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Found 13 results

  1. HI all, I am currently working of music video and have various scenes where I need to overlay a computer face on an old monitor in after effects. The problem I have been having is that it looks a bit off to me, which you may be able to see from the example I've attached. I think this is in large part due to the shape which need to be three dimensional not looking right. I have used a bulge effect but doesn't seem to give the impression of a symmetrical rounded shape and I think looks slightly off quilter. If anyone has any ideas of how I could improve this I would be very interested to hear. Thanks.
  2. INTERNATIONAL CINEMATOGRAPHERS GUILD TO HOST THREE PANELS AT NAB SHOW (April 24-25) GAME Of THRONES: Behind the Scenes with the Filmmakers GHOST IN THE SHELL: Creating a Cyber Future NEXT GENERATION IMAGE MAKING – Taking Content Creation to New Places The panels, hosted by the The International Cinematographers Guild (IATSE, ICG Local 600), at the NAB Show (April 22 – 27,) will examine advanced and future imaging techniques, including the use of machine intelligence in pre and post production. The discussions will be set within the context of high profile, consumer content including Game of Thrones and Ghost in the Shell. All sessions will take place at the Las Vegas Convention Center. Monday, April 24, 1:00 PM, Ghost in the Shell: Creating a Parallel Cyber Future, produced in collaboration with the ICG Location: South Hall Upper Room S220 Ghost in the Shell is a sci-fi thriller about cyber-enhanced soldier, Major (Scarlett Johansson), her battles against hacker terrorists and her hunt for her stolen identity and its perpetrators. Combining artistry with cutting edge innovation, the filmmakers designed unique tools and systems, including an original, anime inspired 28-color palette; custom LED lights; a video-photogrammetry rig for 3D video inserts; and a DCI P3 workflow from camera through color finishing and deliverables. See clips and hear stories about the making of this visually groundbreaking motion picture based on the original Japanese manga. Panelists: Jess Hall, BSC, Director of Photography (Transcendence, Brideshead Revisited, Hot Fuzz) John Dykstra, Visual Effects Designer (Oscar Winner: Spider-Man 2, Star Wars, Emmy Winner: Battlestar Galactica) Michael Hatzer, DI Colorist, Technicolor Justin Wagman, Post Production Supervisor Moderator: David Geffner, Executive Editor of ICG Magazine Monday, April 24, 2:30 PM Game of Thrones: Behind the Scenes with the Filmmakers South Hall Upper Room S220 With its spectacular battles, dragons, reverberating hugs, and death winnowing storylines, season 6 of Game of Thrones ratcheted up the tension and raised anticipation for an eventual, epic series conclusion. The season was shot simultaneously by director/ cinematographer pairs rotating between stage and location (as is the custom), spotlighted a cast of hundreds and featured nearly 1900 visual effects shots. Learn how the filmmakers applied the Game of Thrones naturalistic lighting style to new locations and storylines, how they chose to block and edit the emotional turning points, and how they harnessed postproduction to visually unify the footage. See some great footage and understand why, in 2016, Game of Thrones drew an amazing 25.1 million viewers across all major platforms. Panelists: Bernadette Caulfield, Executive Producer Greg Spence, Producer Anette Haellmigk, Director of Photography (Emmy Nominee: Game of Thrones) Jonathan Freeman, Director of Photography (Emmy Winner: Board Walk Empire, Emmy Nominee: Game of Thrones) Moderator: David Geffner, Executive Editor of ICG Magazine Tuesday, April 25 10:30 – 11:30 a.m. Next Generation Image Making – Taking Content Creation to New Places North Hall. Room 251 Light field, volumetric capture, computational photography, real-time rendering, and generative imaging have the potential to transform image making for all forms of content. Already, they are contributing to the blurring lines between live action and computer-generated imaging, and between what takes place in preproduction, production and post. What is science behind these new technologies and how do they work? What are their current limitations and promise? Glimpse what NAB’s Central and South Hall could look like in five to ten years… Panelists: Andrew Shulkind, Director of Photography (Clients include: Paramount, DreamWorks, Sony Pictures, Apple, Adidas, AT&T, Budweiser, Google, Old Spice and Samsung.) Jon Karafin, CEO Light Field Lab. Inc. Gavin Miller, Head of Adobe Research. Steve Sullivan, General Manager, Holographic Imaging Microsoft Moderator: Michael Chambliss, technologist and business representative for the ICG, IATSE Local 600
  3. I am making a low-budget short film in July, where the actor punches through the passenger window while another character sits in the passenger seat. They'll be multiple takes, so I want at least 10 breakaway windows. I've tested sugar glass, but it's tinted yellow. I've thought of using food coloring to try and dilute the yellow, but in case that doesn't work, I want other options. SMASH! Plastic (from smooth-on.com) looks realistic & clear. But don't want to pay $200+ for it. Is there some way I could make this plastic concoction on my own? Or another method to make smooth & clear glass under $100 for 10 windows?
