The 5K capable Leica SL2 was recently unveiled and now LockCircle has announced their MetalJacket2 cage for the camera. The MetalJacket 2 is based on the LockCircle’s Leica SL cage. LockCircle says that because of the design of the MetalJacket 2, the Leica SL2 can be used to shot stills without removing the cage itself. … Continued
RED has withstood Apple’s challenge on their REDCODE patents. The UNITED STATES PATENT AND TRADEMARK OFFICE issued a ruling on the 8th November. For those not in the know, Apple was challenging RED’s patents for internal compressed RAW recording. I can only speculate, but this was probably to do with Apple wanting to further push … Continued
The post Apple’s RED RAW patent challenge dismissed by US patent Office appeared first on Newsshooter.
For the seventh consecutive year, the Academy Nicholl Fellowships In Screenwriting Awards & Live Read honored the winners of the 2019 Screenwriting competition. The event also included a live read of selected scenes from the fellows’ winning scripts. Each winner received a $35,000 prize and the first installment of which was distributed at the awards […]
The post 2019 Academy Nicholl Fellowships In Screenwriting Awards & Live Read appeared first on Below the Line.
After testing it in numerous other regions, including Brazil, Japan, Canada and Australia, Instagram has confirmed it will start hiding ‘likes’ for accounts based in the United States this coming week.
The confirmation comes from Instagram CEO Adam Mosseri during the below interview at WIRED25. In it, he says certain users in the United States will have ‘private likes’ as soon as this week. Based on how Mosseri addresses the crowd, it appears as though the rollout will be random.
WATCH: Instagram CEO Adam Mosseri announces that the platform will start hiding likes for US audiences starting next week. It’s the latest step in Instagram’s quest to become the safest place on the internet. https://t.co/BGkMG57rdk #WIRED25 pic.twitter.com/WNTyAPVhaD
— WIRED (@WIRED) November 9, 2019
While elaborating on why Instagram is looking to test this, Mosseri said:
‘It’s about young people. The idea is to try and depressurize Instagram [to] make it less of a competition [and] giving people more space to focus on connecting with people that they love [and] the things that inspire them.’
It very much seems as though this is a work in progress, far from being set in stone, so initial feedback will likely play a major role in whether or not this feature — or mores the lack of a feature — sticks around.
Back in July, Sigma announced the fp, the world’s smallest full-frame mirrorless camera. With the camera on store shelves now, Johnnie Behiri of cinema5D took a trip to Japan and got a behind-the-scenes look at the fp production line in Sigma’s Aizu factory.
“I only had very little time to document the full assembly line, but I guess the footage still brings a rather clear picture regarding the precision of assembly and quality control,” Behiri writes. “I also wanted to document the final stage of packaging, but at the point in time of filming this, that part of the production line has been held back due to waiting for the final camera firmware update to arrive.”
The Sigma fp is a 24MP full-frame mirrorless camera featuring 4K/30fps video, 12-bit Cinema DNG, electronic image stabilization, a full-time electronic shutter, face/eye-detection AF, and more. It has a price tag of $1,899.
Adobe generated considerable hype when it teased “full” Photoshop for iPad last year. The app officially launched to the public this week, and it hasn’t exactly lived up to the hype. In fact, it’s been quite the opposite: early reviews from users have been terrible.
Over in the Apple App Store, where it’s presented as an “Editors’ Choice”, the app currently has 2.1 out of 5 stars after nearly 600 ratings by users. And alongside the Editors’ Choice badge, the two reviews featured on the desktop page give the app 2/5 stars and 1/5 stars, respectively.
“If anything, this should have been called “Photoshop Express,” writes the first reviewer. “It’s great to be able to work with the same PSD documents you have saved on the cloud, but currently the features are too severely limited.”
The fact that many key desktop features were missing in the iPad app is something early beta testers sounded the alarm about a couple of weeks before Adobe’s official launch.
