Moxie wireless lens control system

Moxie is a wireless lens control system that has been designed to deliver unmatched value by providing professional-grade quality and performance at an accessible price. Moxie allows you to control focus, iris, and zoom using a smartphone or handheld controller. We first saw Moxie at CineGear earlier this year and now they have officially launched … Continued

The post Moxie wireless lens control system appeared first on Newsshooter.

The Cinematography of Spider-Man Far From Home

On this weeks Go Creative Show Podcast, host Ben Consoli speaks to cinematographer Matthew Lloyd about his work on Spider-Man Far From Home. Above you can listen to the full episode. Matthew and discuss working in Marvel’s Cinematic Universe, using pre-vis to prep for shots with VFX, creating Spider-Man’s holographic world, plus Matt’s camera and … Continued

The post The Cinematography of Spider-Man Far From Home appeared first on Newsshooter.

Face Replacement How-to

Learn the art of face replacement with our step-by-step walkthrough of the technique. This marks the start of a new collaboration between provideocoalition.com and moviola.com: “Impossible Shots.” In Impossible Shots we’ll be taking high-end feature film techniques and breaking them down to achievable levels—all the while maintaining the believability of the final look. (No “Plan 9” shots here…)
Face replacement has been a staple of feature film effects for years. It has a myriad of uses: stunt and stand-in “twin” replacements, historical footage insertion, and clone shots. Forrest Gump was one of the first films to insert fictional characters (Gump) into real, historical footage. Then Being John Malkovich kicked things into overdrive, stamping JM’s face onto literally busloads of extras.
There are several approaches to face replacement, from basic tracks to complete 3D geometry replacements. We’ve aimed for the middle ground in this Impossible Shot session by performing a planar track of the source and target faces. This allows for a synchronization of subtle facial movements.
Let’s get one thing straight: don’t try this kind of replacement without Boris FX’s Mocha Pro. There are many software applications out there that claim to be planar trackers, but at least here in 2019 they fall short of the results achievable with Mocha. One of the most powerful features of Mocha is its ability to incorporate and average the squash and stretch of a surface. It means that subtleties in facial movements can be matched in a way that looks plausible in the final composite. Other planar tracking systems can only handle rigid surfaces well, and fail or break up when dealing with elastic ones.
Planar tracking can handle around 45 degrees of side-to-side head rotation before the perspective changes become too much and the illusion starts to break. At that point you’re looking at a complete head replacement using a 3D geometry track.
Replacing a simple smile is one thing, replacing multiple lines of dialog another. If you plan to replace dialog you need to perform a hinged matchmove. The underlying skeleton of the human head has two structures: the main skull, and the jaw. As such, dialog can be loosely broken down into head movement and jaw movement. By performing two tracks—one from the upper lip to the forehead and the other for the chin and lower mouth—you can then hinge the track around the mouth and use it to distort the original source plate to match the dialog. This is a more advanced technique that we may cover in a future Impossible Shot.
As with all the content on moviola.com, the training is free in its entirety.

 

The post Face Replacement How-to appeared first on ProVideo Coalition.

What Can Jackson Pollock Teach Us About the Evolution of Film & TV?

Jackson Pollock is a master of abstract expressionism. He changed the way art was viewed in the 20th century. But how does that affect film today?

Art history is the culmination of something that has a foggy beginning. First, we painted on cave walls. Then, as time went on, we developed, practiced, and made the world our canvas. We painted on churches, canvases, brick walls, and even our bodies.

As art transformed and shifted mediums, things got expensive. Artists like Manet, Da Vinci, and Michelangelo needed wealthy patrons to make the dreams in their head come true.

Now, portraits and more traditional art was always easier to fund, but by the early 1900s rolled around, and Jackson Pollock wanted his go, things got a little dicey.

Check out this video from Nerdwriter for more on the evolution of art!

So what does this have to do with film and filmmaking?

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Moment Unveils an Anamorphic Lens for DJI Drones

Smartphone lens maker Moment has a new and very impressive Anamorphic lens for DJI drones that will give great results for a very affordable budget.

Mobile filmmaking powerhouse Moment, known for their stellar smartphone lenses, have taken to their air with the launch of their new anamorphic drone lens, Moment Air, which will retail for $299 but is available for $199 on their launch kickstarter.

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How I Ended Up Shooting The Uncharted Fan Film With Nathan Fillion [Podcast]

Making a fan film that the fan base wants to get behind is no easy task. But I did it. Here’s how.

In early Spring of 2018, shortly after moving to Los Angeles, I was fortunately put in touch with Director Allan Unger by a good friend. Allan said to me: “My go-to DP just dropped out… I need a partner in crime, are you in?”

