xseeddesign

With the new wave of DSLR cameras supporting HD video it seems the world of video has been taken over by old school photographers who can now use what they’ve learned over the years to make some pretty amazing moving images. With many of the resources I’ve listed on this blog like ‘From Stills to Motion’, shoulder mounting rigs, etc. anyone can take a 2000 dollar DSLR and take 35mm sized images without spending the big bucks. But one thing no ones talking about is all the new photographers that are emerging because of the very same technology. More and more filmmakers are converting to DSLR’s and are taking more and more photographs then they ever tried to before. SO it goes both ways. Videographers are complaining about the flux in the market and I imagine photographers are none too happy about every film student now adding 'photography’ to their business profiles. With new technology brings more competition. What can you do.

This blog post explains it in detail, and I like the photos. ;)

So an interesting thing happened. After not shooting stills for the longest of time, I suddenly found myself with a heck of a lot of stills photography equipment by way of the ever increasing use of DSLR cameras to record HD video. I suddenly had a camera bag with two bodies, half a dozen lenses of various focal lengths and all the bits and bobs needed to shoot glorious HD video with the depth of field I had always wanted but never been able to get with standard video cameras. And what do you know, I started taking stills again, a few at first, then more and more.

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M8, Leica Summicron 50mm f2.8, 1/360

And then whilst reading Phillip Blooms site I read a post about a new camera he had saved up for, the Leica M9. This was a fascinating read, why would somebody, who has his pick of DSLR camera bodies drop close to $10,000 for a camera that is for all practical purposes totally manual, in Phillips words 'exceedingly difficult to use, frame and focus’ and then spend thousands more on lenses that ha can’t use with his Canon or Nikon rigs? The answer was simple, the 'Leica Look’, that almost impossible to describe look that Leica cameras and glass give you. Now I had just gotten back from shooting (video) the World Cup and I had decided that even though I loves my DSLR, it was rather big and bulky and there were many situations where a smaller camera would have been helpful, somewhere in-between a point and shoot and a 'real’ camera. So I bought a used Leica D-Lux 3, I figured it would be a great small camera to carry when I didn’t want to bring my DSLR camera, but at the same time it wouldn’t break the bank. Well it arrived and I have to say right out of the gate I was amazingly surprised, the D-Lux 3 is not the newest camera by any mean feat, the D-Lux 4 was already shipping when I got it, but the quality and sharpness of the images I got was much better than I expected from such a small sensor and lens. Read more here…

vimeo

A recent video I completed for the 2B Technology company showcasing thier ozone monitoring equipment compared to the competition. It will be used on showroom floors, lobbies and internet marketing. I think it’s pretty neato, the only stock footage is the TV’s.

www.xseeddesign.com

How to Apply for Grants

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Independent filmmakers undoubtedly have the passion for filmmaking. However, their kind of films are not really that marketable – namely short and documentary films. So, it is definitely not a surprise there are only very few businesses and businessmen who are willing to sponsor their projects.

However, there are several organizations – usually founded by filmmaking enthusiasts and other filmmakers themselves – who are continually giving out film grants to deserving projects.

Grant benefactors often let the applicants submit a proposal following a specific guideline. These guidelines differ depending on the organization or foundation. There are certainly lots of competitions who are, like you, dying to be the recipient of the film grant. Therefore you must have an edge apart from all other applicants.

Greg Pak, renowned writer and director has set up the following pointers on how to apply for a film grant:

• Research the organization making the grant
Different grant-making organizations have different preferences. Research some information about the organization. Reversely, try to look for organizations that are most likely to accept the kind of film you are offering. Do not do so much as to waste your times on others who will not.

• Follow the guidelines
Give the grant-making organization what they are looking for. Read the guidelines carefully. Sponsored Results for movie grants  
 
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• Be straightforward and clear as possible
Go straight to the point but present it clearly.

• Try and try again
If you do not get them in your first try, then try again. It is possible that one organization out there is looking for a proposal exactly like your own.

