Demo footage I took with the new Logmar Super 8 camera prototype and a Schneider Optivaron 1.8/6-66mm lens on Kodak Vision 3 50D Film at 24fps.
2K Scan made by the great Perry Paolantonio from gammaraydigital.com
Color graded in FCPX by me.
Isn’t the registration awesome?
In June of 2014, we spent 11 days surfing the Mentawai Islands. The conditions were perfect the entire trip with light offshore winds and plenty of swell to go around. I was able to capture some pretty interesting angles using Phyllis (name of my drone). Enjoy the highlights of our trip and experience the beauty of the Islands from above. Music by Mashti, Mapusa from the Album Danish Delights. The Bird
A film by Michael Bidinger and Michelle Kwon.
Production Management- Sarah Kambara
Run Time: 3:52
Sound Design- Nick Ainsworth
Vocals- Ed Skudder, Lynn Wang
Original Score- Mason Self
Produced At Ringling College of Art and Design
Copyright Michael Bidinger, Michelle Kwon 2014
A look at the infinite possibilities within the everyday. Following a day in the life of Vincent, “Subject X” and his many variations that exist throughout the universe. The story begins to fracture into different threads when he follows a would be lover down the street.
This piece was created for the “Everyday Adventure” series originally commissioned by Nokia Brand Labs.
Directed by Paul Trillo
Co Produced By Keith Ferreira
Director of Photography Andrew Georgopoulos
Sound Design and Score by Noah Cunningham
Executive Producer Costas Syrmos (Nokia Brand Labs)
Marilyn maketh, Marilyn taketh awayth.
Directed by MIKEY PLEASE
A year in the making, the full six minute stopmotion short features the voice of Josie Long, one zillion hand carved tiny things, literally tens of carved foam puppets, two eye fulls of in-camera, long-exposure light trickery and a pair of tiny dolphins, smooching.
Produced by - BLINK INDUSTRIES / HORNET FILMS
Filmed at - CLAPHAM ROAD STUDIOS
Executive Producers - PETER MEDLOCK / MICHAEL FEDER / BART YATES / MIKEY PLEASE
Produced by - JAN STEBBINS/ JAMES STEVENSON BRETTON / MIKEY PLEASE
Animated & Photographed by - MIKEY PLEASE / DAN OJARI
With animation from - TIM ALLEN / STEVEN WARNE
Music Composed by - BEN PLEASE / JOOLS SCOTT / BETHANY PORTER
Sound Design - ADAM JANOTA BZOWSKI
Voices - JOSIE LONG / JAMES STEVENSON BRETTON / THEODORA VAN DER BEEK / JOSEPHINE GALLAGHER
JEN NEWMAN / NADIA OH / KATY BEVERAGE / DAN OJARI
MIKEY PLEASE / CARMEN MASON / ANNA GINSBERG / LAURA BATEMAN / KIM SWALLOW
MIKEY PLEASE / LIZZY DALTON / JEN NEWMAN
NADIA OH / MIKEY PLEASE / JEN NEWMAN / DAN OJARI
ANDREW DOUGLAS FORBES / CATHERINE HURLEY
EMMA HOOPER / BENEDICT PLEASE
BETHANY PORTER / JOOLS SCOTT
IAN VORLEY / JAMES WATTS
AMADOU DIAGNE / MARIA DANISHVAR BROWN
BEN PLEASE / JACK SEDGWICK
SIMON HARRIS @ OFFSET AUDIO
YUSSEF COLE / ELISA CIOCCA / JON GALLAGHER
MARTY GEREN / RACHEl KWAK / MICHAEL LUZZI
JOEY McCORMICK / MIKEY PLEASE / LEANDRO SANTINI / TED WIGGIN
Developed at the JAPIC RESIDENCY with the JAPANESE MINISTRY FOR CULTRAL AFFAIRS
CAROLINE WATERLOW / DAN CHESTER / DAVE PROSSER / KEV HARWOOD /
GREG HALAMA / SANG JIN BAE / JACK ROBINSON / DITOGEAR
Prints are available for purchase. All proceeds will be donated to LA county animal shelters. 1 for $50, 3 for $100 shipped within US. Visit the blog on my website for a selection of prints available and paypal checkout
Directed, Filmed and Edited by: RussellHoughten.com
Assistant camera/edit: James Messina
A Cosmic Gift
“Dreams of the Sea”
Red BTS vimeo.com/100021445
The berrics - Artist Statement
All donations to the tip jar will be donated to Los Angeles County Animal Shelters.