While Allan and his team did their best to keep the secret project under wraps little did they know that I was an avid gamer… “We can’t tell you what it is but it is based on a popular video game series, we got Nathan Fillion an-“

I cut Allan off, “It’s Uncharted, I’ve played every game, I’m in, let’s do this”

After a truncated prep we were shooting, a few weeks later, after Allan tore through post to meet the date for Comic-Con, IGN debuted a teaser… and then… well… things got crazy. First, watch it for yourself:

The Uncharted fan film blew up beyond what we even expected.

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Moment Air – Anamorphic Lens Adapters for DJI Drones

Moment, the company famous for making anamorphic adapters for iPhones, is back on Kickstarter with a new line of products for DJI drones: Moment Air. These products consist of a 1.33x anamorphic lens adapter, some ND and CPL filters, and a new extra-slim iPhone case which is compatible with the Moment lens. Let’s take a closer look at these new products for the DJI Mavic 2 Pro and Mavic 2 Zoom drones.

Moment Air – Drone Anamorphic Lens

The first product in the Moment Air line of products is the anamorphic drone lens. This 1.33x anamorphic adapter gives you a 2.40:1 Cinemascope aspect ratio after de-squeeze. You’ll also find in this adapter the typical/characteristic anamorphic horizontal flares. The lateral chromatic aberration should be minimal thanks to various coatings applied to the front element.

MomentAir_01

Image credit: Moment

The anamorphic drone lens attaches to the front of your DJI Mavic 2 Pro/Zoom drone using a special cage that they call the “Lock and Balance” mounting system. It’s a two-part cage with the lens on one side, and a counterweight on the other, so it doesn’t affect the drone’s camera gimbal balance. This adapter uses a premium glass and a super-light composite housing to keep the lens under 50g’s in total weight.

It is compatible with the Mavic 2 Zoom and Mavic 2 Pro. Finally, in front of the lens, you still can attach a Moment Airlight ND or CPL filter.

MomentAir_02

Image credit: Moment

Moment Air – Airlight Drone Filters

The second product in the Moment Air range of products are the Airlight drone filters. These lightweight CPL and ND filters are made of aerospace-grade aluminum, making them the lightest filters available for DJI Mavic 2 Pro/Zoom drones. The filters clamp-on directly to the front of the camera.

MomentAir_03

Image credit: Moment

Optics wise, Moment claims that these filters deliver the “smoothest, crispiest, color-neutral image imaginable” by using cinema-grade glass. Also, the Airlight drone filters are hydrophobic, scratch-resistant, anti-reflective, and color corrective thanks to special coatings applied to the front element.

MomentAir_04

Image credit: Moment

Ultra Thin Photo Case

Finally, the Ultra Thin Photo Case is an iPhone case compatible with the iPhone XR/XS/XS Max. This case only weighs 12 grams and is 0.75mm thick. It’s one of the thinnest case available so that it will fit your drone controller easily. I like this idea, as I’m usually pretty tired of removing my iPhone case to make it fit the DJI controller. There is an open spacing at the bottom of the case to make it easy to connect a lighting cable, microphone, or light.

MomentAir_05

Image credit: Moment

On the back of the case, there is an M-Series mount. This mount lets you attach a Moment lens directly to the Ultra Thin Photo Case. The case is made of glass blend polycarbonate composite + TPU.

Pricing and Availability

The Moment Air is a Kickstarter campaign, and it’s already live.

The Drone Anamorphic Lens is $199, the Airlight Drone Filters are $99, and the Ultra Thin Photo Case retails for $25. All three products should ship in November.

Moment is a company based on crowdfunding campaigns, and all the Moment Air products seem to be finished products. But, as usual, please keep in mind that Kickstarter is not a shop or market place. There are certain risks when backing a project.

What do you think of the Moment Air line of products? Do you consider backing it? Don’t hesitate to let us know in the comments down below!

The post Moment Air – Anamorphic Lens Adapters for DJI Drones appeared first on cinema5D.

Apple updates its entry-level MacBook Pro and MacBook Air, kills off the MacBook

The latest MacBook Air lineup

Apple has quietly updated its entry-level MacBook Pro and MacBook Air lineups, killing off the 12-inch MacBook in the process.

The new entry-level MacBook Pro with Touch Bar and Touch ID.

A month after updating its high-end MacBook Pro units, Apple has updated its entry-level MacBook Pro for the first time since 2017. The most notable change is the inclusion of Apple’s Touch Bar and Touch ID, a move that means there are no longer any MacBook Pro models with physical function keys at the top.

On the spec side, the updated MacBook Pro now features the Coffee Lake 1.4GHz quad-core 8th generation Core i5 chip (with Turbo Boost up to 3.9GHz), a substantial increase over the previous 2.3GHz dual-core 7th generation Core i5 chipset. Like its predecessor, the updated MacBook Pro will still feature just two USB-C ports, compared to the four its more powerful siblings include.

