CASH MONEY SLOW MO from Thomas Harrison on Vimeo.
NEW HIGH SPEED VIDEO
Jerome Campbell performing a nollie heelflip at 1480fps. We filmed it in the studio theatre with all lights and lighting rig on as well as 7 800w Aris. We will have to thing about the lighting very carefully when shooting with the X3 and maybe thing about shooting outsid for maximum light.
Costume Hire!!!
Whether you want to be a Victorian aristocrat or a recently exhumed zombie we can help you create just the look you are after.
Thousands of costumes that have been created for hundreds of productions by the Playhouse are available for hire. Whether it is a special outfit for a fancy dress party or costumes in all shapes and sizes for school, community or professional theatre productions, we may have what you are looking for.
We also cater for students and groups who wish to use the costume hire department as a resource centre. The costumes can create a visual aspect to most learning situations including story-telling, design and technology, personal, social and health education and citizenship.
OPENING TIMES
Monday: Closed
Tuesday: 11am - 2pm
Wednesday: 6pm - 8.30pm
Thursday: 4pm - 6pm
Friday: 11am - 2pm
Saturday: 10am - 4pm
HOW TO FIND US
You will find us on the second floor of the St Peters Buildings, opposite Leeds College of Music and above The Wardrobe bar.
Costume Hire is run by one member of Playhouse staff and a group of volunteers. If you would like to be a volunteer, you need to find out more about Costume Hire or if you would like to make appointment outside of our usual opening times contact Sally Stone on 0113 213 7242 or sally.stone@wyp.org.uk.
We are going to use this resource as a wardrobe department to be able to dress the band in suitable attire.
Our Youtube Channel.
Our Youtube channel is up and running. There are three of us running the channel, Tom Harrison, Rory Martinez and Matt Burton.
We decided to create a youtube channel to show our high speed work and to see what response we could get. So far it has been amazing already winning youtube awards and getting quite a lot of views on the videos. We are goignt o upload a new high speed video every week to keep the subscriptions coming and to keep our views up. Our aim is to gain a partnership with youtube and to get our channel sponsored.
Entering Film festivals.
The fourth edition of NexT International Short and Medium Length Film Festival will take place in Bucharest from April 13 to April 18, 2010.
Therefore, NexT calls for entries of narrative films up to 60 minutes (animation included, no documentaries), completed after the 1st of January 2008.
Besides the competition and the off competition programmes, NexT also presents a series of seminars on directing, sound-design, production & distribution, script-writing etc. offered free of charge to the participants.
NexT intends to be a meeting point for young filmmakers around the world.
NexT covers accommodation and travel expenses (%) for the director / sound-designer of the films in competition.
Get-together with local filmmakers & live music every night.
Deadline for submissions: December 1, 2009
HIGHSPEED TEST
This is a video of a test that we have done using the MotionPro X3. We shot this at 1480fps. From this test we found out that the lighting of the subject is vital to the use of this camera. The camera need large amounts of light to be able to produce the best quality of picture possible. We also found that if the camera is facing towards the sun that you get a slight haze effect behind the subject.
MotionPro X3 is here!!
The MotionPro X3 is here!! Cant wait to start using it and seeing what it is capable of. MotionPro X3 Rev A0 page 1 of 2
Resolve the Moment...
MotionPro X3
Features
Redlake's new MotionPro® X3 high-speed motion camera combines excellent resolution to frame
rate performance, along with the advanced features you require for accurate high-speed motion
analysis on your PC or Mac laptop or desktop computer. The enhanced sensitivity of the
MotionPro® X3 combined with 1000 fps at 1280 x 1024 is perfect for research and development
laboratory environments.
The new X3 camera features uses the latest Gigabit Ethernet along with USB2.0 for easy interface.
It also features live video for continuous monitoring.
With the MotionPro® X3 camera integration could not be simpler. Just install the software, connect
one or more X Series cameras to USB 2.0 or Ethernet ports (or both), and you are ready to capture
high-speed digital imagery. Control the camera with the feature-rich MotionPro® X software or use
the LabVIEW™ or MATLAB® plug-in to integrate it into a larger experiment setup. To create your
own control software, an SDK is included.
