High-tech cameras and lighting, devoted crew members, intricate set props are among the several necessities emphasized by stop-motion animators. One vital piece of equipment they often leave out of this package of suggestions is patience. Filmmakers will often spend weeks if not months working with the same props to craft one single scene, that’s because every movement in a stop motion film, down to the simplest hand gestures, is hand molded. For every 2 seconds of footage, in a relatively high-end stop motion film set, there are anywhere from 40-60 frames that need to be filled for the moving image to look smooth. This mean 40-60 individual photographs where the props are moved ever so slightly as to translate, on screen, as fluid motion. You can imagine the time commitment needed to complete such a feat.
Toby Harriman is quickly becoming one of my favorite timelapsers (he and Michael Shainblum are killing it). He’s the kind of guy who makes me claw at my windows, wishing I was traveling instead of being chained to a desk. And you know, that’s a good thing. We need people to remind us what the world looks like beyond the familiar walls, and that’s something at which Toby is really becoming an artist. His latest video, Chasing Weather, is a combination of clips taken in Alaska, California, Colorado, Utah, Arizona, Chicago and Hawaii. It’s heart-wrenchingly beautiful.
Although the title is a bit of a mouthful, it doesn’t make it any less true. This morning Olivia Wilde debuted a music video she directed for Edward Sharpe and the Magnetic Zeros’ debut single “No Love Like Yours” on their upcoming album, PersonA. As if the combination of the Vinyl star and the popular band alone wasn’t enough, they kind of surprised by announcing they also shot the whole thing entirely on iPhone… and we have the photos to prove it.
In collaboration with Adobe, Vashi Nedomansky, one of the editing pros behind the insanely popular movie Deadpool, and Jarle Leirpoll, an amazingly talented editor who also creates free Premiere Pro presets utilizing the included effects built into the software, have released two free presets that were actually used in the production of the film. One is a project template, which changes the layout of the editing viewer and the other is a “handheld camera” preset that will add the subtle “shakey camera” look to a shot.
There are many video professionals, or folks interested in becoming a video professional, who never get a real look at how broadcast television is produced. I personally got very little exposure to this because video production and broadcast media were not my majors in college. Though several of my friends were majors in those subjects, and I did hear a bit about how television was made, I still can’t say I have a firm grasp on what they actually do. In this “How It’s Made” style video out of Canadian broadcast company Eastlink TV, we can actually get that in-depth look at what teams go through in order to put your favorite sports on your living room television.
I’m going to go out on a limb and make a bold, sweeping claim, but one I feel is rooted in reality. The new five minute long documentary “Five Stone of Lead” (recent Vimeo Staff Pick no less) from Director Jonny Madderson might just teach us more about story telling than anything else you’ll see this year. To answer how, Jonny (and DP, Eoin McLoughlin) kindly spoke to Resource to provide first hand insight into how they’re succeeding in this new short form documentary-style storytelling format.
Sven Dreesbach made one of the more impressive iPhone videos I’ve seen, utilizing underwater and surfing in a haunting, beautiful way. While shooting that video for Robot Koch, Sven also was working on a personal surfing video that he recently released. Sven made the most of his time out in the water while shooting the original video, and what he created with ancillary footage has a completely different feel to it than the original.
With my short I am trying to visualize this moment when you are out there in nature and you realize you became one with it.
Immersing an audience into a story and its location is an important part of a cinematic production, and in this 45-minute long behind-the-scenes documentary on the making of “The Revenant,” both cast and crew provide insight into the huge undertaking of producing this story in such a way that it would successfully immerse the viewers.
Ok this video has already been removed twice from YouTube, so clearly Disney is not quite ready for you to see this, but luckily we have a mirror on Vimeo that is currently working. For that, we are very grateful. In this video you can see some of the most memorable scenes from Star Wars: The Force Awakens before and after VFX was applied to the scenes. Though JJ Abrams was very adamant about using practical effects where possible, there is still quite a lot going on in post production here.
The filmmaking team at Red Giant have been creating great short films for the last few years, all of which have sort of served as a proving ground for the software, plug-ins, and visual effects tools that they sell. Their latest film falls right in line, and the behind the scenes content shows just how much planning during the shoot, and work in post had to be done.