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Werner Herzog on Q TV

“working in whispers” . herzog talks about working with the precision of a heart surgeon to increase efficiency on a production. similarly graphic design students are encouraged to work and research with the attention to detail like medical examiners, with a quasi scientific approach.

vimeo

Absolutely amazing piece of stop motion art. The amount of hours here is mind boggling.

Just a pic I took from my resent trip up the Cali coast line.

So it seems I am becoming too busy to write on Tumblr! Yay!! I find when your life is too busy to be online than that’s a good thing.

I shot 4 Business profile videos so far this month, I have another one bright and early tomorrow morning as well. This Friday I leave for three days to shoot a travle show pilot, it’s been in the works for awhile but just now I know. Shooting at the Broadmoor hotel to start then on to more exotic places, Switzerland and a cruise down the Amazon are planned for after the New Year.

Big coporate project starting next week that I think will be pretty neato. Can’t say what I’m doing yet but when it’s done I’ll post it. I’m going for something alittle more artistic for these guys, and luckily they are okay with it. I’ve also come to realise that you need two things to make the true artisitic and visionary pieces that you go to school dreaming of making someday. You need the budget and you need the willingness of your client to let you go ahead. Budget is the biggest one though. It’s great to be all high and mighty and go off and shoot all day doing neat independent stuff and come home to eat your Ramen for dinner, but those of us who have bills to pay and a career to further need to shoot for whomever and whatever that pays. And very rarely does it pay enough to actually be creative. I get 600 to 1,000 for my basic business video, I shoot and edit them in 6 hours if possible. Speed is your friend in this industry, I can get 300 a shoot but if I can do it in two hours that’s 150 an hour. But it’s hard to do the stuff you really love to do with small budgets. Main point I was making is the shoot planned for next week is one of those high paying, allowed to be creative kind of shoots that I look forward to. The script and storyboard alone took me longer than most shoots and edits if that means anything.

SO I’m sorry for not posting much, I suppose I should keep on that. If you’d like to see more photos you can always go to my Flickr at www.flickr.com/cinebasics and if you’d like to see my very simple business videos you can go to www.vimeo.com/xseeddesign but don’t plan on being impressed.

Also there’s the yearly Vid Expo in town this week which I’m excited about. I really want to get my hands on a RED Scarlet if they have one but I doubt it, I’d also be happy with a Panasonic Ag-Af100. I just love playing with new toys!

www.xseeddesign.com

Computer hardware company LaCie partners up with Porsche Design to create an official line of USB 3.0 hard drives that with a clean and minimal look. Avaiable in both desktop and portable versions ($105-$160), the 1-2 TB hard drives feature a hard aluminum case that protects from external shock, along with software protection from LaCie.

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via PSFK: http://www.psfk.com/2011/06/lacie-porsche-unveil-usb-3-0-aluminum-hard-drives.html#ixzz1QgoVWywN

This will be the future of mobile hard drives as far as speed and editing capabilities. You won’t have redundancy but for off loading SD cards and editing directly off the drive this will beat anything else hands down in speed. I can’t wait!

featuring Thunderbolt™ Technology

  • Thunderbolt technology: up to 10Gb/s
  • Compact aluminum design by Neil Poulton
  • Built-in RAID 0 for superior speed
  • Daisy-chainable for up to 6 peripherals
  • Be the First. Get the Fastest. From LaCie.

    Available Summer 2011

http://www.lacie.com/products/product.htm?id=10549

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vimeo

How can you not enjoy this, I mean really. 2,500 fps. That’s just fun in a package of giddy wrapped in an orgasm.

As the new Phantom v1610 was just unveiled, there are no example videos to showcase its capabilities quite yet. To help put its power into perspective, we can check out a clip shot with a different Phantom model. The video above was shot using a Phantom Flex, with the recording rate set at 2,564 FPS at 1280 x 1080 HD resolution. The v1610 is capable of recording 16,000 FPS at a slightly lower 1280 x 800 resolution — that’s over 6 times slower. 

By lowering the resolution, the new Phantom’s power can be used to slow down the action even further. And by dropping the resolution to a meager 128 x 16 — which would only be good for extremely close shooting — the v1610 can record at an astounding 1 million FPS. At that speed, a single second of real-time recording would take over 9 hours to watch at a standard 30 FPS viewing speed. 