The extensive image processing algorithms include binning (2x2, 3x3, and 4x4), filtering, advanced color control, and programmable
LUT enable you to maximize the image quality under various lighting conditions.
Flexible recording options allow the user to capture pre-selected number of frames before and/or after receiving a trigger. Doubleexposure
mode, with a 100 nanoseconds inter-frame time, is perfect for motion analysis on objects moving at very high speeds.
Memory may be divided into multiple sessions with or without automatic download to assure no event is missed.
Applications: Microscopy, Ballistics and Munitions esting, Biomechanical research, Fluid dynamics research (PIV), Off-board vehicle
impact testing
Up to 1280 x 1024 resolution
color or mono
High resolution allows fine detail to be captured even at high frame rates
Fast frame rates from 1000 fps at
full resolution to over 64,000 fps at
reduced resolution
Perfect for capturing movies of fast dynamics of a process or event
Gigabit Ethernet and USB2.0 Operate camera from remote locations via Gigabit Ethernet while using USB 2.0 for local
monitoring
100 nanosecond inter-frame time in
double exposure mode
perform particle imaging velocimetry (PIV) measurements to study fast moving fluids
iPod and PDA compatibility Store movies on to iPod (video) for quick review. Control the camera operation remotely and
wirelessly via PDA interface
Benefits
Sample Frame Rates
Vertical Resolution Max. Horiz. Resolution = 1280
1024 1000
768 >1300
512 2000
256 4000
128 8000
64 16,000
32 32,000
16 64,000
Note: Horizontal resolution does not affect frame rate performance. All X cameras can record at any frame rate at full horizontal resolution.
Accessories
X Timing
Hub
USB digital interface, integrated control software with 8 outputs,
2 inputs
USB
Repeater
For use up to 15m
Spectral Range
X3 Mono Relative Spectral Response
0%
10%
20%
30%
40%
50%
60%
70%
80%
90%
100%
400 500 600 700 800 900 1000 1100
Wavelength (nm)
Rel. Quantum Efficiency (%)
MotionPro X3 Rev A0 page 2 of 2
Resolve the Moment...
MotionPro X3 Performance Specifications
CMOS Imager
Sensor Array Area Array with 12μm x 12μm pixels, color or monochrome
Image Resolution Up to 1280 x 1024 at 1000 fps
Dynamic Range 59 dB at sensor
Memory and Record Rates
On-board Storage 4 GB
Recording Rates Selectable, up to 64,000 fps
Playback Rates User selectable
Camera Control
Shutter Global Electronic Shutter variable from 1μs, optional 100 nanosecond exposure*
Exposure modes Single, Double, XDR (extended Dynamic Range)
Trigger Frame Variable position from start to the maximum available frame capacity
Trigger Mode CMOS level (3.3v) via BNC connectors
Time Stamp Each frame
Software
Control Software MotionPro X; Windows 2000/XP, Mac OS X** (10.3 or later)
Image Processing
Algorithms
Binning, filtering, advance color control, and programmable LUT
Plug-ins LabVIEW™for PC; MATLAB® for PC and Mac; Twain Driver for PC and Mac
File Formats TIFF, BMP, PNG, MRF, MCF, AVI, BLD, MPEG, and MOV (Mac only)
Mechanical Description
Camera Dimensions 3.7 in (95 mm) H x 3.7 in (95 mm) W x 6.4 in (162 mm) L
Camera Weight 4.2 lbs (1.9 kg)
Camera to PC Interface USB 2.0, USB 2.0&Gigabit Ethernet (optional)
Camera Cable Lengths 5m (USB2.0); Longer cable lengths (not supplied) may be used with GigE
Lens Compatibility 1” C-mount
Lens Mount C-mount, F-mount adapter (optional)
Synchronization
Synchronization
(USB Hub Optional)
All cameras are synchronized with each other using an external sync pulse on 3.3v CMOS BNC
connector
Environmental
Camera Power +24 vdc (100-240 VAC, 50-60 Hz ac/dc convertor)
Operating Temperature +5°C to +40°C Ambient (0°F to 122°F)
Emission/Safety CE approved, FCC Class B compliant, UL listed
Input/Output
Trig In (BNC)
Sync In (BNC)
Sync Out (BNC)
USB 2.0 (LEMO)
Gigabit Ethernet
Live Out (BNC) RS170 (NTSC/PAL)
DC Power (LEMO)
"Stable Song" with Max Records
"Stable Song" with Max Records from We Love You So on Vimeo.
