11 blog posts found matching keyword search for: Underwater Production
Re-creating the past can be challenging for filmmakers, especially when tasked to duplicate the look of a particular time in history for a period movie. Add a tight budget, cramped locations, and underwater photography, and you have the situation James Chressanthis, ASC, faced as cinematographer for the movie The Watsons Go to Birmingham. Based on the novel by Christopher Paul Curtis, the film depicts a fictional family’s 1963 road trip intersecting with an actual terrorist bombing during the civil-rights era. To help with some of the film’s challenging production requirements, Chressanthis used two EOS C300 Digital Cinema cameras and EF-series lenses from Canon U.S.A., Inc., a leader in digital imaging solutions.
Blackmagic Design announced that DP Scott Sorensen is using ten Pocket Cinema Cameras to capture secondary footage, as well as to shoot cold openings and the new opening title sequence, on Discovery Channel’s hit television show “MythBusters.” Scott is also using a MultiView 16, SmartView monitor and numerous Mini Converters Analog to SDI to remotely and wirelessly monitor and control the Pocket Cinema Cameras.
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.
Whether you’re a filmmaker with a blockbuster budget or you’re more on the indie side, all production teams want to save money. One way to seriously cut down costs — and save time — is by using stock media for certain shots that might otherwise break the bank or be too time-consuming to shoot yourself.
Mark Schulze has been an entrepreneur since graduating from UCSD in 1981, when he started his video production company, Crystal Pyramid Productions. As he added more equipment, experience and talent to his arsenal, he began acquiring prestigious international clients like UPS, Oprah, MasterCard, Extra and others and has won multiple international awards for his skills.
The image is now, in the digital age, the most prolific it has ever been. With the advancement in digital cameras, more and more video and photography production can be seen throughout various media, whether broadcast or the web. This is especially important. With social media now being at the forefront of advertising, a cinematographer that understands how to proficiently acquire, produce, and manipulate the image is in a highly regarded position and helps provide a certain look or style to a brand or company. They are able to elevate the production value in any project considerably with their experience and efficiency in the use of their photography arsenal.
Ask a Filmmaker of any stature, and they will tell you that they never have enough resources (time, budget, equipment), to devote to any project. It’s certainly true for me shooting indie (read: low budget) features. However, for better or worse, it is an area of the business I’ve come to be known for, movies with budgets between half a million and five million dollars. Over a 40+ year cinematography career, I’ve learned a lot of tricks to squeeze maximum production value and good looking images out of meager budgets, making dimes look like dollars on the screen.
Did you think I was all done with lenses in my 2018 NAB Preview Part One? Not even close. There are just so many great lenses out there to talk about that there always room for more. Before I get to the cameras, here are a few more of the excellent lenses that you will want to see.
Many factors affect the final result of your composite chroma key. By making the right technical and creative choices ahead of time, you can avoid costly mistakes both in time and money! Avoiding these pitfalls can make your key look natural and realistic, unlike what you see typically on your local weather newscasts.
On the heels of Sundance and SXSW, Adobe Premiere Pro made a splash at Tribeca and supporting filmmakers. ProductionHUB exclusively talked to the editors behind American Factory, This is Not Berlin, CRSHD and STORM – a few spotlight examples amongst the dozens of films that used Premiere Pro at the festival, exemplifying Adobe’s commitment to the filmmaking community and ongoing mission to build innovative post-production tools that help filmmakers tell one of a kind stories.