The second featured review in the app store is even more scathing:
Twitter is also filled with early adopters slamming the app. Some complaints are about the app’s speed (or lack thereof):
My review of Photoshop for iPad pic.twitter.com/ujlIbj2a6f
— ChristinaScamporrino (@c_scamporrino) November 4, 2019
Some are reporting crashes:
Photoshop on iPad is out pic.twitter.com/GmxZJvDwuM
— lina 🍋 ANYC W2 (@segseu) November 4, 2019
Some are complaints about the app not understanding certain groups of users (e.g. artists) and having poor UI:
I’ll admit I was a little worried that Photoshop for the iPad would take a chunk out of Procreate’s user base but discovering that my hunch was right that Adobe would boof the whole thing is both comforting and frustrating. They have no understanding of their artist users at all.
— Max Ulichney (@MaxUlichney) November 5, 2019
here’s my feedback on photoshop for ipad! mine didn’t need to lag to be horrific. pic.twitter.com/YzM5prdDIV
— izzy – commissions open! (@iz_kimura) November 5, 2019
A general sentiment seems to be that, given how many formidable competing apps are already available, Adobe should have waited to release an actually “full” version of Photoshop with the same tools and features as the desktop app rather than first push out a stripped-down app with a minimal subset of tools.
In an interview with PetaPixel, Adobe Creative Cloud Chief Product Officer Scott Belsky argued for an incremental release of features over time. Internally, the company believed that releasing “full” Photoshop from the get-go would have been a bad idea.
“Thirty years of features dropped on our customers on day one is a recipe for failure,” Belsky said. “[…] We spend a lot of time getting those foundations right.
“Now, did we ship every every single feature that will ever come onto that foundation on day one? No, I mean we couldn’t and it would take years to do so. But the foundation is there. So the sky is the limit on the modern Photoshop. You can built it into anything because it is the code base that has evolved over thirty years to enable anything.”
Beklsy has also taken to Twitter for damage control in response to the early flood of negative reviews.
a real-time v1 lesson: you’ve gotta ship an MVP to start the journey, but it will be painful at first. by definition, it won’t please everyone (and if it’s a reimagination of a 30yr old popular/global product, will displease many) pic.twitter.com/LaJ6oJlwcD
— Scott Belsky (@scottbelsky) November 7, 2019
if you try to make everybody happy w/ a v1, you’ll either never ship or make nobody happy. such feats require customer feedback to truly exceed expectations. you must ship and get fellow passionate travelers on board.
— Scott Belsky (@scottbelsky) November 7, 2019
but for a team with the right vision and commitment, being doubted and critiqued is motivating and informing.
— Scott Belsky (@scottbelsky) November 7, 2019
as hard as it is, at some point you need to build a new product WITH customers – out in the world, not just FOR customers – hidden in the lab.
— Scott Belsky (@scottbelsky) November 7, 2019
in the case of photoshop on ipad v1, it was the team’s judgment to nail perfect PSD support, a few workflows and rethink features / UI, and NOT just port 30 yrs of stuff (and baggage) on day 1. and it’s our burden to prove the value and exceed expectations.
— Scott Belsky (@scottbelsky) November 7, 2019
excited to RT this someday soon with a different pic, as the Photoshop team ships the amazing roadmap of features ahead, w/ our customers’ input. heads down and off to the races…
— Scott Belsky (@scottbelsky) November 7, 2019
“You’ve gotta ship [a minimum viable product] to start the journey, but it will be painful at first,” Belsky writes. “By definition, it won’t please everyone (and if it’s a reimagination of a 30yr old popular/global product, will displease many)
“[…] If you try to make everybody happy w/ a v1, you’ll either never ship or make nobody happy.”
Adobe did ship, and now it remains to be seen whether it’s customers will be loyal, patient, and “passionate” enough to get “on board” and travel the journey with Adobe as it works toward actually bringing full-fledged desktop Photoshop to the tablet.