2006 Death Cab for Cutie music video for "Stable Song" starring Max Records, directed by Aaron Stewart-Ahn (otaku-house.com/) This video is part of the band's "Directions" project.An extremely emotional short inspired by the album 'Plans' using lenses to an excellent standard to help convey ideas of memory, forgetting loved ones and highlighting key props to exaggerate the story line.
Softbank Dining
Softbank Dining from We Love You So on Vimeo.
posted on the Spike Jonze / Where The Wild Things Are blog We Love You So. weloveyouso.com.
This is an amazing example of good use of pull and push focus. Your focus is guided very delicately from one object, one subject to another as the director wants your gaze to be cast upon each moment of significance.
Rubbish TV Show but Fantastic Trailer!!!!
Halfway Home from background on Vimeo.
Promo trailer for teenage British television series. First, uncut version. I don't know nothing about series, but work of photography and editing for this trailer is more than great.
Director: Neil Gorringe
Director of Photography: Ross McLennan
Editor: James Rosen
Music: Halfway Home by TV On The Radio
First 3/4 Backlighting Tests
Three Quarter Lighting Test from Rory Martinez on Vimeo.
This is a video of the first tests that we did using a technique called 3/4 backlighting. The technique is used to highlight key features of a subject to make them pop out from the background. We feel that these tests went well but feel that with more time and practice we can perfect the technique to make the effect much more substantial. We like the look of this as it makes the subject really stand out and the focus of the view aim directly where we as the filmmakers intend it to be. We think this technique could be used in the music video to highlight individual members of the band when the time calls on it. We think that if we did more tests with more contrast with the background and subject then the technique might be more effective. For example having a really bright background and a dark subject and visa versa.
The EX1 and the cannon 5D
5D and EX1 Lady Bug Swarm from Michael Ramsey on Vimeo.
This is filmed using the cannon 5D and The sony EX1. We just think this video is amazing not just the fact that there are millions of ladybugs the way it is shot also. We love the extreme close ups.
Amazing Stop Motion for 'Typophile Film Festival 5 Opening Titles'
Typophile Film Festival 5 Opening Titles from Brent Barson on Vimeo.
This is an amazing stop motion video for the Opening Titles of the Typophile Film Festival 5. Handcrafted with love by BYU design students and faculty. A visual typographic feast about the five senses, and how they contribute to and enhance our creativity. Everything in the film is real—no CG effects!Shot with a RED One, a Canon EOS 5D Mark II, a Canon EOS 40D, and a Nikon D80.
Stop motion created with Dragon Stop Motion.
Creative Director & Faculty Mentor:
Brent Barson
Writing & Storyboarding:
Brent Barson, Jessica Blackham, Analisa Estrada, Meg Gallagher, John Jensen, Regan Fred Johnson, Colin “The Pin” Pinegar
Construction, Paint & Glue:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Casey Lewis, Reeding Roberts, Deven Stephens, Brian Christensen (Brain Sculpture)
Animators:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Reeding Roberts, Deven Stephens
Cinematographer:
Wynn Burton
Editing:
Brent Barson, Wynn Burton, Analisa Estrada, Meg Gallagher, Reeding Roberts
Hand Models:
Analisa Estrada, Meg Gallagher, Olivia Juarez Knudsen, Deven Stephens, Michelle Stephens
Original Music:
micah dahl anderson - micahdahl.com
We like the use of materials to enhance the ideas of the 5 senses and portray a powerful message to the viewer. It is shot extremely well and with the use of multiple lenses your focus stays exactly where the artist intends it to be throughout the video. A fantastic idea!!
Good Example of the use of a 50mm Lens
December Air from BUTTER FILMS on Vimeo.
Amazing video shot on Nikon D90 with 50mm f1.8. As we now have a nikon D90 at the collage we are going to experiment with it. We shall add it to the techniques data base we are producing.