The entry-level MacBook Pro starts at $1,299 and includes a 128GB SSD and 8GB 2133MHz LPDDR3 memory.

A profile view of the latest MacBook Air model.

On the MacBook Air front, Apple has added its True Tone display technology, which uses an onboard sensor to automatically adjust the color temperature of the screen based on ambient light. Aside from that and a $100 price drop, nothing has changed. The MacBook Air starts at $1,099 (just $999 for students) and comes with a 1.6GHz dual-core 8th-generation Intel Core i5 processor (with Turbo Boost up to 3.6GHz), 8GB 2133MHz LPDDR3 memory, 128GB SSD storage and an Intel UHD Graphics 617 graphics card.

Both the updated entry-level MacBook Pro and the updated MacBook Air feature Apple’s third-generation butterfly keyboard, which features an additional membrane to prevent keyboard problems that were prevalent in its laptops that used Apple’s previous butterfly keyboard mechanisms.

In addition to updated laptops, Apple also removed the 12-inch MacBook from its lineup. This marks the first time Apple’s entire laptop lineup features Retina displays.

IFH 330: To Film and Die in L.A: Micro-Budget Misadventures with Adam William Ward

To Film and Die in L.A: Micro-Budget Misadventures with Adam William Ward Today on the show we have writer/director, Adam William Ward. His new film is called Wally Got Wasted. I brought him on the show to discuss the crazy misadventures he had shooting guerilla-style in the City of Angels, Los Angeles. L.A. is probably…

The post IFH 330: To Film and Die in L.A: Micro-Budget Misadventures with Adam William Ward appeared first on Indie Film Hustle®.

The Art of the Cut Podcast Eps. 3 (w/ Chernobyl Editor Simon Smith)

The Art of the Cut podcast brings the fantastic conversations that Steve Hullfish has with world renowned editors into your car, living room, editing suite and beyond. In each episode, Steve talks with editors ranging from emerging stars to Oscar and Emmy winners. Hear from the top editors today about their careers, editing workflows and about their work on some of the biggest films and TV shows of the year.

chernobyl mini series artwork

 

 

 

 

 

 

This week, hear from editor Simon Smith about working on the fantastic HBO mini series “Chernobyl”. Listen to the full podcast below:

The Art of the Cut podcast is available on Apple Podcasts, Spotify, Anchor, Google Podcasts, Breaker, Pocket Casts, Overcast and Radio Public. If you like the podcast, make sure to subscribe on your favorite podcast app and tell a friend!

The post The Art of the Cut Podcast Eps. 3 (w/ Chernobyl Editor Simon Smith) appeared first on ProVideo Coalition.

Easy Clutter Removal for YouTube Videos

Easy Clutter Removal for YouTube Videos

As a fledgling YouTuber myself, I’m always interested in tips and tricks that can make my videos more professional looking. If you’re like me and struggle with keeping your “set” neat and tidy, this video from Drone Film Guide may be just the ticket!

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Landscape Photographer: Why I Don’t Use Global Sliders in Lightroom

When you use Lightroom, do you edit globally or locally? Many (possibly most) people use the global editing sliders liberally when processing an image. But landscape photographer Thomas Heaton‘s most recent video makes a good case for using mostly local adjustments and leaving those global sliders alone.

In a video released this past weekend, Heaton shows his viewers how his Lightroom workflow has slowly but surely evolved to include only two or three global adjustments in total. Instead, he recommends breaking an image—in this case a landscape captured in Iceland—into parts that are each edited individually using local adjustments like the brush tool and radial filter.

Obviously, this doesn’t apply equally well to all genres of photography, nor is it necessarily the “right” way to edit an image. But it is an interesting departure from the “typical” way many of us edit our RAW files. If you haven’t evaluated how you process an image since the first time you learned, you might want to give Heaton’s workflow a shot.

Osaka Power: An Energetic Video Tour of Japan Second Largest City

Osaka Power: An Energetic Video Tour of Japan Second Largest City

Often shadowed by Tokyo, Osaka is an important cultural and economic center of the Land of the Rising Sun. German film-maker Christoph Gelep, delivers a fast pace video tour by capturing the traditional and modern side of the second largest city in Japan.

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Download the “If Beale Street Could Talk” Screenplay PDF

The “If Beale Street Could Talk” screenplay PDF opens us up to Barry Jenkins’ interpretation of a James Baldwin classic. How did he do it?

Barry Jenkins burst onto the scene with his adaptation of the play Moonlight. His follow up, If Beale Street Could Talk, is another romance that challenges us to see why love is so important, and how resilience can carry you. It’s based on the book by James Baldwin.