  4. So there's this particular type of lens flare that I've been meaning to try to recreate without having to use post-production editing (all in camera). While we all have a general idea of what one of the more common generic anamorphic lens flares look like (basically has the two long horizontal star points along with varying degrees of elements depending on the camera and lenses, but this one has always been the most appealing. You may have seen it from some movies mostly in the 70's and 80's. To give you an idea, I've myself have seen it in Dirty Harry (1971), Magnum Force (1973), Aliens (1986), Jurassic Park (1993), Encounters With The Third Kind (1977), Blade Runner (1982), and the first Star Trek: The Motion Picture (1979). While it is generated from numerous light sources, including direct and reflected sunlight, it is often mostly associated with flash lights/torches (I've often called it the flashlight flare, though it may already have been pre-established as something else). While I will provide some example photos, its general shape is round with bright center (obviously) and with a thick outer rim that is colored, sometimes having various number and size of star points which i'm guessing is determined by the lenses aperture and number of blades. But the most dominating feature is a colorful ring around the whole flare (the whole thing often takes on an orange/reddish color when associated with flashlights). I'll leave a link to a mediafire folder containing the pics. If it doesn't work I'll embed a few in the page. I also have included a video recorded on my iphone of a similar flare but not exactly the same. Anyone have any idea how this particular flare is made? https://www.mediafire.com/folder/3asu9mdrur73u/lens_flare also if you can access the mediafire, I've also included a still from E.T. The Extra Terrestrial that is a shot of what im guessing is a certain area/suburb of Los Angeles, to which I've noticed is quite a common view used in many movies and I've reason to believe it is a common tourist site. Anyone know what that view/spot is?
  5. Hi everyone! I currently live in Milan and I'm working on a project that involves a huge green screen. We need to convert a room of 26x13 ft. into a green screen studio. I was doing some research online, looking for paintings to use, and I found two main brands of green screen paintings: ROSCO (US) and HATO (Germany). There is a very big difference of prizing between them and I was wondering if you could help me understand why? For example, in amazon.it you can find one gallon of ROSCO for 320EUR (. The gallon of HATO paintings costs around 92EUR. I don't know if this is because HATO is made in Germany and is near Italy so it costs less? Do you know any about quality differences between this two types of paintings? Do you recommend something specific? Maybe another brand that I didn't find on my research? If you have any advices on how to paint the room in order to make it work perfectly I would really appreciate it! Thanks!!
  6. Hello Cinema Community! I have a music video client who would like psychedelic images in her music video: Options include fractals, light prism effects, kaleidoscopic imagery etc. I am curious, is anyone aware of practical solutions to achieving an end result similar to what I listed above? I realize that I could achieve much of this via a program like After Effects; however, I am curious if doing something like this practically would produce something more organic. If anyone has any experience with this, it would be great to know what methods you used, in addition to seeing visual references of the end result. Lastly, this project is on a shoe string budget!