LIGHTING!!!
One of the most important and most overlooked aspects of shooting good video is lighting. Lighting the subject properly can make the difference between shooting "professional" looking video and shooting video that may even be unusable. In general you want to keep your light level as high as possible. Video cameras work best in a certain range. Lights that are too bright will "washout" the subject, and video that is lit too dark will be "grainy" and will not have enough color to realistically reproduce the image.
Different types of lights have different intensity and color. Lighting a subject with different sources of lights, for example natural light/sunlight and fluorescent lights, can create strange colors not seen naturally by the human eye. If at all possible, eliminate different sources of light. If a light source is beyond your control (a large window with sunlight), use gels on the other light sources to match the sunlight coming in through the window. Gels are colored sheets of "plastic-like" material that are placed in front of the lights to filter out a certain range of the light. The color of the different light sources varies greatly. Sunlight will have a blue tint, artificial light (light bulbs) will illuminate with an orange/reddish tint, and fluorescent lights will have a green tint.
Try to match all light sources (all natural light, or all fluorescent light) to the best of your ability given each shooting sessions' circumstances, but remember, any light is better than no light. Once the video has been captured, do not be convinced that you can correct any problems in the post production of the video. Take the time to make sure the lighting is correct. Improper lighting is a major cause for "re-shoots" and who wants to have to do that?
3-Point Lighting
Key Light - Fill Light - Back Light
The best lighting technique is 3-point lighting. In 3-point lighting 3 lights are used. A key light, a fill light, and a back light. A key light is the main light that is placed at a thirty to forty-five degree angle in front of the subject and to the side of the camera.
The second light in 3-point lighting is the fill light. The fill light is placed on the side of the camera just opposite of the key light. The fill light is used to soften shadows created by the key light. Usually the fill light is set to about half the intensity of the key light, and often a broad, scoop, or soft light is used instead of a spotlight to provide a softer fill with no harsh shadows. If using only a 2-light system, a reflector can be used to bounce light back onto the subject. Reflectors are sometimes used with a fill light to ensure that no hard shadows are cast on the subject.
Reflectors can be any object that will reflect light. They can be purchased in the form of umbrellas or a piece of sliver/white fabric stretched over a frame. If your budget does not allow for reflectors here is a solution. With a piece of cardboard and aluminum foil a reflector can be made. Simply cover the foil around the cardboard and you have a reflector. Use the shiney side of the foil for harder reflector or the dull side for a softer more diffused reflector.
The third light in a 3-point lighting system is the backlight. The backlight is usually placed directly behind the subject, in line with the camera. The backlight is sometimes placed above the subject pointing down onto the head and neck of the subject. The backlight creates a "defining edge" to help visually separate the subject from the background, and should be adjusted so it creates a highlight around the top or side of the subject. The backlight is not a background light. It should not be used to light the back drop, it is only used to create a rim of light around the subject and is used to separate the subject from the background by giving it a 3-dimensional look.
If available, a forth light can be used for a background light. A background light is different from a backlight. A back light is pointed at the subject, and a background light is pointed at the background. A background light will help separate the subject from the background, and can help create certain lighting effects.
Lighting Checklist
1.Always light the subject.
2.Eliminate different light sources.
3.Avoid shadows on the subject and the background.
4.Get the lighting right the first time.
Different types of lights have different intensity and color. Lighting a subject with different sources of lights, for example natural light/sunlight and fluorescent lights, can create strange colors not seen naturally by the human eye. If at all possible, eliminate different sources of light. If a light source is beyond your control (a large window with sunlight), use gels on the other light sources to match the sunlight coming in through the window. Gels are colored sheets of "plastic-like" material that are placed in front of the lights to filter out a certain range of the light. The color of the different light sources varies greatly. Sunlight will have a blue tint, artificial light (light bulbs) will illuminate with an orange/reddish tint, and fluorescent lights will have a green tint.
Try to match all light sources (all natural light, or all fluorescent light) to the best of your ability given each shooting sessions' circumstances, but remember, any light is better than no light. Once the video has been captured, do not be convinced that you can correct any problems in the post production of the video. Take the time to make sure the lighting is correct. Improper lighting is a major cause for "re-shoots" and who wants to have to do that?
