film making
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Sundance hit Tangerine was shot on iPhone 5s with a $8 app and some accessories
Given the spread of affordable high-quality video cameras in the modern world, there's probably never been a better time to be an amateur filmmaker. You don't even need more than a nice smartphone if Tangerine is any indication. The Sundance Film Festival hit was shot completely using an iPhone 5S, the $8 app Filmic Pro, a Steadicam rig, and anamorphic adapter lenses made by Moondog Labs. Here's Sundance's synopsis of the film: It's Christmas Eve in Tinseltown and Sin-Dee is back on the block. Upon hearing that her pimp boyfriend hasn't been faithful during the 28 days she was locked up, the working girl and her best friend, Alexandra, embark on a mission to get to the bottom of the scandalous rumor. Their rip-roaring odyssey leads them through various subcultures of Los Angeles, including an Armenian family dealing with their own repercussions of infidelity. In an interview with the Verge director Sean Baker provides some sound advice for aspiring filmmakers looking to work on a budget. Ransone said that the key to shooting Tangerine was having a team well-versed in traditional filmmaking. "You still need to know how editing works. You still need to know how sound works. You still need to know how a camera works," he says. "You can't just go out and shoot." iPhone footage hasn't yet caught up with true 35 millimeter film - a high bar - but Ransone expects it will some day. "Yes, you can make a beautiful-looking film on a shoestring budget," he says. "But you have to know 100 years worth of filmmaking." It's important to remember that Baker was only able to shoot the film on the iPhone because of the unending independent development from private companies like Moondog Labs to create cutting edge enhancements for the ever-evolving iPhone. Still, the reliability and power of the iPhone is what inspires those companies to build, and it's an incredible step for the iPhone to be used to create a film that was screened at a prestigious film festival like Sundance. Head over to the Verge for its full interview with Baker, including the roots of the film's development and his comments on the peculiarities and benefits of filming with an iPhone.
Peter Jackson unfazed by 'Hobbit' footage pushback, but will stick to 24 fps for trailers
Calm down, cinema-goers. It just takes time to "settle in" to the strange new ultra-realistic world of high frame-rates, according to Peter Jackson, who's been responding to audience's rather strong panning of 48fps rough cuts from his upcoming 3D epic, Hobbit. Viewers' main beefs were the surprising appearance of the higher cadence footage, which almost looked like it was shot on video, as well as blemishes on actors and sets which were all-too-visible without the crutch of motion blur. But Jackson insists that the footage lacked special effects and color correction, and that the showing was perhaps too short to judge the frame-rate -- which is why he also says there'll be no 48 fps trailer. He even adds that he's now "very aware of the strobing, the flicker and the artifacts" when he's watching regular 24fps cinema -- so the real struggle for audiences might not be adjusting to the new way, but going back to the old.
FCC gives the RED EPIC-M its teardown treatment, so you don't have to
Ever wondered what it feels like to tear down a $58,000 professional video camera? Well, unless you're as minted as Peter Jackson or James Cameron, chances are you'll never get close to a RED EPIC-M (without breaking the law) to find out. That said, you may get some insight from this fresh batch of disassembly shots, courtesy of the FCC. Sure, there aren't any jewels or unicorns hidden inside this powerful 5K imager, but you'll get plenty of close-up shots of its delicate circuitry -- it's actually pretty impressive how much the hand-machined chassis holds. Head over to Wireless Goodness to admire the full glory, but make sure you don't dribble over your keyboard.
Draganfly SAVS R/C helicopter does aerial photography "on the cheap"
The main problem with amateur film making is that no one is handing out million dollar checks to fund your latest art house masterpiece, meaning that your choice of shots is basically limited to what you can accomplish with a Handycam and a homemade fig rig. Aerial photography can be especially tricky, as renting a plane, helicopter, or crane to shoot those dramatic establishing shots is prohibitively expensive on a shoe-string budget -- so Draganfly Innovations has come to the rescue with an R/C helicopter for the everyman cinematographer. At $2,500, the company's Stabilized Aerial Video System (SAVS) is still no bargain, but it does give you everything you need for overhead filming in one pre-assembled package: gyroscopically-stabilized copter, anti-vibration video camera, and wireless video receiver from Diversity. Most appealing about this solution is the so-called Thermal Intelligence self-leveling feature, wherein on-board infrared sensors use temperature differences to distinguish the sky from the ground and allow the helicopter to automatically hover without any input from the controller. The 19-ounce Draganfly SAVS is portable enough for almost any application, but the trade-off here is battery life: the relatively tiny lithium-polymer batteries only allow a maximum 15-minute flight.