The new Phantom can boast such a remarkable statistic because of its record-breaking 16 gigapixels-per-second save rate, which has never been attainable by any camera before it. That type of massive image data requires an equally massive storage solution, and the camera’s largest built-in memory option tops out at 96 GB, which the uber-cam can fill in a matter of seconds. Thankfully, an external storage solution can bump that up to a more accommodating 512 GB.

As you can imagine, with great power comes a great price tag, and you can expect to spend at least $100,000 on the v1610. Depending on options and accessories, your final bill would likely be considerably more. But if you’ve got the coin to spend, and you feel like recording a sneeze and playing it back for the next 18 hours, you can request a quote online. As the new Phantom v1610 was just unveiled, there are no example videos to showcase its capabilities quite yet. To help put its power into perspective, we can check out a clip shot with a different Phantom model. The video above was shot using a Phantom Flex, with the recording rate set at 2,564 FPS at 1280 x 1080 HD resolution. The v1610 is capable of recording 16,000 FPS at a slightly lower 1280 x 800 resolution — that’s over 6 times slower. 

By lowering the resolution, the new Phantom’s power can be used to slow down the action even further. And by dropping the resolution to a meager 128 x 16 — which would only be good for extremely close shooting — the v1610 can record at an astounding 1 million FPS. At that speed, a single second of real-time recording would take over 9 hours to watch at a standard 30 FPS viewing speed. 

The new Phantom can boast such a remarkable statistic because of its record-breaking 16 gigapixels-per-second save rate, which has never been attainable by any camera before it. That type of massive image data requires an equally massive storage solution, and the camera’s largest built-in memory option tops out at 96 GB, which the uber-cam can fill in a matter of seconds. Thankfully, an external storage solution can bump that up to a more accommodating 512 GB.

As you can imagine, with great power comes a great price tag, and you can expect to spend at least $100,000 on the v1610. Depending on options and accessories, your final bill would likely be considerably more. But if you’ve got the coin to spend, and you feel like recording a sneeze and playing it back for the next 18 hours, you can request a quote online.

vimeo

Just a gig I did last week. Students and teachers from 30 Colorado and Wyoming schools joined key experts from 11 organizations to kick-off Air Quality Awareness Week at the first Colorado Ozone Summit on May 2, 2011 hosted by Encana Natural Gas.

vimeo

I really like the use of Motion Tracking here. I’m jealous they did it first!

I want this!

Matthews DC-SLIDER: It’s a Slider – a Tower – a Jib – and so much more!

by editorialstaff | April 12th, 2011

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Just announced from the NAB show floor, the  Matthews Studio Equipment Inc. DC-Slider. A unique, precision, counter-balanced, multi-function, variable-angled camera platform that can create far more than a smooth horizontal camera movement. One platform will take any camera up to 22-pounds on an exciting ride across, up and down, over and, everywhere else – to get that perfect shot.

Mount the DC-Slider on a single tripod or placed on level or uneven surfaces. The constant counter balance feature will always maintain a uniform pressure for smooth camera movement throughout the full tracking length of 63-inches (160cm).

Combine the slider with the mini-jib function and the DC-Slider now captures a wide range of vertical images. No matter how acute the angle, the counter balance system will keep the camera steady and stable. The positive locking adjustment allows for camera placement at exact vertical or off-axis positioning.

Remove and reposition two handles and DC-Slider becomes a tower allowing for an exact vertical camera move through the full range of the 63-inches (160cm). The counter balance system maintains a steady resistance to camera moves allowing for unprecedented smoothness from start to finish.

DC-Slider can also become a Mini-Jib. In this mode it allows for a horizontal working diameter of 63-inches (160cm). Locking the counter balance ensures unvarying movements through the full range of the jib arm’s capabilities. An easy adjustment of the parallelogram bar will allow the camera to stay locked on a subject through the range of vertical travel.

DC-Slider will accommodate a wide range of camera styles up to the maximum weight of 22-pounds (10Kg). The maximum and minimum of operating heights are dependent on the height of the tripod chosen.

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