Le regard mange. La coupe dessine et fouille les objets familiers, souvent opaques, jusqu’à leur disparition complète.
La mirada come. El recorte dibuja y excava los objetos familiares, a menudo opacos, hasta su desaparición completa.
What happens when you mix the greatest ideas, a bunch of names, simplicity with pure human being hands? You get an incredible fun CRAZY titles for OFFF Cincinnati 2014 by Bradley G Munkowitz aka GMUNK in collaboration with the kick-ass AUTOFUSS. Enjoy the madness because this is pure human-creativity!
OFFF Cincinnati 2014 is proudly part of OFFF on Tour’s third edition.
Creative Director: Bradley G Munkowitz
Director of Photography: Joe Picard
Producer: Andrew Devansky
Fabrication Advisor: Andrew Devansky
Editor: Ashley Rodholm
Colorist: Carey Burens
Music: Harald Boyesen
Anton & Irene by: Peter Clark
Yuko Shimizu by: Kirsten Ritschel
Lobulu by: Ryan Chen
Digital Kitchen by: Nate Costa
James White by: Jason Kerr
Sougwen Chung by: Rowan Ogden & Kenny Johnson
Cocolab by: Conor Grebel
GMUNK by: Bradley G Munkowitz
OFFF Cincinnati 2014 by: Ian Colon
Lightbox Fabrication: Barry Bradshaw
DMX Master Control: Michael Beardsworth
Key Grips: Dakota Wilder, Branson Stowell
After 9 months and 50,000 shots (only using 5.000 for the final video), my first flowers timelapse has finished. After a long work looking for flowers that would open fast, here is a list of the flowers that have been part of the timelapse: Lillium, hibiscus, carnations, orchids, dandelions, lilies, daisies, alstroemeria, peonies and nigella damask.
Music of Roger Subirana - Point of no return
Después de 9 meses y 50.000 fotografías (de las cuales solo han formado parte del vídeo final unas 5.000), mi primer timelapse de flores ha terminado de formarse. Tras un largo trabajo buscando flores que abriesen rápido, aquí esta la lista de flores que han formado parte del timelapse: Lillium, hibiscus, clavelinas, orquídeas, dientes de león, lirios, margaritas, alstroemerias, peonías y nigella de damasco.
Short experimental film made up of over 3500 photos of ice cream.
Music: Bobby Vinton - “Mr. Lonely”
Camera: Canon 5D markII
The second episode of a video series throughout the summer. Keep an eye out for Volume 3 dropping next month with some new rails! Big thanks to Planks Clothing and the Hudsen Collective for their support.
2014 POV edit from my winter in Wyoming and Montana.
I hope you enjoy the ride.
Check out some non-POV skiing —-> The Buddy System from me and EpicTV #skibuddysystem
Creatures of the Night 2014
Cradle Skatepark, Austria ,Tyrol
GH4 4K Profile Tests
I looked around online to find a number of different Profile Settings for the GH4. I tried Natural on another day, but didn’t like the results, and plan to stick with Cine D and Cine V. Shots are taken with an 80-200mm FD Lens (Which tends to be a little soft and renders image a little milky), and a 34mm Jackarr Snapshooter Lens (Which has some interesting Bokeh).
