The Optica Magnus Xpander’s are designed for digital cinema cameras and have been optimized to work with both vintage and modern-day zooms. With more and more full frame and VistaVision cameras emerging, there is a real shortage of zooms available that can cover these large sensors. By using expanders, cinematographers can utilize existing zooms that … Continued
The Zenitar 85mm f/1.4 is designed to be a more modern lens with a hint of Zenit’s vintage bokeh style.
I love scrims. I don’t actually remember the last time that I did a photoshoot without one. In this video, I go over the different options as well as how I build my own scrims.
Hacked cameras, tasers, and portrait photography are not elements you’d usually find together, and for very good reason too! This creative programmer is about to combine all these things for some hilarious photographic results.
In this installment of the Twelve Weeks of Christmas, we have the 11 biggest and boldest possible facts in photography. They don’t come any bigger than this!
I am not a big tech fan; I don’t overly get involved in tech reviews, but the death of the DSLR is something that does concern me, and here is why you should be worried to.
Kurt Sutter has officially exited his involvement in his Sons of Anarchy spinoff for FX, Mayans, and his tenure at FX seems to be over.
Kurt Sutter sent an email Thursday to the cast and crew of Mayans, telling them that he has been fired from the show.
He was a co-creator and executive producer. For the past 15 years, the prolific writer has been a part of 20th Century Fox TV, now DisneyTV, where his overall deal still stands. He will continue with his overall deal at 20th Century FoxTV, per Deadline, which broke the news.
There appears to be an internal dispute over Sutter’s involvement with Season Three of Mayans, and he attributed his firing to Dana Walden and John Landgraf, the heads of FX. Sutter was scheduled to hand the reins of the project over to Elgin James, who was the series’ other creator, before Season Three. The show is in the middle of its second season now, with both Sutter and James performing showrunner duties.
Fact: Call sheets are annoying.
They’re annoying to make, read, send, hand out, and get. They don’t tell you the whole story of the shoot, and yet a lot of time and energy is put into them. Plus they contain all kinds of information nobody ever needs or uses.
Call sheets kinda suck. But call sheets are also completely necessary.
I’ve made countless call sheets, and, when I was first figuring out what the hell I was doing, when I didn’t have a call sheet, the more seasoned people in my cast and crew were immediately tipped off to my being something of an amateur.
Call sheets are how people know the things they need to know. Where to be. What time. What they’re going to be doing.
Damon Lindelof had to adapt his favorite comic for his new HBO show and update the story based on our culture now. Here’s how he avoided all the toxic nostalgia doing it.
Watchmen is a seminal piece of literature that launched a thousand careers. Damon Lindelof remembers being handed the book when he was 13. At the time, it definitely felt “adult” to him.
Now, 33 years later, Lindelof prepares for the launch of his new Watchmen television series on HBO. It’s every fan’s dream, but one that came with a daunting task before it: How do you adapt the things you love?
The seminal pieces of art that have already had people try and fail to create them? And how can you do it without the nostalgia for the original piece?
Lindelof recently sat down with Rolling Stone to answer some of those questions.
How to Raise $1 Million Using Equity Crowdfunding with David Willis Today on the show we have filmmaker David Willis. Willis is the first producer in the United States to raise over $1 million and make a feature film by using Equity Crowdfunding. Equity Crowdfunding is a new, disruptive method of fundraising in the United States, from a…
The post IFH 356: How to Raise $1 Million Using Equity Crowdfunding with David Willis appeared first on Indie Film Hustle®.
In a breakthrough that seems more science fiction than science fact, researchers at MIT have developed a model that can recover “lost dimensions” in images. Translation: it can recreate video from a motion-blurred photograph, and may some day be able to create a 3D scan from a 2D image.
A paper about this breakthrough will be presented at the International Conference on Computer Vision next week, but first author Guha Balakrishnan shared the details with MIT News. Basically, all visual data “collapses” four dimensions (one dimension of time and three dimensions of space) into one or two. Balakrishnan and his team have developed a “visual deprojection” model that can recover/recreate some of this lost information.
The researchers trained a convoluted neural network by feeding it “low-dimensional projections” (i.e. a long exposure made by merging a video into a single image) and their original high-dimensional images (i.e. the actual video). Using this data, the algorithm learns to spot and recreate the patterns it was seeing between the two.
In this case, their trained model was able to recreate 24 frames of a person walking, “down to the position of their legs and the person’s size as they walked toward or away from the camera.”
The researchers want to use this same model to eventually turn 2D images into 3D scans at no additional cost, a project they’re working on in collaboration with researchers at Cornell University. This could have major impacts on medical imaging in poorer parts of the world, where it is much easier, more accessible, and cheaper to capture a 2D X-Ray than a 3D CT scans.
No applications to traditional photography are discussed in detail in the article, but it’s possible this same model would be able to accurately “de-blur” images by recreating a single “frame” of the blurry parts. Imagine capturing a long-exposure’s worth of light, and then compressing that down to a single short frame with no motion blur?
