The Peach Kings “Be Around” from the Mojo Thunder EP - coming soon
GET THIS TRACK FOR FREE HERE:
Shot in various locations throughout Los Angeles, Sonoma, Montreal, Brooklyn and Breakneck Ridge New York.
special thanks to Funkhaus - funkhaus.us/
AKG K545 - Product Commercial
Проголосуйте за этот ролик на конкурсе rus-karta.ru/video/neezhmakov-kirill-moskva
Голосовать можно каждые сутки. Спасибо за поддержку!
Please vote for this video at rus-karta.ru/video/neezhmakov-kirill-moskva
You can vote every day. Thanks for your support!
At winter cloudy day city reminds old movie, but at nightfall Moscow transformed!
This night TimeLapse in Motion filmed at winter in Moscow (Russia) during 5 nights.
Shooting, post-processing and editing by Kirill Neiezhmakov
music: Glitch Mob - Warrior Concerto
YouTube 1080p: youtu.be/leqyze7Py0o
Behind the Scenes coming soon!
Please share this video ;-)
Sigma 10-20 mm 4.0-5.6
Samyang 8 mm 3.5
Zenitar-M 50 mm 1.7
Canon 70-200 4L
Vanguard Alta Pro tripod
Wife and I went to Japan in January, it’s a beautiful place and a beautiful culture.
Music: Daughters by Tony Anderson.
The Music Bed: themusicbed.com/#!/artist/Tony-Anderson-7054/
What you’ll see:
Tsukiji Fish Market
Ryogoku Kokugikan Sumo Tournament
Shinkansen Bullet Trains
Yudanaka Outdoor Onsen
Jigokudani Snow Monkeys
Traditional Japanese Tea Ceremony
Fushimi Inari Shrine/Gates
Camera: Canon 5DMK3 with Magic Lantern firmware and LightForm Cinema C preset, shot mostly at 60p.
Lenses: Canon 24-105mm 4.0 IS and the Canon 50mm 1.4
Edited on: Premiere CC
Color correction: Colorista II and Film Convert Pro 2
A BULLION PRODUCTION
DIRECTOR: JAMES WILLIS (BULLION)
PRODUCER: DREW O’NEILL
PRODUCTION MANAGER: SIMONA BOULDING
PRODUCTION ASSISTANT: NICOLA JOY
FIRST AD: IONUT PALIEV
DOP: ANNIKA SUMMERSON
FOCUS PULLER: ARTHUR LOVEDAY
2ND AC: DOM HERD
DIT: ALBA RUIZ
GAFFER: WILL RAE SMITH
SPARK: RICHARD MILLS
CHOREOGRAPHER: ALEXANDRA GREEN
MAKEUP / HAIR: ANNA THOMPSON
STYLIST: HEATHER FALCONER
RUNNERS: ORCHID VISHKAIY, CHARLIE GRAHAM, WILL ANDREWS, JAMES DUCKER
EDITOR: DAVE GRAHAM
GRADE: EDWIN METTERNICH (FRAMESTORE)
POST: ROSS MCDOWELL
This is a first… A triangular aperture in F4. with Dirt/Dust/Debris, and stupidly low contrast!
So, since there seems to be a natural instinct for clients to select the biggest aperture possible, This test will try to highlight some of the benefits of going for a configuration like this.
Firstly, the triangular aperture is something rarely seen. Zeiss employed the 3 blade aperture on their earlier ultra fast cine lenses and on some of the most desirable 1960’s and 70’s photographic lenses for the Rollei SL35 system.
A very distinct look, bokeh is rendered in a completely different fashion to that of standard spherical lenses with circular apertures or anamorphic systems which impart a horizontal squeeze to the round bokeh. Though an F4 aperture, the actual defocus is more comparable to f2.8 since the total width of the aperture area is around the same as the diameter of a f2.8 round aperture. However, being a smaller open area, more of the optical sweet spot is being sectioned off, and any CA and softness causing errors at the outer edges of the optical elements are no longer imparting degradation onto the rendered image.
Though sharp at F2 and even Q1.5, the FF58 really comes into its own in sharpness terms when stopped down to f2.8. At F4 the resolving power is superb.
The triangular bokeh is not a mad idea we thought up, but an attempt to replicate the aesthetic from classic Mk1 Zeiss Super speeds. Often their use shows a triangular bokeh rendering due to the fact that they have a 3 blade aperture. And being for the 35mm format the depth of field is incredibly shallow wide open at f1.4 on an 85mm planar for example! Hence very rarely would the lens have been used wide open. Taxi Driver is probably one of the most well known pieces shot with these types of Zeiss lenses and the defocus rendering is clearly visible in some of the scenes.