It’s been around a year since I switched to photographing on 35mm film for the majority of my work. Beyond a couple of false starts and some misconceptions, I think I’ve adjusted well, and I’m really happy to have made the change. Now that I have a good amount of work to reference, I’ve been thinking a lot about some of the adjustments I needed to make in order to adapt to a film mindset.
One of the things that surprised me was the way that film affected, or rather didn’t affect, the pace at which I shoot photographs moment-to-moment. The nature of my work is normally fast-paced. I don’t work in slower genres like studio or landscape, but rather situations where fast reactions were necessary in order to capture what’s in front of me — mainly documentary photography and street photography.
The sentiment “film slows me down” is one I’ve seen echoed by many different film photographers who use the medium for many different genres. I can understand an interpretation of this idea to mean that because of the ongoing expense or limitations in the length of a roll, the photographer shoots fewer images as a result.
However, this isn’t something I necessarily agree with, as it’s a pretty arbitrary restriction to enforce. I don’t see why shooting fewer images would make any other element of the workflow slower. I also don’t see why any “extra” care and consideration they feel they may put into a frame of film can’t be put into a digital photograph.
I find the measurement of speed such an odd one when comparing between two mediums, especially as the speed being spoken about rarely actually has anything to do with the inherent technical capability of the camera (focusing speed, burst rate, boot-up, etc) but rather something in the mental capacity or capability of the user.
Sometimes the speed being spoken about is the time it takes to operate their camera; for a while, I assumed that this was the main occurrence, and then when someone said that film photography slows them down, what they’re really saying is “I don’t know how to use my camera.” This isn’t exactly something to be proud of, and I don’t see how this kind of person would expect anything different from an equally complex digital camera.
Just because the recording medium is film doesn’t mean that the pace of the user is any slower — of course you can work just as slowly, if not deliberately slower, with a digital camera. The medium should not affect your workflow, and chasing a medium will never directly produce a good image. Only chasing good images will ever give you that, or a close approximation of it.
When I started shooting with a rangefinder I was much slower than I am now. But with practice and understanding, I can shoot any rangefinder, digital or film, with the same accuracy and much faster speed than when I started.
I find that between a “slow” or “fast” approach, my experience of shooting film is quite the opposite of the common idea that film ought to slow; in fact, quite the opposite: film photography actually speeds me up in quite a few ways when compared to a digital workflow.
The first indicator of this was that as I took film more seriously the way I worked changed from a “fishing” mentality to “hunting”. Especially for street photography, hunting and fishing are useful ways to describe different approaches to a situation.
Fishing the scene involves finding a background (interesting setting, light, reflection, etc) and then waiting for the right subject to enter the frame, or interact somehow with the rest of the scene. Hunting involves less waiting around and more decisive action/reactions to scenes that unfold in front of you.
When I first started shooting street photography, I was a digital user, and my approach was far more patient and considered — very much a fisherman. The live view capabilities of my cameras meant I could really take my time and finesse my composition, working on the exposure, cleaning up the edges of my frame, and making multiple images of the same stationary scene until I felt I’d got it right.
With a film camera, especially a rangefinder, this kind of careful crafting doesn’t offer as much instant satisfaction, and as a result, my approach shifted along with my mentality. Instead of seeking out large scenes of light, shadow, and atmosphere I looked instead for fleeting moments, characterful expression, and dynamic action.
I didn’t lose my patience but instead reapplied it. Scenes that would have caught my eye and held my attention until I’d achieved the shot were replaced by much more time walking around, waiting for situations to present themselves in often more subtle ways.
When looking at a comparison in my photojournalistic, behind-the-scenes, and street photographs I can’t really say that there is anything truly different in the way I approached those images compared to the way I would have shot them digitally — the medium itself didn’t affect my choice of images. Rather it was the mindset I possessed while working that offered the biggest changes.
