Filmmaker Brandon Davis Cole’s interesting take on the traditional follow focus does something that few, if any, products have ever thought to do — integrate bicycle technology into DSLR cinematography. Cole essentially reinvented the follow focus. By instituting a “brake lever” system, the SnapFocus allows cinematographers to keep their camera steady and pull focus quickly and easily to wherever it’s needed, all without ever moving your hands from the SnapFocus handles. Read more…
The world is a serious place, and it seems that even comedians like Saturday Night Live’s Fred Armisen think that this is a side worth seeing. So, by way of a fun video project, he’s asking viewers to do one simple thing: Be Serious for 30 Seconds… and record it. Read more…
Yesterday we shared some new sample photos published by Google showing what its Project Glass prototype camera glasses are currently capable of. The video above is the first sample video captured using the glasses, and is a short 15-second clip showing a first person view of someone doing flips on a trampoline. With current cameras, the only way to achieve this kind of hands-free footage would be to use some kind of (relatively) unwieldy camera strapped to the head or body (e.g. a GoPro mounted on a helmet), but Google Glass would allow people to record this kind of thing by simply wearing a pair of glasses.
It’s certainly not as strange or unexpected as their possible move into the world of cosmetics, but rumors are now floating around that Nikon is getting serious about making video cameras. In an interview with TechRadar, a spokesperson for Nikon UK said that Nikon “is not a broadcast company… yet.” He went on to imply that they may be breaking into broadcast depending on the feedback they continue getting from their friends in the industry.
There’s no concrete evidence that we’ll be seeing something anytime soon, but other rumors that Nikon has been showing off a full-frame video camera concept to some pro cinematographers seems to indicate that Nikon’s move into professional video is further along than the spokesperson initially implied.
News recently broke that the 30 minute (or rather 29 minute and 59 second) time limit on DSLR video may soon be a thing of the past. Interestingly however, the reason for the potential change has nothing to do with updated hardware or software. The only reason DSLRs don’t already shoot longer video is because camera manufacturers want to bypass the 5.6% duty applied to video cameras, and the time limit allows them to avoid being classified as such.
But now, several countries including the U.S. have begun discussing the possible extension of the World Trade Organization’s Information Technology Agreement to include video cameras. If this happens, digital camera manufacturers will no longer have to jump through hoops to avoid extra duty and tariffs, and we’ll likely see an increase in video length allowed. Other limitations will still exist (i.e. file size limitations and overheating concerns) but barring a serious objection that has yet to be raised, the change should go into effect as soon as the WTO makes a decision.
Are we close to the point at which HD video cameras are so good that professional photographs can simply be extracted from footage rather than shot with a still photography camera? That’s a question photographer Kevin Arnold had, and when he finally got his hands on a $65,000 RED camera he decided to seek an answer:
What I hadn’t anticipated going into this was the advantages this style of shooting would offer in terms of capturing natural expressions and key moments. Obviously, when you’re shooting 120 frames-per-second, it’s almost impossible to miss a moment. But there’s more to it. Shooting video is comparably silent and, without the constant clicking of the shutter reminding them that their every movement was being recorded, the athletes were able to forget I was there. This is huge when you’re striving for authentic, candid images, a hallmark of my work.
On the flip side, Arnold found that one of the biggest issues was achieving fast enough shutter speeds for sharp frames, as most of the frames in his videos were plagued with some kind of blur. Head on over to his blog to read his in depth exploration.
Want to see how the world’s most expensive camera was auctioned this past Saturday? The video above shows the 1923 Leica O-Series going up at the WestLicht Photographica Auction and being sold at the record-breaking price of $2.79 million after auction fees and tax. WestLicht points out that these cameras have been appreciating like crazy in recent years: the first sold in 2007 for $440K and a second sold in 2011 for $1.9M before this most recent auction. Each of the auctions set a new world record for “most expensive camera”.
Yes, that camera you see sitting on the table is the actual camera being auction. The model at the end is holding a very expensive piece of metal and glass in her hands.
Here’s a humorous short film titled “Smile” by director Dean Fleischer-Camp, who regularly asks people to pose for a photograph but then secretly records video instead. It shows how poses that look so natural in still photographs can look so completely awkward in videos.
In this first episode of LitUp — a series by [F]Network that is attempting to de-mystify the world of studio lighting — photographer Joel Grimes takes you through his journey as he discovered how to properly manipulate and use light in his photography. The short video covers many areas: from drawing from different sources of inspiration (his came from Rembrandt), to how one should choose modifiers, to using continuous light sources for HDR photography and more.
Overall the video offers some great tips for beginners on up, and we’ll definitely be looking forward to seeing what the rest of the LitUp episodes have in store.
If you like PES’ stop-motion videos in which random objects are prepared as food, you’ll love this creative music video for the song “Get By” by Delta Heavy. It’s mind-boggling to think about how much time and energy went into preparing and photographing each individual still: director Ian Robertson shot 11,008 photographs and selected 3,184 for the final cut. 10 hours were required just to animate the 18 frames showing the Rubik’s Cube equalizer. Animation took a total of 32 days. You can find more background information and photos here.