Shot at 50p on the sony A7R. Mild RGB curves (a little red channel shadow pulldown). Boost to contrat using ProcAmp. Exported as a 1080p h264 which can be downloaded for better quality viewing.
Realizado en juanbjusto.tv
Edición / Postproducción: Lucas Otero
Corrección de color: IG users
Música: Primavera - Ludovico Einaudi
Raimundo Arruda Sobrinho was homeless in São Paulo, Brazil, for nearly 35 years, and became locally known for sitting in the same spot and writing every day. In April 2011, he was befriended by a young woman named Shalla Monteiro. Impressed by his poetry and wanting to help him with his dream of publishing a book, she created a Facebook Page to feature Raimundo’s writing. Neither could have expected what happened next.
See more about Raimundo and his poetry on his Facebook Page maintained by Shalla: facebook.com/ocondicionado
This short film uses footage from a documentary about Raimundo shot in São Paulo in 2011 and 2012, along with interviews and scenes filmed in Goîana, Brazil, in January 2014.
This is one of 10 stories celebrating Facebook’s 10th anniversary and a decade of connections made possible through the platform. See the rest at facebookstories.com/10
Presented by Facebook Stories
Production Studio - Already Alive
Director - Michael Marantz
Director of Photography - Tim Sessler
Producer - Jason Oppliger
Post Producer - Drew English
Original Music - Michael Marantz
Edit - Michael Marantz
Assistant Edit - Drew English
Local Brazil Producer - William Guimaraes
Local Brazil Production Company - Southside Productions
Footage of Raimundo at The Island by Tiago Venturi
Special Thanks to:
Raimundo and his family
Shot in La Palma, Canary Islands. This video is part of the “7 stories” project.
All the videos are here: vimeo.com/groups/islascanarias7stories
Camera: Canon 5D Mk III RAW mode with Magic Lantern
Lenses: Canon 14mm 2.8, 24mm 2.8, 50mm 1.4, 100mm 2.8, 70-300mm
Actress: Natalia Zamora Salas
Assistant: Marta Calero de los Reyes
Music: Doug Kaufman dougkaufman.net
Want to try the dual ISO stuff. would be good for this kind of stuff
Bit of fun for the weekend, And old friend asked me to shoot a music video clip for his boys… We ended up having 14 hours to shoot I don’t know how many shots?. Hundreds !
I gave the RED DRAGON camera a real work out in some very hot conditions. It didn’t miss a beat. We didn’t use a single bit of fill light or bounce, and didn’t really need to as the DRAGON sensor has so much latitude now. I could shoot backlit without any silhouetting or loss of high light information, or have any contrast issues at all. There is so much information in the grading suite to play with…you now have so much creative freedom to explore many different looks. ! Its amazing to be able to shoot and collect what your actually see with your own eyes.
Another reason for shooting this clip was to see if I can still have a 100% laptop workflow using the heavier 6k DRAGON fils via FCPX. Simple answer… yes you can. Transcoding is still slow but luckily not that slow now as CPU rendering has speed things up. I transcoded everything over night while I slept. It was all ready and waiting the next morning.
Regardless of the tech talk. The Band JTR / John, Tom and Robyn are a really nice bunch of boys. I wish them all the best with their music career.
This is my edit and color grade of some of the footage posted on
from an OFFHOLLYWOOD Dragon test shoot.
Thanks to Mark L. Pederson at OFFHOLLYWOOD, NYC for providing the dragon motion footage.
Edited and graded with FCP X 10.1.0 and Original R3D media.
Directors Pieter Henket and Loic Maes
Model: Jana Knauerova
Stylist: Daphna Guttin
Make up: Deanna Mellusso
Hair: Joshua Ristaino
DOP: Keith Putnam
Cream: Sunshine of Your Love
Having some fun editing native Dragon R3D files in FCPX 10.1 on a retina Macbook Pro.
Thanks to Mark L. Pederson at OffHollywood for providing the beautiful footage.
The Freefly team took RED’s new 6K Dragon camera airborne during a rare Pacific Northwest snowstorm. The goal was to continue our testing of the Dragon camera and better familiarize the team with the capabilities of the new 6K camera system. The results of the test were pretty compelling! The incredible resolution and dynamic range of the Dragon coupled with the dynamic camera moves created by the CineStar Multi Rotor produced some visually stunning sequences.
Red Epic Dragon
Canon TS-E 24mm F/3.5L Tilt Shift Lens
Leica 50mm F/2 Summicron Lens
Leica 90mm F/2 Summicron Lens
Synapse Flight Controller
MōVI MR stabilized camera gimbal
SmallHD AC7 monitors