For example, I am often drawn to more fantastical, or bizarre themes in my street photography. With the introduction of film, my work became less aesthetically surreal and instead embodies more empirical, human surrealism. I wasn’t forcing a mood or atmosphere through clever composition or exposure, but rather by spending more time actually seeking out things that were actually happening — things that could be well exposed for and presented cleanly, and still introduce the viewer to that unusual reality.
Some may say that film leads to a process of being deliberate and precise with your frames, but again I don’t see why this is not something that could be achieved with the digital medium. I would argue that I have always shot deliberately and precisely, whether on film or digital.
You can compare a film contact sheet with one of my digital ones, and see the same amount of work put into each image. There are the same kinds of iterations and tweaks depending on what I’m trying to achieve, but you can see the difference in my patience between hunting with film and fishing with digital – there is a quantity with the digital frames, but the quality of the result from each is the same.
In photography, I don’t think that the medium has as much of an influence on the work as many photographers believe it does. Shooting on film or digital has as much to do with the final image as sculpting with granite or marble does for a sculptor. If the only redeeming quality about an image is that it has the “film aesthetic” then I don’t think that warrants any merit at all.
However, it can influence the workflow to a degree that I think more people ought to consider. For example, I spent some time with an RZ67 medium format camera, and while this was an interesting experience and I enjoyed using it for portraits, it simply wasn’t a good fit for fast-paced photography. I am sure in the hands of someone more competent with the viewfinder and focusing system that it could be used more quickly, but to me, it would lead me back to a fishing approach, which is not where I want to be currently.
Different cameras warrant different behaviors from their users, and similarly, different mediums encourage different mindsets. Shooting film through a rangefinder offers me no depth preview, nothing to hint at what my frame will look like besides what I can imagine based on my frame lines, understanding of depth of field, and the film I am shooting. None of this is exact, and this encourages me to simply let go, to allow myself to simply shoot, and not nitpick the detail.
This naturally leads to a faster shooting style. It means that any image I spot potential for but would require waiting is one I can return to another day, with either a different camera or different conditions to play more with light architecture and precise compositions. None of my images necessarily need to be exact anymore, but it helps that they are as a result of practice and deep literacy with my tools.
This approach continuously builds on a series of habits, as well as confidence that can be applied to any genre of photography. Familiarity with kit and process and personal process — an understanding of light and subject; these will all determine whether or not you are able to “speed up” or “slow down” and not what the image is being recorded on.
About the author: Simon King is a London based photographer and photojournalist, currently working on a number of long-term documentary and street photography projects. The opinions expressed in this article are solely those of the author. You can follow his work on Instagram and you can read more of his thoughts on photography day-to-day over on his personal blog. Simon also teaches a short course in Street Photography at UAL, which can be read about here.
Brooklyn-based photographer Josh Katz made this 11-minute video of a social experiment he did on the streets of New York City to “turn street photography on its head.” Instead of shooting photos of strangers and walking away with the images, Katz shot Polaroids of people, handed them the picture to keep, and then tried to strike up conversations as the prints developed.
It’s usually street photography subjects that don’t know what was actually captured when they see a street photographer snap a photo, but an interesting aspect of this project is that it’s the photographer that doesn’t know what results.
“What’s crazy about this is I don’t know what that photo turned into,” Katz says. “It could be horrible, it could be great, and suddenly I feel like the invasiveness of photo-taking is now flipped onto me. I feel a little bit naked right now, I feel vulnerable.”
Katz ended up shooting 30 Polaroid street photos over the course of 5 hours and learned some interesting things about photographing strangers on the street.
“It’s been fascinating studying how when you make it more about the subject and less about you, giving them that photo, it’s a completely different emotional reaction,” Katz says. “And you see the emotional shift from angry, confused, or frustrated to then pretty happy.”