3-Point Lighting
Key Light - Fill Light - Back Light
The best lighting technique is 3-point lighting. In 3-point lighting 3 lights are used. A key light, a fill light, and a back light. A key light is the main light that is placed at a thirty to forty-five degree angle in front of the subject and to the side of the camera.
The second light in 3-point lighting is the fill light. The fill light is placed on the side of the camera just opposite of the key light. The fill light is used to soften shadows created by the key light. Usually the fill light is set to about half the intensity of the key light, and often a broad, scoop, or soft light is used instead of a spotlight to provide a softer fill with no harsh shadows. If using only a 2-light system, a reflector can be used to bounce light back onto the subject. Reflectors are sometimes used with a fill light to ensure that no hard shadows are cast on the subject.
Reflectors can be any object that will reflect light. They can be purchased in the form of umbrellas or a piece of sliver/white fabric stretched over a frame. If your budget does not allow for reflectors here is a solution. With a piece of cardboard and aluminum foil a reflector can be made. Simply cover the foil around the cardboard and you have a reflector. Use the shiney side of the foil for harder reflector or the dull side for a softer more diffused reflector.
The third light in a 3-point lighting system is the backlight. The backlight is usually placed directly behind the subject, in line with the camera. The backlight is sometimes placed above the subject pointing down onto the head and neck of the subject. The backlight creates a "defining edge" to help visually separate the subject from the background, and should be adjusted so it creates a highlight around the top or side of the subject. The backlight is not a background light. It should not be used to light the back drop, it is only used to create a rim of light around the subject and is used to separate the subject from the background by giving it a 3-dimensional look.
If available, a forth light can be used for a background light. A background light is different from a backlight. A back light is pointed at the subject, and a background light is pointed at the background. A background light will help separate the subject from the background, and can help create certain lighting effects.
Lighting Checklist
1.Always light the subject.
2.Eliminate different light sources.
3.Avoid shadows on the subject and the background.
4.Get the lighting right the first time.
EX1 wide angle lens
A Bald Place - Letus Extreme 24p Film - HDTV from Tom Guilmette on Vimeo.
four lenses with me. A Nikon 200mm f3.5, a Nikon 24mm f2.8, a Nikon 55mm f2.8 macro and a Sigma 18mm f3.5 wide angle
Lenses 16mm - 135mm
Mr. Beatz / Plain and Simple from Noisemaker Media on Vimeo.
Shot on a Sony EX-1/Letus Extreme setup with Nikon lenses (16mm, 28mm, 50mm 100mm, 135mm). Edited on Final Cut Studio 2 and graded on Magic Bullet
EX1 50mm lens
Ashland Sunset - Letus Extreme Film - Sony EX1 from Tom Guilmette on Vimeo.
used a 50mm Nikon f1.4 prime for all the shots until the very end.
This is want we are going to filming the majority of our film with.
50mm lens F 1.8
Ghost Town Ruby Arizona - Letus Extreme Film from Tom Guilmette on Vimeo.
used a Nikon 16mm f2.8 fisheye, Nikon 24mm f2.8, Nikon 50mm f1.4, Nikon 135mm f2.8 and a Nikon 300mm f4 telephoto lens. The 50mm f1.4 was very helpful inside when shooting the piano because there was very little available light.
Music Video We Like
Rumble Strips 'You're not the only Person' from Sam Goldie on Vimeo.
We like this music video because it has a good concept and filmed and lit really well. We like the idea that a music video can be so simple but so effective.
Spike Jonze New short.
Spike Jonze / We Were Once A Fairytale from background on Vimeo.
This is Spike Jonze's new short film featuring Kanye West. WE raelly like the extreme close ups that are used in the film also the use of going in and out of focus to add tension and suspense to the film, it shows how drunk the main character is. This is a great technique.
Advert
BBC Poetry from Sam Goldie on Vimeo.
This is an advert for BBC poetry Filmed by a friend of our called Stuart Bentley. We really like the overall look of the advert and we feel it has been produced to a very high standard. This advert also uses a technique that we are thinking about using were the main character is talking his lines at twice the speed the slowed down to normal in post to give the effect of him moving in normal speed and everything else in half.