I was originally going to use Film Convert to do a quick grade, but I had to use the computers at work for a much faster render, so I ended up using Lumetri Looks in Premiere CC (Cinematic 2) as well as an RGB Curve. I like to grade as much as the next guy, but I wanted to see what a single unified look by a professional would look like across the board with an added curve to push the image. When you see Film Convert in the Settings in the Video, it simply means Film Convert’s Profile Setting that they have listed. I also added Sharpen to all settings that had it turned down, and all Slow Mo Shots at the end.
I originally had another test, but due to it’s shaky-ness, decided to redo it with the camera sitting on my camera bag.
All shots are 0-255 converted to 16-235 in post. Shot in Camera C4K 8Bit converted to 1080p.
iDynamic/iResolution off for all settings
The opening MISC Setting was the Dragon (Later explained) setting without the color shift or Sharpness and Noise Reduction turned down, I later use that.
James Miller: Cine D, everything turned down to -5. Shadows and Highlights +2, -2 respectively. He has some test videos along with some settings made for Philip Bloom and I see great results on his end.
James Miller: Cine V, everything everything turned down to -5. Shadows and Highlights +2, -2 respectively, Master Pedestal +15. Again, has videos with great results, but I’m not sure how I feel about turning up the Master Pedestal, but his results are great.
Dragon: Cine D, only Sharpness and Noise Reduction Turned down to -3, Shadows and Highlights +1, -4 respectively, and WB Adjustment 2Amber 2Green. Found in a RED Dragon User Forum from someone who tested GH4 and RED Dragon attempting to match. Prioritizing saving highlights, but only barely raising shadows to reduce introducing noise.
Driftwood: Cine D, Everything turned down to -2 like a GH2. The Infamous Nick Driftwood has a few videos out, and seemed to like this setting straight out of camera.
Film Convert Low Contrast: No Changes except to Shadows and Highlights +5, -5 respectively. Listed on their site as the setting for Low Contrast.
I threw in a few slow mo shots, one at 96 another at 60, both are over crank in camera at 24.00 FHD 100/Mbs. Will do a test with them against each other later.
C4K Profiles Test
Cine D- Great profile as is. I like how sharp the image is, it grades well, no noise is being introduced. I kind of prefer this setting as is. It just works and can give you a rich look.
Cine V- Not my favorite, but both Cine’s are better than the other profiles (including natural). Doesn’t have the color richness that Cine D does.
James Miller D- This might be another go to setting as it gets a flatter image without too much noise. For both James Miller D and V the F8 (blown out) shots I added saturation back, but the F11 (Less blown out) I couldn’t get to look right, and only added a deeper RGB Curve.
James Miller V-
Dragon- The major changes to this setting are really lowering the highlights and barely lifting the shadows, along with the WB Adjustments. I have to say that this setting is giving me a great look that I really like. Probably my main setting from now on.
Driftwood- While I didn’t dislike this setting, I felt it was just a waste of time looking at it, as it is very similar to plain Cine D and Low Contrast, but in a weird middle purgatory.
Film Convert Low Contrast - This profile came out much better than I thought it would. I expected a lot of noise and the image to not hold up in grading, especially since I wasn’t using Film Convert, but I must say that I will definitely continue using this setting for a really flat image, it really makes the colors pop out.
I know that I added a STEEP RGB curve to the footage which some might say is too digital or unrealistic, or too green etc, but I wanted to push the footage to see what I could get for a range, and I also didn’t have much time, and the Cinematic 2 Look from Lumetri in Premiere just wasn’t doing enough. I do really love all the color in these images though. A side note it was very hard pulling focus on the 80-200mm (Later tests show difficulty on other lenses as well due to the lower res) in 1080 96fps or 60fps, had to not include them because of it.
At F8 for the 80-200mm the camera was a little blown out on the Histogram, so i restarted at F11 with the histogram only dead center, but in post some became a little blown out when adding a little to the RGB Curve.