DJI Mavic Mini
$399 | www.dji.com
DJI just announced the latest addition to its Mavic series, the Mini, and what’s most notable about it is its weight of 249 grams at takeoff. In the US, the Federal Aviation Administration (FAA) requires registration on all unmanned aerial vehicles weighing between 250 grams (0.55 pounds) and 55 pounds, and similar laws apply in many other countries.
Ultralight weight may be the Mavic Mini’s headline feature, but focusing on that overlooks the fact that it’s also a pretty capable drone at a very accessible price point. Let’s take a look at the Mavic Mini in more detail to understand where it stands out and what you may need to give up to get a drone this tiny.
- 249g total weight
- 1/2.3″ CMOS image sensor
- 24mm equivalent lens (83º FOV)
- Fixed F2.8 aperture
- 12MP photo resolution
- 2.7K/30p and 1080/30p video
- 30-minute flight time
The minuscule Mavic Mini
When folded down, the Mavic Mini is 140×82×57mm and fits comfortably in the palm of your hand. It’s lighter than most smartphones. The remote, which resembles those used in the Mavic 2 series, minus the electronic display, is slightly larger and heavier than the drone itself, which really puts the size in perspective.
|The Mavic Mini is small, even compared to the Mavic 2 Pro.|
Propellers need to be removed and replaced with a small screwdriver, which is included. This was likely designed to keep the weight down as springs and additional plastic hubs would have added more bulk. Propeller cages, which are included with the Fly More Combo, are light, easy to install, and don’t add more than a gram to the overall takeoff weight.
What’s impressive is how DJI managed to fit a 3-axis gimbal onto such a light, compact drone. This goes a long way to ensuring smooth, stabilized camera footage. The DJI Spark, by comparison, weighs 50 grams more than the Mavic Mini and only features a 2-axis gimbal.
|ISO 100 | 1/500 sec. | F2.8 | 24mm (equiv)|
Mounted on that 3-axis stabilized gimbal is a 1/2.3” CMOS sensor 12MP camera, similar to the ones found on the Spark, Mavic Air, and Mavic Pro Platinum. The Mini’s camera boasts a 24mm (equiv.) fixed-aperture F2.8 lens with an 83º FOV, and provides an ISO range from 100-3200. The camera doesn’t support Raw image capture, so photos will be Jpeg only. Photo enthusiasts may find this disappointing, but keep in mind this is basically DJI’s entry-level model. Finally, there isn’t a way to attach a polarizing or ND filter onto the lens.
We speculated earlier about some features the camera might include. Unfortunately, rumors of 4K recording never came to fruition. Instead, a maximum of 2.7K/30p or 1080/60p footage can be acquired at a bitrate of 40 Mbps using the H.264 codec. Unlike other DJI models in its class, there’s no way to adjust the shutter speed. Instead, when shooting video, you can adjust the Exposure Compensation. I underexposed at values ranging from -0.7 to -1.3 to avoid blowing out sensitive areas including skies.
The Mavic Mini doesn’t come equipped with obstacle avoidance sensors in the front or back. Instead, there are two vision positioning sensors located on the bottom of the aircraft, and these sensors come in handy when flying indoors as they give the drone the ability to hover in place, even without GPS. Considering that DJI’s recent trend has been to include obstacle avoidance systems on its drones, this omission is likely the result of needing to keep the weight under 250g.
The remote is slightly larger and heavier than the drone itself, which really puts the size in perspective.
DJI claims 30 minutes as the maximum battery life for the Mini. Where I’m testing in the midwest, the weather has cooled down significantly and in mild winds, at an outdoor temperature of 3ºC (about 37º F), the drone logged an impressive 25-26 minutes of flight time. It’s refreshing to know that the battery life, in reality, is consistent with what is promised by the manufacturer. It’s also rather impressive given the minuscule size, significantly outperforming models like the Spark and Mavic Air.