IDENTITY OF THE BAND
WE FEEL RICH (SINGER) IS THE FACE OF THE BAND AND WHEN RESEARCHING ABOUT THE BAND AND WATCH VIDEOS OF THE LIVE SETS IT CLEARLY SHOWS. WE FEEL THAT RICH SHOULD BE THE ONLY BAND MEMBER IN THE VIDEO DURING THE VERSES BECAUSE THE VERSE ONLY CALL FOR ONE PERSON AND THAT IT IS THE ACTIONS THAT RICH IS SINGING ABOUT. WE COULD USE THE OTHER BAND MEMBERS AS EXTRAS IN THE BACKGROUND OF THE VERSES TO GIVE ITA COMIDY KIND OF FEEL, BUT THESE ARE THGINGS THAT WE HAVE TO DISCUSS IN LATER MEETINGS WITH THE BAND. WE FEEL THAT THIS WILL GIVE A GREATER INPACT ON THE VEIWER.
IDEA FOR MUSIC VIDEO
WE LIKE THE IDEA OF ACTING 2 TIMES THE SPEED BUT FILMING 50 FRAMES PER SECOND. THIS WILL GIVE THE EFFECT OF THE BAND PLAYING THE SONG IN NORMAL SPEED BUT BACKGROUND WILL MOVE AT HALF THE SPEED. WE FEEL THIS WILL BENEFIT THE SONG AS IT HAS QUITE A DRASTIC TRANSITION BETWEEN THE COURUS AND THE VERSES. WE FEEL THAT IF THE ART DIRECTION IN THE BACKGROUND IS HIGH IMPACTING AND IF RICH (SINGER) IS WALKING HALF SPEED BUT IS SAYING THE WORDS IN NORMAL TIME WE FEEL THIS WILL BENEFIT AND EXAGGERATE BACKGROUND ACTION.
FIRST MEETING
OUR FIRST MEETING WITH THE BAND AND MANAGER WAS JUST BEFORE THE START OF THE YEAR. IT WAS GOOD TO MEET THE BAND AND TO GET A GOOD UNDERSTANDING OF WHO THAY WERE AND WHAT THEY WERE ABOUT. WHEN IT CAME TO ASKING THEM IF THEY HAD ANY IDEAS ABOUT WHAT THEY WANTED THE MUSIC VIDEO TO LOOK LIKE THEY DIDNT REALLY KNOW, THEY HAD ONLY JUST DECIDED ON THE SONG THAT WANTED TO RELEASE FIRST. SO WE CAME OUT OF THE MEETING WITH NOT A GREAT UNDERSTANDING OF WHAT DIRECTION TO TAKE. WE HAVE PLANNED TO HAVE ANOTHER MEETING IN THE NEXT WEEK AND ALSO WE ARE GOING TO VISIT AND FILM THE BAND AT THE RECORDING STUDIO TO GAIN A BETTER UNDERSTANDING AND FEEL FOR THE BAND. WE COULD ALSO DO SOME TEST SHOTS AT THE STUDIO FOR OUR TECHNIQUE DATABASE THAT WE ARE CREATING.
TEST VIDEO USING A 50MM MACRO ON THE EX1
50MM TEST FOOTAGE from Thomas Harrison on Vimeo.
We mounted a 50mm lens onto the SGpro adapter for this clip. We used the lens from many different distances and focal ranges to try out all possible ways in which to use the lens. We were very happy with the results, the depth of field was shallow and pulling focus was extremely effective. One problem that we did have with it was the it was hard to film a walk cycle by pulling focus as the subject gets closer to the camera, we managed to do it but it took many attempts, something we will have to think about if we want to shoot a shot like that in the future. The footage is to build up our data base of techniques and different equipment and software.
Test Video Using the SG Adapter and 55-200mm Macro Lens
Test Using 55-200mm Macro Lens from Rory Martinez on Vimeo.
