A quick video that explains how they do those cool NBA commercials. This technique was first really used to great affect in Forrest Gump. It warms my heart that in the time since that movie’s release, the average motion graphic artist can do this on a shoe-string budget and with much greater success. Technology simply affords us better and cheaper tools than ever before.
Although much simpler, the basic idea of this technique was present in Miabi Films’ 2010 Xmas series.
I’m new to the whole DSLR video thing, but since I got a Canon 550D, I’ve been obsessing over it for a month and a half now.
The photography world is a gadget game. Like golf. You don’t need that ball washer, but boy do you want it. When using a DSLR for video, there are all kinds of toys you usually need to make the experience more manageable. Hovering near the top of that must-have list is an external monitor for previewing what you’ll be shooting. There are several hinderances when using a DSLR camera as a video camera due to the form factor of the camera itself. The LCD is rigid (unless you have a 60D or now, a 600D) and depending on your shooting style, in an awkward spot for monitoring video in real time. An external monitor becomes a necessity to any quasi-serious shooting rig.
Of course, they are pricey. You can use a monitor like the Lilliput 669 for $200, but this is not a proper monitor and pulling focus or judging exposure might be a challenge. For more professional options you can go with the SmallHD DP6 for $900 or the Marshall *insert model # here* for $900. These are monitors made specifically for the task of field monitoring from these DSLR cameras, but they take a bite out of your wallet.
I have none of those. For someone like me, a hobbyist, money for an external monitor is money that I’d rather earmark for another lens. Additionally, these monitors add extra weight, extra battery requirements, and of course, the need to buy extra stuff like hoods and mounting brackets. Lastly, they only feature one-way interaction with your rig. They can’t tell the camera to do anything from the monitor. They’re just video taps. Listening.
So I thought I’d throw my support behind Chris Fenwick in this video. He makes a wonderfully compelling case for app developers to write an app for the iPad that will enable it to act as a client monitor/camera remote. Presumably, you’ll already be bringing your iPad on a shoot to accomplish other tasks. I’m already using one as my slate when shooting dual system sound. Why not take advantage of the iPad’s beautiful screen and giant battery as well as manipulate camera settings like white balance and focus with the touch of a finger? The app can be development cheaply and sold at a reasonable price so us hobbyists can see fit to buy it. Canon, Apple, Bill in his mother’s basement… Please someone write this app.
Chris’ video was posted on YouTube 10 months ago and still nothing. The only thing I’ve seen that comes close to this idea is onOne’s DSLR Camera Remote app. Unfortunately, the app requires your camera to be hooked up to a computer first, instead of attaching to the iPad directly. This means you’ll always have to be tethered to a computer. Not too nimble. The free demo version seems a bit buggy as well, but it generally works. And for $40, at a price point people with a need for this functionally can afford.
Developers, make haste. You’re going to want to cash in on the DSLR video revolution. It’s game changing and it’s doesn’t look to be going anywhere.
You thought this was going to be a post about how the current 3D craze is too much. The proliferation of 3D movies has reached ridiculous levels and I’m yearning for the good ol’ days of flatties.
Not so. I love 3D. As long as it’s done well and not as a marketing afterthought, I’m all for it.
However, this French fellow has apparently discovered a way to watch movies in 3D without glasses. His solution? Attach electrodes to the side of your face that make your eyelids blink rapidly and uncontrollably. I shit you not. Watch the below video. It’s pretty disgusting. And creepy. The only thing that saves it is his smooth French accent.
The jury is out as to whether this is real or not. The video seems a little too produced. And I suspect few people will have the balls to actually try to confirm it. I’ll take my blue and red cardboard glasses over this any day.
For those that loved the movie, here’s the trailer re-dub. What I find most entertaining about this is that they’ve decided to play it straight. It’s basically a line for line english to english re-dub of the trailer. Seems like it’s just one big set up for the “brrrrrRRRRRRRRAUMMMMM” sound effect they use repeatedly.
Why didn’t I think of this? French/Swiss artist Guillaume Reymond gathered a bunch of people in a movie theater, gave them different colored T-shirts, and played a game of human Pac-Man for his Game Over Project. All it took was 4 hours and 111 pixels/seats. Fun!
This also gets me thinking… what does the Pac in Pac-Man mean?
Why does someone always try to stop someone else from performing CPR? You’ve seen this scenario a hundred times at the movies or on a TV show. At some climactic point, a main character drowns or gets electrocuted and is rendered unconscious. Another main character, usually the love interest, is left trying to breathe life into the fallen star. Trying vigorously to rescue him or her from certain doom. At which point, a third character, usually part of some love triangle says, “Give up. He’s dead. He’s dead! It’s over! Give up! Stop!” There is usually a long dramatic pause as the two of them are left with the realization that this person might in fact be dead. But every time, the love interest or doctor or whomever refuses to accept this and feverishly goes back to work, against the urging of the other person. “Live! Live damn it! You’ve got to live!!” And every time, our fallen star coughs to life.
Why are we always trying to stop someone from performing CPR? Just let them perform the damn CPR. It’s gonna work!
I really liked Dr. Horrible’s Sing-Along Blog when I first watched. In case you’ve been in a coma recently, this was a Joss Whedon mini musical released exclusively on the web. Even though it was a little cheeky, the music was really good. NPH, Felicia Day, and Nathan Fillion are infinitely watchable on their own, much less together. It’s funny the geek culture that has sprung up around Dr. Horrible. Though not surprising as this seems to happen on everything Whedon touches.
Well it’s been given the 8-bit treatment. This doesn’t come anywhere near the awesomeness of the original show, but it demonstrates a good use of the 8-bit machine and shows how much fun Dr. Horrible was.