The wide angle is often the lens of choice for a lot of landscape photographers, but it can be a tricky piece of glass to work with. This excellent video will give you lots of helpful tips to improve your landscape images when you are shooting with a wide angle lens.
Sigma was expected to announce a new full-frame mirrorless L mount camera with its unique Foveon sensor later this month, but unfortunately, the company has announced that the camera will now be delayed indefinitely. Nonetheless, they still intend to release the camera eventually, albeit with a complete redesign.
“Pleasantville” might be one of the most unique movies of the 90s, but giving it its fascinating look was no small task. This fantastic video goes behind the scenes of making the film.
Most of the time, photography relies on good relationships. They make the business run smoother and ease the shooting. In some areas of photography, smooth jobs are not the best, though.
Three Oscar-nominated shorts directors reveal the challenges they faced in production and more.
Last year, the Oscar-nominated live-action shorts had a clear thematic throughline: coming-of-age stories. When I spoke to the directors, they told me that the nominations had opened the door to Hollywood.
This year, I spoke to three Oscar-nominated shorts directors: Marshall Curry (The Neighbor’s Window), Bryan Buckley (Saria), and Meryam Joobeur (Brotherhood). Two of them already had open doors in Hollywood—Curry is an accomplished documentarian, and Buckley has directed 65 Super Bowl commercials. (Read our recent interview with Buckley, in which he parcels out some tough-love filmmaking advice.) Joobeur, meanwhile, is an up-and-coming director who isn’t necessarily interested in exploiting the chance to make the next big blockbuster; she’d rather pursue independent projects that allow her the freedom of creativity and process that she had on Brotherhood.
Members of the mysterious and magical craft of photography may have mentioned that mastering manual mode may be the most meandering path to making magnificent masterpieces. There’s a shortcut, though.
How do you film a high-speed performance car capable of reaching speeds up to 300kph (186mph)? You simply take another one and modify it to be used as a high-speed camera car itself.
In a press release, Nissan has shared how it captured promotional footage for its 2020 Nissan GT-R NISMO using another GT-R that had been modified to be a purpose-built camera car. To get the job done, Nissan enlisted the help of Mauro Calo, ‘a professional precision driver and automotive video expert known for his work on big-budget blockbuster movies and automotive TV shows.’
After plenty of planning and prototyping, Nissan and Calo got to work ‘bespoke tubular structure that was welded to the chassis and able to hold the weight of the professional carbon-fiber gimbal camera mounting system.’ In addition to the camera rig, the car was covered with a matte black wrap and gained a new name of sorts—Godzilla Tracking Rig (GT-R).
‘Thanks to its low center of gravity, adjustable sports suspension and four-seater configuration, the GT-R is the perfect base car to accommodate a camera rig of this type,’ says Nissan in its press release.
Using a four-person team (with not much room to spare inside the coupe), Calo drove while a gimbal operator, focus puller and director captured the required footage for the promotional material. The above behind-the-scenes video is promotional in its own regards, but it still shows the incredible camera rig Calo and the Nissan team were able to develop.
“You try to make an honest movie,” said Sergio Pablos, director of Netflix’ first animated feature film Klaus, just after the film racked up seven Annie Awards—including Best Animated Film—at UCLA’s Royce Hall in the 47th such ceremony. “You pick a truth that you believe in.” For Pablos, who also wrote the story and co-wrote […]
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