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.
Sebastian Schipper’s 2015 film Victoria, in a mix of pulsing strobe lights and gang fights, captures the invincibility of youth when confronted with the inevitability of mortality-all in one take!
Victoria opens with a deeply synthetic, schizophrenic, beat paired with a buzzing reverb that pervades ceaselessly throughout the song. The beat stays steady as the reverb grows more urgent. A subtle sense of panic peels in the opening scene—Victoria dancing in a strobe light lit dance club. She filters in and out of the frame of the camera, and slowly ties up her hair, eyes closed the entire time, never losing sync with the beat, which has grown to be a pulsing phantom limb in the viewers perspective at this time.
“How do you know when to cut?” When thinking thoroughly about that question, Tony Zhou found it not that easy to come up with an answer. It’s a matter of instincts, thinking and feeling, but how does an editor think and feel? In a nine and a half video, co-written and -edited Taylor Ramos, Zhou explains what, to him, the key points of focus for the editor should be.
As a San Francisco aerial photographer and aerial videographer, I always have one ear to the ground when it comes to advancements in camera technology designed for flight. I like to think I’m prepared for most innovations, but this one totally caught me off guard. Peter Degerfeldt of Blue Sky, and aerial filmmaking company, challenged a Gyro-Stabilization company based in Grass Valley, CA to build a GSS 520 5-axis system that would be capable of producing perfectly rock solid and smooth images at a speed of more than 300 knots an hour to allow them to capture fighter jets in action for their client, Saab Defence and Security, and their multirole fighter, the Gripen.
The way directors and audiences have regarded lens flares in visuals has changed a lot of the years. From all kinds of lens coatings and flagging to eliminate every bit of it, to modern science fiction films that go out of their way to include it, lens flares are an interesting subject matter. In this video from Vox’s Phil Edwards, we can take a look back to how this all started, and where the turning point occurred.
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.
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.