23 blog posts found matching keyword search for: ocean in Arizona
Virtual Reality (VR) is about to bring the ocean’s mysteries to the 99.9 percent of us who will never actually don a wetsuit for a deep-sea dive. Chasing Coral (the feature) and Chasing Coral: The VR Experience, which both premiered at Sundance 2017, capture climate change’s impact on our oceans and reefs. The latter project does so by giving viewers a full 360-degree view. Just trade in the face mask for a 3D headset and instantly you have coral ahead, ocean below, and fish above.
As a NAUI (National Association of Underwater Instructors) trainer for 25 years, I have been fortunate to combine my passion of diving with my career as a cinematographer. I love to create new worlds that take the viewer on a journey, and one way I accomplish this is by bringing my camera and lighting skills from dry land to the pool, shooting tank, or the depths of the ocean. I’m Vance, a cinematographer of 35 years and an underwater enthusiast.
Significant Others, the creative finishing arm of UK-based creative editorial company Final Cut, is a bi-coastal collective of visual effects artists and other creatives specializing in commercial finishing. Best known for its commercial work, Significant Others also has a penchant and talent for finishing feature films, including the Academy Award-winning film “Moonlight.” We got the chance to speak with Producer Alek Rost about his experience working on the film, including what it was like to collaborate with Director Barry Jenkins and the tools his team used to give the film its unique look.
Compositing for the new action/comedy summer film “Barely Lethal” was completed by Hollywood based VFX company Flash Film Works using Fusion Studio. Jeremy Nelson, a VES award winner and compositing supervisor at Flash Film Works, and his team used Fusion Studio to help create action sequences and fine tune camera moves for the film.
In my previous ProductionHUB column, Remote Production: The World is Your Oyster, I discussed the emerging trend of remote production. Increasingly, we’re seeing post-production companies create infrastructure that spans the globe rather than just the length of a building.
CinematographerBertie Gregory is the 26-year-old behind BBC's Seven Worlds, One Planet. He's already a 2020 BAFTA nominee, and current Emmy-contender. Bertie has made a name for himself as one of the youngest and most sought-after wildlife filmmakers in the business. Along with Seven Worlds, he has contributed his talent to a variety of wildlife projects, including producing/hosting for National Geographic’s online series, WildLife: Resurrection Island and WildLife: The Big Freeze.
We all know how stunning underwater photography looks, but the camera work behind getting the right shots can be pretty intense and a lot of work, if you aren't prepared. Michele Westmorland, photographer and director of the new documentary Headhunt Revisited: With Brush, Canvas and Camera, a film about artist and adventurer Caroline Mytinger and the power of art to span oceans and decades, takes us through four very important tips for photographing in a watery world.
It is not uncommon for Jim Oltersdorf to be hanging out of an airplane 10,000 feet above the wilderness to capture a front cover shot or feature story for a national magazine. Specializing in high-risk and extreme imagery, Oltersdorf is known internationally for his portfolio of award-winning footage and still photography, an accumulation of over 44 years of dangerous work.
Color is one part of the creative process that has distinct advantages to being completed in person. Typically, you’re working with the original footage, which can be quite large and hard to transfer over the internet. If you’re the client, it’s best to see exactly what the colorist is seeing. If you’re the colorist, you definitely want your client approving the color on your color calibrated monitor.
San Francisco and New York City are essentially roadmaps of instantly recognizable movie locations. The blogosphere is riddled with sites dedicated entirely to cataloging street intersections, seemingly inconspicuous doorways, and iconic spots like the Mrs. Doubtfire house and Katz’s delicatessen. In these two popular film hubs it’s pretty hardpressed to find a place that hasn’t already been found. We’ve collected some spaces found on the creative online marketplace, Splacer. These places fit the bill for production worthiness, but come without the baggage of productions past.