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"Don’t Look Away" - short film shot on Panasonic's VariCam 35 4K!
Posted by Michal, motionVFX Team
January 30, 2015, at 1:44 AM

"Don’t Look Away" is a film directed by Stephen Morgan and shot by Director of Photography Michael Minock with Panasonic’s new VariCam 35 4K camera. This narrative short movie (25-minute long) deals with human trafficking. Soon it will be submitted to film festivals and provided free of charge to organizations that specialize in caring for and rehabilitating victims of the crime. The film tells the story of Dana who is induced by her new "boyfriend" to attend a Christmas party at a wealthy friend's home where she is drugged during the encounter and this is how her human slavery begins. The VariCam 35 was the primary camera and the package was rounded out with a set of Cooke S4i Primes, a Canon zoom, ARRI MB-19 matte box & FF-5 follow focus.



Minock said:

“The ability to record on two codecs simultaneously is beautiful! We recorded 4K on the main recorder (P2 cards) and 2K on the sub-recorder (Micro P2 cards), which were used to begin editing on the set. You can even record to the Rec. 709 color space on either recorder independently. We chose V-Log for both with breathtaking results.”

The 4K master will be used for exhibition at film festivals and art houses, while the 2K version will be distributed to the mentioned above non-profit organizations. Sadly we cannot show you the film yet as it is currently being edited in Adobe Creative Cloud, and color corrected on a DaVinci system.

You can follow this project on Facebook: https://www.facebook.com/dontlookawayfilm.

Source: http://facebook.com

Geos - revolution in navigation! Create your perfect indoor navigation system!
Posted by Michal, motionVFX Team
January 28, 2015, at 2:15 AM

From time to time we come across an innovative and revolutionary product. This time we found out an amazing solution for... indoor navigation! The technology got developed by Ifinity, an awards-winning company specializing in providing tailor-made solutions to cities, public spaces and commercial clients. Geos is their drag & drop CMS for developers allowing them to create indoor navigation and managing beacons. To make it all work you need to define areas where visitors can enter and interact, you can connect rooms, corridors or any other spaces, pin your places on Google Maps, you can navigate your visitors through corridors, stairs, elevators and you can even push notifications for those who enter specific zones and additionally you can provide a catalogue of tasks that can be performed in different zones.
 

 

This is really great, just imagine visiting a museum - sometimes you can get lost in a big building, but with this technology you would be able to plan your visit to be sure that you don't miss what you really planned to see.

With the Geos CMS you can define:

  • places of iBeacons
  • zones where visitors can enter and interact
  • places and floors
  • draw paths to navigate
  • push notifications/additional information for zones

Of course there's and SDK (for iOS and Android) if you want to develop your own apps working with iBeacons and there's also a free demo version available (visit the official site for more info - here).

You can follow Ifinity on Facebook - to do so click here.

Source: http://www.geos.zone

"Being Evel" - Sundance documentary shot using four Blackmagic Cameras!
Posted by Michal, motionVFX Team
January 27, 2015, at 1:11 AM

If you watched MTV's Jackass series, you will be surprised to find out that at the 2015 Sundance Film Festival you had the possibility to see “Being Evel” - a film co-created by “Jackass” star Johnny Knoxville along with director and Oscar winner Daniel Junge. This documentary tells the story of American daredevil and icon Robert “Evel” Knievel, one of the most colorful celebrities of the 20th century. In his career, he attempted more than 75 ramp-to-ramp motorcycle jumps between 1965 and 1980 and during a failed stunt he suffered more than 433 bone fractures. The Sundance documentary was shot using four Blackmagic Cinema Cameras in ProRes, and post production was completed using Teranex 2D Processors and DaVinci Resolve.


“We needed four cameras with the same high latitude, that could shoot in ProRes and be easily packed up as we scrambled from interview to interview. Most of the shots had multiple composites in them, and we had a large number of different types of environments with each set,” said Junge. “With the Blackmagic cameras, the color space of each was great, and we were able to get beautiful images. The cameras captured a huge amount of information which came right out of the camera ready to use in post. Having four cameras performing at that level and at that price was amazing.”

Final color correction was done using DaVinci Resolve and LUTs were created prior to shooting the interviews.

“Every piece of footage we used went through the Teranex. The Teranex was quick and we easily pushed our way through footage no matter what sort of format we were working with. And we got footage in everything from high end digital to Super8 and VHS tapes,” said James Durée, compositor of Milkhaus, who provided post production services for the film. “In particular, being able to color balance in the Teranex saved a lot of time down the line and made final color correction with Resolve much more efficient.”

Source: http://blackmagicdesign.com

New Trends from the Trenches: 8K, 3D, Nikon D5500, matte boxes & more!
Posted by Michal, motionVFX Team
January 23, 2015, at 3:20 AM

It's the new year and it's also time for the new "Trends from the Trenches" episode traditionally hosted by Jay P Morgan of The Slanted Lens and cinematographer Lars Lindstrom. They both talk about what happened lately (mainly last month) in the industry, but this time they are a bit more focused on the future and the technology. This is why in the first segment you will hear predictions about 8K televisions and 3D technology in the new year, the duo also talks about the Nikon D5500 and you'll hear a bit on Sony's new camera app store. But of course these are not the only topics discussed in this episode - there's also a segment on light meters (you will find out why these gadgets can be really useful on your set), Lars gives Jay P an explanation of matte boxes and the final segment is all about the essential items for getting your photography or videography business off the ground in 2015.
 

 

As you can see a lot of interesting stuff in this new episode, so make sure to check it out!

Source: http://theslantedlens.com

Lighting analysis of 'Ida' - 2015 Best Cinematography Academy Award nominee
Posted by Andrzej, motionVFX Team
January 22, 2015, at 9:02 AM

As you may remember, last year’s Academy Award for Best cinematography went to Alfonso Cuaron’s Gravity, an extremely high budget movie, which employed plenty of cinematic tricks and techniques, giving a spectacular effect. Could it be that this year’s Award goes to a black and white movie that’s a total opposite in terms of the use of cinematographic technology? We’re talking about one of nominees – a Polish movie ‘Ida’, which has already a long list of awards and nominations.

The topic of ‘Ida’ nomination has been brought up by Vashi Nedomansky in his blog:

90% of the film is shot on a locked off tripod. With so many tools (dollies, sliders, cranes, drones, steadicams, Movis…) available to filmmakers, it is refreshing to experience a movie that chose so many exquisite and deliberate static frames to best tell the story.

Each new shot reveals something about the lead character. Emotions, state of mind and the story’s drama are expressed by the use of camera placement and lighting…not by spoken words. Do yourself a favor and track down this stunning film to experience the power of the static camera.

Vashi links to a seletion of 52 shots from the movie – you can see them enlarged here. He also links to two older articles at The American Society of Cinematographers website theasc.com, which explain the lighting setups in a selection of scenes. The articles describe the scenes, particular shots, and the type of lighting gear used, plus a sketch of the setup and a frame from the movie. 

Here's how one of the analysed scenes looks:

And the first part of this scene presented on a sketch:

Each of the scenes is described in detail, and we recommend that you have a look at the original articles – they make a very good read. The two articles are available at theasc.com here and here.

Source: http://www.theasc.comhttp://vashivisuals.com

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