Of course, now we’re just dreaming, but it’s incredible to see how far computational imaging has come, and we’re excited to see what comes next.
Image credits: Photo by Alasdair Elmes
Headlining our Deals of the Week, save a whopping $3425 on a set of 6 Rokinon Xeen Cine lenses.
This week in filmmaking deals: Rokinon drops the price of their Xeen Cine 6 Lens Kit way down to under $8600. Also, you can save $200 on a Nikon Z6 Full-Frame Mirrorless Camera, $119 on a MOZA Air 2 Handheld Gimbal, and $55 on a Zoom H2n Handy Recorder. Finally, save $139 on the Blackmagic Pocket Cinema Camera 6K by bundling it with a PowerBase EDGE battery.
Credit where credit is due: Fujifilm knows how to weather seal a lens. At least, that’s photographer Steve Boykin’s experience. Boykin lost his Fujinon 23mm f/2R WR lens back in June, so imagine his surprise when he found it in perfect working order 4 months later.
Boykin tells the lost-and-found story on 35mmc, where he describes how he stumbled across the lens earlier this week after losing it way back in June.
Despite “a lot of rain in June through say mid July” and then “like an oven” ever since then, the lens seems to be in perfect working condition. A B+W filter protected the front lens element and the rear cap kept the rear element safe, but beyond that, the lens was left uncovered that whole time.
“I am absolutely astounded it still works,” writes Boykin. “The auto focus is like nothing every happened. The aperture and focus ring turn smoothly.” The only indication that this lens was ever left outside is a slight discoloration on the widest part of the lens barrel where it was touching the ground.
As you can see from the test photo below, there seems to be no issues optically:
That’s seriously impressive weather sealing on a relatively inexpensive lens. To read the full story from Boykin himself over on 35mmc. And if you have any similar experiences with some of your gear (Fujifilm or otherwise) let us know in the comments.
Image credits: Photos by Steve Boykin, used with permission from 35mmc.
Life+Guard has announced new customizable protections skins for the 200-600mm FE (skins here) and 35mm f/1.8 FE lens (skins here). You can find all skins for all Sony lenses on this page: lifeguard-design.com/categories/sonylensskin You can find all skins for all…
The post New Life+Guard protection skin for the Sony 200-600mm and 35mm f/1.8 FE lenses appeared first on sonyalpharumors.
Last year, Adobe promised that a full-blown version of Photoshop CC for the iPad would ship in 2019. As we approach the end of the year, it seems that Adobe is on track to deliver on that promise, but according to some current beta testers, the app might not deliver all of the features professionals want or expect.
Adobe opened up a private beta for the app back in August, and some of the lucky few who have been using the latest builds of the app tell Bloomberg News that Photoshop CC for iPad is missing “well-established features.” These reportedly include filters, the pen tool, color spaces, RAW editing, smart objects, layer styles and some masking options.
“It feels like a beefed-up cloud-based version of their existing iPad apps and not ‘real Photoshop’ as advertised,” one tester told Bloomberg. Another called it “rudimentary.”
But while some anonymous beta testers are less-than-impressed, Scott Belsky, the Chief Product Officer of Adobe Creative Cloud, came to the app’s defense and assured users that the feature set launching on Day 1 will grow quickly.
“Launching every single feature that was accumulated over 25 years on the iPad on day one would not best serve our customers and the needs they have,” he told Bloomberg. “I couldn’t be more proud of where we landed.”
We expect an official update about Photoshop for iPad in early November during this year’s Adobe MAX conference. But will the app live up to professional photographers’ expectations? Just as importantly, will it be able to match or even leapfrog powerful applications like Affinity Photo, which have been available (and improving) for years? We’ll just have to wait and see.
In the meantime, head over to Bloomberg News to read all of Belsky’s comments and the concerns from current beta testers.
While users were distracted by the new Pixel 4 and other gadgets debuted at this week’s Google event, the company quietly discontinued the Google Clips AI-powered lifelogging camera. After poor reviews and even worse adoption, it seems Google is giving up on the camera altogether.
Released two years ago this month, the Google Clips camera was an intriguing proposition: place it somewhere in your home, and the camera would use an AI trained by pro photographers to automatically detect when something noteworthy was going on, and record that moment. This promised to be lifelogging done right. No need to parse hundreds of gigabytes of footage, just set it and forget it—Google would handle the rest.
But the Clips cam turned out to be more intriguing in theory than practice. Reviewers and users alike reported that the camera was inconsistent, only rarely capturing anything worth keeping. Pair that with a $250 price tag and privacy concerns, and it seems not even Google could salvage the idea of an always-on “lifelogging” camera.
News of the Clips demise first appeared on 9to5Google, and was later confirmed in a statement to Engadget. A spokes person said that Clips cameras out in the wild will continue to receive support until December 2021—after that, the little AI-powered camera that could will officially go the way of Google+.
(via The Verge)