Unlike the Mavic 2 series, there isn’t any internal storage for media in the Mini. A memory card slot for a microSD card is located below the battery portal. A micro USB plug is included to charge the drone directly.
A new pared-down app, DJI Fly, was developed for the Mavic Mini. Most of the menu items DJI users have grown accustomed to using on the DJI GO 4 app are either gone or tucked away into a more streamlined display. A simple battery icon lets the user know how much life is left when in flight. Photo mode features timed shots and the option for shooting in Auto or Manual Mode. The video portion is straightforward, allowing users to select Exposure Compensation, resolution, frame rates, and opt for Quick Shots.
|The Mavic Mini’s controller is similar in size to those of other DJI consumer drones. In the case of the Mini, it’s as large as the drone itself.|
Another notable set of missing features are DJI’s Intelligent Flight modes including ActiveTrack, TapFly, and Course Lock. DJI has a history of adding features and modes into periodic app updates, however, so these may be included at some point. Automated Quick Shots available on the Mini include the Dronie, Rocket, Circle, and Helix.
There are three flying modes: Sport, Position, and Cinematic. The latter automatically adjusts the sensitivity of the joysticks making it relatively easy to acquire smooth, cinematic-like video on the fly without having to make in-app adjustments. Unlike some of DJI’s higher priced models, the Mavic Mini doesn’t include OccuSync 2.0, meaning it’s not compatible with a Smart Controller.
The user interface on the DJI Fly app is clean and simple. I tested the beta version and found it to be straightforward – something a beginner pilot will appreciate. A lot of the features more seasoned pilots work with are gone but they would likely overwhelm a newbie.
|The new DJI Fly app replaces the DJI GO app used to control other DJI models. It provides a simpler interface that new pilots will appreciate, but experienced pilots may miss some features from DJI GO.|
Safe Fly Zones have been incorporated into the app. This is especially useful for users not familiar with AirMap, Kittyhawk, B4UFly or other airspace management apps that tell you where it’s safe and legal to fly. I’d like to see DJI reintegrate the Battery/Return to Home Indicator feature from the DJI GO App; it’s a much more effective visual for informing remote pilots at any level about status and when it’s time to start landing the aircraft.
What’s it like to fly?
I thoroughly enjoyed flying the Mavic Mini both indoors and outdoors. The light weight of the drone made me apprehensive at first, but I was pleasantly surprised to discover that it handled well in moderate winds. It’s much more aerodynamic and durable than the Spark, which feels like a brick in comparison.
But this little drone has its limits. All it took was one flight along the river in downtown Grand Rapids for me to realize that high winds along Lake Michigan, which the much sturdier Phantom 4 Pro can handle with ease, would blow the Mini away – literally. It’s also quite noisy for such a little machine.
|ISO 100 | 1/40 sec. | F2.8 | 24mm (equiv)|
The camera on the Mini is similar to the Spark and, for comparison’s sake, the DJI Phantom 3 Pro, a model I flew 3+ years ago. The images are good enough for the price point, but people looking to capture fine details or who want more flexibility in setting everything in Manual mode are going to want an upgrade.
The Mavic Mini lacks the ability to capture 4K footage, something that may bother professionals or enthusiasts, but it’s still capable of producing decent video thanks to the stabilized gimbal. Even in moderate winds, I didn’t experience the dreaded jello effect – a paint point with older models that caused footage to appear wobbly. It’s clear that DJI limited the ability to manipulate the settings in video since beginners are more likely to rely on Auto mode. I brought it out on a semi-cloudy day and it was able to detect the difference in both sunny and overcast conditions and adjust accordingly.
Who’s it for?
