4:2:2 4K and 8-bit 4:2:0 Full HD video to CF cards eliminates the need for an external recorder and enables workflows with increased mobility. If desired, however, captured video (excluding 4K video) can be output from the camera's HDMI terminal to an external recorder using an uncompressed YCbCr 8-bit 4:2:2 signal.
4K video is captured by an approximately APS-H-sized portion of the full image sensor, while Full HD video can be captured in the user's choice of two different imaging formats:
1. The standard Full HD setting captures the full 36mm width of the CMOS sensor to achieve the largest possible angle of view for any compatible lens.
2. An optional Super 35 crop setting enables cinematographers to match the industry-standard imaging format and angle of view achieved by traditional motion picture cameras. This enables video footage from the EOS-1D C camera to more closely match the look of footage from other cameras in multi-camera shooting environments.
Other useful video-related features on the EOS-1D C DSLR include a built-in headphone jack for real-time audio monitoring, and the ability to view the camera's LCD even when the HDMI port is connected to an external monitor. The EOS-1D C camera uses the same LP-E4N battery pack as the EOS-1D X, and it can also be powered by an optional AC Adapter Kit.
The EOS-1D C camera ships with Canon software applications including EOS Utility, which enables various camera settings to be adjusted from a PC, and Picture Style Editor. These two personal computer applications enable users to view the camera's live output on an external monitor1 and adjust the image in real-time to maximize shooting and post-production efficiencies. The software also ensures no loss of quality for 4K/Motion JPEG and full HD/60p video displayed on the external monitor, and it enables video shot with Canon Log Gamma to be output on the monitor with video gamma applied.
Versatility and Value
The Canon EOS-1D C camera can be used to capture still images with more than 60 interchangeable Canon EF and EF Cinema Lenses, all of which are designed to deliver exceptional image quality to maximize the potential for creative visual expression. The compact size and lightweight design of the camera make it easy to carry so it is highly mobile for convenient shooting inside automobiles and other confined spaces. Its compact size also enables peripheral equipment such as rails and cranes to be more compact, which can facilitate smoother handling and reduced costs on-set. The camera's low-light capabilities can also help to minimize lighting costs and increase versatility for lighting. For added usability, record start/stop can be remotely controlled by EOS Utility Software via an optional Canon WFT-E6A Wireless File Transmitter.
Realizing the same exceptional still-image performance as the recently introduced Canon EOS-1D X digital SLR camera, the camera provides a sensitivity range of ISO 100-51200 for outstanding still-image results with reduced noise, even in dimly lit settings. Incorporating high-performance Canon Dual DIGIC 5+ image processors, the EOS-1D C delivers high-precision AF and AE performance while also enabling high-speed continuous shooting of up to approximately 12 fps. In the ultra-fast continuous shooting mode, the EOS-1D C provides a continuous shooting speed of up to approximately 14 fps (mirror remains raised during shooting; JPEG images only).
The Canon EOS-1D C digital SLR camera is scheduled to be available within 2012 at a suggested retail price of $15,000.
READ ALSO: Phedon Papamichael ASC Interview on Momentum
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Date Published: Apr 12, 2012 - 12:33 pm
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