If you’re unfamiliar with the book, this is what Joyce Carol Oates said in her review for The New Yorker back in 1974:

“‘If Beale Street Could Talk’ is a moving, painful story. It is so vividly human and so obviously based upon reality, that it strikes us as timeless–an art that has not the slightest need of esthetic tricks, and even less need of fashionable apocalyptic excesses.”

Sounds great, but also daunting in terms of an adaptation.

Today we’re going to look at a few interesting items from the If Beale Street Could Talk screenplay and also chat about formatting and how there are no rules in screenwriting.

Let’s go!

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Here are 5 Cool Shots You Can Capture with a Mini Gimbal [Video]

The DJI Osmo Pocket has already made it easy to film stabilized footage, but these hacks will take your creativity a step further.

A pocket-sized gimbal is revolutionary on its own. The DJI Osmo Pocket gimbal is portable, has a long-lasting battery, and is accessible at $349, all while shooting clean, stable footage.

COOPH wants filmmakers to push the limits of what you do with the Osmo Pocket, and they’re offering some great tips for shooting with this gimbal.

Watch their video below.

Capture a low-angle pan

Since the Osmo Pocket is so small and doesn’t require a smartphone to be connected, it can shoot from unique angles that might be otherwise difficult to capture.

Try making a small, DIY rotating rig. This can be something as simple as a drill, but there are other options that you can modify.

Mount your gimbal to your rig, and you’ve got an easy, low-angle panning shot that will turn your boring table scene into a more dynamic set piece.

Make sure you know the basics of the low-angle shot before you proceed.

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Scientists Use Camera with Human-Like Vision to Capture 5,400 fps Video

A team of scientists from the Swiss Federal Institute of Technology in Zurich (ETH Zurich) have figured out how to capture super slow-motion footage using what’s called an “Event Camera.” That is: a camera that sees the world in a continuous stream of information, the way humans do.

Regular cameras work by capturing discreet frames, recapturing the same scene 24 or more times per second and then stitching it together to create a video. Event cameras are different. They capture “pixel-level brightness changes” as they happen, basically recording each individual light “event” as it happens, without wasting time capturing all the stuff that remains the same frame by frame.

As ETH Zurich explains, some of the advantages of this type of image capture is “a very high dynamic range, no motion blur, and a latency in the order of microseconds.” The downside is that there’s no easy way to process the resulting “footage” into something you can display using current algorithms because they all expect to receive a set of discrete frames. Well, there was no easy way.

This is what the folks at ETH Zurich just improved upon, developing a reconstruction model that can interpret the footage to the tune of 5,000+ frames per second.

In the past, researchers have developed these reconstruction algorithms by hand, manually reconstructing frames from the “event data.” The ETH Zurich team did something different. They trained a neural network to reconstruct “event data” using simulated data first, then fed real data into the pretrained model.

The results are astounding: a 20% increase in the reconstructed image quality over any model that existed before, and the ability to output “high frame rate videos (more than 5,000 frames per second) of high-speed phenomena (e.g. a bullet hitting an object),” even in high dynamic range “challenging lighting conditions.”

Their findings were published in a research paper titled High Speed and High Dynamic Range Video with an Event Camera. And while it might seem overly-technical or somewhat boring, this might represent a major step towards affordable, super-slow motion HDR video capture.

Check out the video above to see the results for yourself, and then, if you’re feeling brave, read the full paper at this link.

(via Engadget)

A to Z of Photography: Lenna and Leica

A to Z of Photography: Lenna and Leica

This week we move on to L in the A to Z of Photography and an image of Lenna that has impacted every photographer, along with the little red dot… yes, this article gives a brief overview of the history of Leica, a brand that has influenced everyone directly or indirectly through either their design or the photos shot with them.

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Sony FE 35mm F1.8 sample gallery

Sony has just announced its FE 35mm F1.8 lens for its full-frame E-mount cameras. A staple lens for any system, its combination of focal length, aperture and light weight make it the perfect lens to keep permanently mounted on your Alpha-series camera, and fills a previously gaping hole in Sony’s FE lens lineup.

Our initial impressions are positive: it’s very sharp wide open, reaches peak central sharpness by F2.8, and peak corner sharpness between F4 and F5.6. Importantly, bokeh is very smooth without any onion rings, harsh edges or texture, a performance that puts it far ahead of the more expensive FE 35mm F1.4 ZA. You’ll have to put up with a fair amount of chromatic aberration (both lateral and longitudinal) in some situations, but this is to be expected for a lens this size. Vignetting continues to improve until F11, but at its worse (at F1.8) only seems to be about 1 EV at the corners, which is impressive.

Take a look at our initial sample gallery to see for yourself how it performs and as always, let us know what you think in the comments.

See our Sony FE 35mm F1.8 sample gallery