If you’re creating professional-grade work, this isn’t the drone you’ll want in your arsenal. Those seeking out Raw photos, auto exposure bracketing, and high-end cinematic footage will want to start with the Mavic 2 Pro and go up from there. Even though the Mini can fly up to 500m (1,600 ft.) above ground level, and boasts a range of up to 4km (2.5 miles), it’s not something I’d be comfortable scaling a tall structure with or flying further than 1,000 – 1,500 feet away.
|ISO 100 | 1/320 sec. | F2.8 | 24mm (equiv)|
All that being said, this is the perfect little drone for beginners starting on their drone journey. DJI offers up an array of drones suited for specific purposes and this particular model will definitely appeal to beginners looking for a budget-friendly place to start, hobbyists looking for something portable and simple to operate, and people who don’t aspire to be professional remote pilots but would like to share unique aerial footage to their social media accounts. As the trend continues shifting toward more compact drones, it’ll be exciting to see how better cameras and technology get incorporated over the coming years.
Overall, the Mavic Mini is the perfect drone for beginners. It’s lightweight, easy to set up, and a joy to fly. I tested the Fly More Combo which, at $100 more than $399 for the basic package, is a steal. It includes 3 batteries, the propeller cage (which is especially useful as the drone will simply bounce off most objects it collides with), and a case to carry it all that’s smaller than a sheet of paper. The convenience factor, alone, is what makes this drone ideal for many uses.
One final note: while it may not be necessary to register this drone in the US, it goes without saying that users still need to abide by standard airspace rules.
What we like:
- Tiny size makes it a true ‘take anywhere’ drone
- Good photo and video quality for a beginner model
- Impressive 30-minute flight time
What we don’t:
- New DJI Fly app feels a bit rough around the edges
- No obstacle avoidance system
- Does not include some of DJI’s intelligent flight modes
Camflix launched this new adapter set that helps you to scan 35mm and 120mm films with Sony FE lenses! Oh yes I am going to buy this!
Stay tuned to the end for a chance to win a prize!
Shooting scenes in cars is something you will run into all the time in cinematography. Creating drama with your lighting is important no matter where the scene takes place. While there are many different ways to light the inside of a car, having to-go lighting techniques that you can use every time will help you be efficient when shooting. Today, director of photography Laura Odermatt walks us through how to shoot a night interior car scene, in the style of suspense thriller scene.
In this video, Laura shows us the steps she takes when shooting a night interior car scene. First, she shoots through the front of the car to see the man sitting in the driver’s seat. This angle also allows us to see through the car at what is happening behind him. Next, she shoots a reverse angle of the first shot to see the man’s point of view looking through the rear view mirror. This adds a sense of suspenseful voyeurism to the scene. Lastly, she shoots a profile shot of the man in the car. This way we can see the other car pass him on the side through the opposite window.
The main techniques we will be discussing today are bouncing light to create eye lights, adding light from the dash, and rolling down windows to reduce reflections. Bouncing light to create eye lights refers to the technique of bouncing light off of the rear view mirror in order to get more light on the subject’s face. This is useful because in the tight space inside of cars, it can be difficult to add a good eye light. Adding light from the dash refers to placing a light on the dash of the car to fill in the subject’s face with more light. Often times the dash of a car has places to easily set a small light. Rolling down the windows to reduce reflections is helpful because when you’re shooting through a window of a car you get a lot of reflections. An easy way to get rid of those is to roll down the windows, if you can.
Ultimately, as filmmakers we are trying to tell human stories. Learning how to light faces in any situation is incredibly important for telling those stories. Different lighting styles and directions will create different feelings and emotions. It is also important to be able to embrace different sources or motivations for your key lights, as they might lead you to lighting designs that you would never have thought of. There is almost always a way to make the light falling on someone’s face more flattering. But it is also essential to be able to embrace the type of lighting that will complement the talent’s face and best tell the story.
Connect with Laura: https://www.instagram.com/odrmtt/
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Connect with Valentina: https://www.instagram.com/valentina.vee/
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Jordan reviews the Vazen 40mm T2, the first anamorphic lens designed for Micro Four Thirds cameras. In the process, he gives us a great primer on using anamorphic optics for both video and stills.
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