This is a video of a test shoot that we did using the SG Adapter and 55-200mm Macro Lens. We wanted to shoot something simple but using a variety of different camera angles to test our range with the lens. We shot from different angles from different distances using different techniques as close-up, extreme close-ups, wide shots etc. We discovered that when the lens is set to 200mm there is a very shallow depth of field which means that there is a very small margin for error with the camera work. We discovered that the shot has to be set up in much detail so that the subject comes into frame at the exact point that we intend. We played with the lens in other focal lengths as approximately 100-150mm which meant we had a deeper depth of field making it more useful for a wider shot as the subject stayed in focus for a longer period when the lens is locked off. We discovered that the 55-200mm lens is extremely hard to use when following a subject at a focus length of 155mm+ as the focus is very slight leading to many mistakes as the subject goes out of focus very easily. When using the lens with anything less than 150mm we found that we could follow a subject pulling and pushing the focus to stay with the subject wherever it moved.
SGpro Test
SGPRO TEST from Materoproductions on Vimeo.
This is a short test using SGPRO adapter, Sony FX-1 and nikon lenses. Little CC applied.
NEW SGPRO ADAPTER FOR SONY EX1
The SGblade is a 35mm Image Converter/Adapter, allowing you to use 35mm SLR lenses on your camcorder. Why? The main reason is the shallow Depth of Field (DOF) that a 35mm lens can produce. You can also take advantage of the wide range of focal lengths available for a variety of different Field of View (FOV).
We now have the SGpro adapter for the EX1 which will allow us to mount cannon photography lenses to the HD camera. We are going to experiment with a range of lenses to create a technique data base so we know which lens to use for different shots. We are going to mainly focus on the prime lenses such as the 50mm and the 180mm.
Band Biography
A Lot Like Eskimos are a Leeds based band, drawn from Citylife and suburban surroundings of their modern pop culture to create their very own take on modern music.
With a lot of influence from their own personal and musical experiences, they mix elements of pop, punk rock, dance, experimental and many others, to create a belonging soundtrack to love life and death. This belief of boundless music keeps them hard to pigeonhole, with diverse arrangements of orchestral tympanis to trance sirens breaking through in their songs.
A lot Like Eskimos started out in 2007, The original 2 piece setup of acoustic guitars and a drum machines quickly developed into its current form, kicking out a high energy four piece with varied live shows and an explosive live sound assault. From these shows they've began to build a steady fan base from the ground up and have spent many a night with them painting the town red.
In their short time together They've played venues all across the U.K from Aberdeen to London playing where ever they can, to who ever they can, to get their music out to people. They've had the privilege of sharing the stage with bands such as "You Me at 6" and "Electric 6". And have also featured on Radio One's 'Nick Grimshaw show' where they were asked to write and record the shows Radio One jingle.
With a lot of influence from their own personal and musical experiences, they mix elements of pop, punk rock, dance, experimental and many others, to create a belonging soundtrack to love life and death. This belief of boundless music keeps them hard to pigeonhole, with diverse arrangements of orchestral tympanis to trance sirens breaking through in their songs.
A lot Like Eskimos started out in 2007, The original 2 piece setup of acoustic guitars and a drum machines quickly developed into its current form, kicking out a high energy four piece with varied live shows and an explosive live sound assault. From these shows they've began to build a steady fan base from the ground up and have spent many a night with them painting the town red.
In their short time together They've played venues all across the U.K from Aberdeen to London playing where ever they can, to who ever they can, to get their music out to people. They've had the privilege of sharing the stage with bands such as "You Me at 6" and "Electric 6". And have also featured on Radio One's 'Nick Grimshaw show' where they were asked to write and record the shows Radio One jingle.
Music Video
We have been approached by a band called A Lot Like Eskimos asking us if we would like to shoot a music video for the release of their new single.
We have decided that we would like to produce a music video for them as we have not done a music video for this style of band.
We will incorporate this project into our brief and try and produce something like we haven't before using the new equipment that will hopefully be in place when we start the course.
We will start by researching into the band and trying to find out every little detail about them in order to create a video that really works for them.
We have decided that we would like to produce a music video for them as we have not done a music video for this style of band.
We will incorporate this project into our brief and try and produce something like we haven't before using the new equipment that will hopefully be in place when we start the course.
We will start by researching into the band and trying to find out every little detail about them in order to create a video that really works for them.
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