  7. Hello, I've been searching for a while now on how to achieve this effect. Here's a perfect example: It's the beautiful ghosting effect when the light hits the lens at particular times. It looks as though some kind of classic soft filter and they're letting light leak behind it? Or is this a separate piece of glass? Thanks! Chris
  8. Hey all, I'm gearing up to shoot a music video using a Kessler Revolution head as a motion control rig. I'm looking to shoot the band in a large open warehouse that has some windows but I will need to bring in lighting. The finished video will look like a one shot video where the band is performing and the camera pans to the left continuously and each time the band starts to exit frame right they enter frame left, and this happens throughout the video. I have linked a previs video I put together to help explain the concept. My plan is setup the Revolution Head in the center of the warehouse and program it to rotate 360 degrees in 4 minutes and 5 seconds (the length of the song). From here I will shoot a clean plate and shots with the band performing. Each pass that has the band performing I will shift the band to the left in a circular trajectory so I can then layer the shots in post. I'm guessing the post would require some masking but nothing too extreme. My issue is, how will I get the lighting to match and stitch consistently throughout the video. I fear that unless I light the entire space the lighting won't stitch properly. Any information is greatly appreciated. Previs video: https://www.youtube.com/watch?v=vNYeV4WKIPE&list=UU3jj9kfaAsoOB0p_K24jzvA Thanks, Michael
  9. Hey guys, Part of the storyboard I've been given for a client requires a light bulb to be blown up. It's for an electrical engineering company. What is the best way to do this? Using a high frame rate would look best. Would it be better to see if a VFX company can achieve this? Or is hiring a high frame rate camera + hiring specific crew for the shoot a better option? Thanks in advance, Jordan W
  10. Hi, I'm looking to create some lightning effects for a short film with the use of studio strobes. We don't have the budget for lighting strikes and this seems to be a viable option. We'll be shooting inside a house on RED scarlet. 180 degree shutter. 23.98fps. Wondering if anyone has used still photography studio strobes for this purpose? If so, can you share any advice or experience? Thank you, Michael Helenek
  11. THE ULTIMATE VIDEO SEARCH: NOW CALLING ALL YOUTUBER’S: Photographers, Videographers, DP's and “Closet” Artists!!! SUBMIT YOUR ORIGINAL VIDEO for a chance to win $15,000 and NATIONAL EXPOSURE Major Production Company is going viral, and wants to showcase YOUR original videos on our Premiere YouTube channel for maximum exposure. If you have “Never Before Seen Footage/Original Content” that you’re ready to show the world, we’d love to hear from you! We plan on featuring the TOP 350 videos on the site and the best 3 will be rewarded a prize! First place will be awarded $15,000, second $10,000, and third will receive $7,500 at producer’s discretion. Please read rules for details. Are you ready to have your artistic skills showcased on a Premiere YouTube Channel? This is an unprecedented opportunity to get your concepts on a nationwide platform in hopes of promoting your media and to get your content exposed!! Your submission MUST be original content, never posted anywhere online. All entries MUST be original, exclusively created and owned by entrant, and the entrant must have all rights necessary to post the video and submit the entry. Must be submitted by July 15th,2013! Entries submitted MUST be one of the following categories: - Special Effects, Visual Effects, After Effects - Light Painting - Video Art/3D - Graphic Art Videos - Gaming Videos - High-end Animation - Stop Motion - Time Lapse -Magic Tricks For more information on how to submit your 3-5 minute “Never Before Seen Video” please visit: http://desireecasting.com/The_Ultimate_Video_Search OR Email us directly at UltimateVideoSearch@gmail.com
  12. THE ULTIMATE VIDEO SEARCH: NOW CALLING ALL YOUTUBER’S: Photographers, Videographers, DP's and “Closet” Artists!!! SUBMIT YOUR ORIGINAL VIDEO for a chance to win $15,000 and NATIONAL EXPOSURE Major Production Company is going viral, and wants to showcase YOUR original videos on our Premiere YouTube channel for maximum exposure. If you have “Never Before Seen Footage/Original Content” that you’re ready to show the world, we’d love to hear from you! We plan on featuring the TOP 350 videos on the site and the best 3 will be rewarded a prize! First place will be awarded $15,000, second $10,000, and third will receive $7,500 at producer’s discretion. Please read rules for details. Are you ready to have your artistic skills showcased on a Premiere YouTube Channel? This is an unprecedented opportunity to get your concepts on a nationwide platform in hopes of promoting your media and to get your content exposed!! Your submission MUST be original content, never posted anywhere online. All entries MUST be original, exclusively created and owned by entrant, and the entrant must have all rights necessary to post the video and submit the entry. Must be submitted by July 15th,2013! Entries submitted MUST be one of the following categories: - Special Effects, Visual Effects, After Effects - Light Painting - Video Art/3D - Graphic Art Videos - Gaming Videos - High-end Animation - Stop Motion - Time Lapse -Magic Tricks For more information on how to submit your 3-5 minute “Never Before Seen Video” please visit: http://desireecasting.com/The_Ultimate_Video_Search OR Email us directly at UltimateVideoSearch@gmail.com
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