Film I just got done shooting and editing:
Risen
Writen/Directed by Hector Gonzalez
Produced by The Rock of Gainesville
Hector Gonzalez - Producer/Director
Jim Deason - Director, 1AC
Niki Caligiuri - DP, Editor
Rick Chance - Acting
Katelyn Hopkins - Music
Production Notes:
Canon 5DmkII, 7D
Zeiss 50mm f/1.4
Zeiss 85mm f/1.8
Rokinon 35mm f/1.4
Sigma 20mm f/1.8
Assembled in Adobe Premiere and After Effects CS5.5
Graded in Magic Bullet Looks
Music: Katelyn Hopkins - Original Score
After shooting some B-Roll for a project I was working on last year I ended up not needing it. So before I set it all to be archived, I decided to put some of it together into a little short called SAFEHOUSE.
Note: The home in the video was occupied by about 150 people during a baby shower when a chimney from the 1st floor fireplace started to leak into the attic. Before anyone knew there was a fire the entire 2nd floor was engulfed in flames. Miraculously, no one was injured in the fire but everyone escaped unscathed.
Production Notes:
Canon 5DmkII
Zeiss 50mm f/1.4
Sigma 20mm f/1.8
Assembled in Adobe Premiere and After Effects CS5.5
Graded in Magic Bullet Looks
Music: Safe - Book of Eli Soundtrack
Select stills from the burned home walkthrough are available here listed in the “Aftermath” series:500px.com/nikicaligiuri
I recently got a Beachtek DXA-SLR at my job to shoot in-camera audio with the Canon 7D and Canon 5DmkII. I took it our for a test drive with a Sennheiser EW100 wireless lav kit. Set the EW100 to output at unity and the input of the transmitter set to -10db to be safe to not over-modulate the input. I was pleasantly surprised at the quality of the preamps in the Beachtek. It seemed to have a good range of acceptable headroom without clipping. After I got the footage into the studio and started looking at the waveforms, I noticed that, while the monitoring of the Beachtek was clean, the Canon 7D’s AGC (Auto Gain Control) was still affecting the recorded audio. As any DSLR shooter knows there is a lot of ducking, compression and noticeable ”hiss” during quiet segments of your recordings. This is where the Beachtek’s “AGC Disable” feature comes into play. When enabled, it sends a 20khz (inaudible) tone out of the left channel of the Beachtek to the Camera, therefore keeping a constant level of audio feeding the Canon and not allowing the camera’s internal AGC to kick in. Now, with my Beachtek set to Stereo output, I had 20khz tone in the left channel and clean audio in the right. With a quick stereo filter in Adobe Premiere Pro (Fill Right) I now had great sounding in-camera recorded audio.
I noticed that when you set the Beachtek to mono output with the AGC DSBL Engaged you will end up with [the 20khz tone + PGM audio] in the left and [Clean PGM Audio] in the right. *See waveforms. As long as you are using the “Fill Right” filter trick, you can set the Beachtek to mono output. That way when you are monitoring the unit on set you get a nice clean mono send to both your headphones and not the mix and match effect you hear when it’s set to stereo.
I watched this for the 1st time on the big screen and was impressed. Watching it again now on a YouTube window certainly does not disappoint. The creative use of 60fps pulled down to 24 is a nice pairing with Emily Browning’s rendition of “Sweet Dreams.” I’m sure Larry Fong, the DP, took several notes from Frank Miller’s comics and the end result includes some amazing compositions lifted straight from a comic page. The bleached color grade is also noteworthy and reminds me of what Stu Maschwitz did with “The Spirit.”
Here’s a link to an interview with Mr. Fong
These are some great commercial created for for EF International Language Centers.
Gustav Johansson does an amazing job directing these spots to tell the story and culture of each of these locations in just 2:00.
D.P: Niklas Johansson, fsf niklasjohansson.com
Typography: Albin Holmqvist albinholmqvist.com
Music: Magnus Lidehäll twitter.com/magnusthemagnus
Produced at Camp David campdavidfilm.com
Campaign site: ef.com/livethelanguage
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Someone Like You
BLADE RUNNER revisited >3.6 gigapixels
by françois vautier
An experimental film in homage to Ridley Scott’s legendary futuristic film “Blade Runner” (1982).
Created by extracting 167,819 frames from ‘Blade Runner’s final cut version, then assembling all these images to obtain one gigantic image of colossal dimensions : a square of approximately 60,000 pixels on one side alone, 3.5 gigapixels. A virtual camera was then placed above this big picture which creates an illusion, because contrary to appearances, there is only one image. It is in fact the relative movement of the virtual camera flying over this massive image that creates the animated film, a kind of ”zootrope effect”, like a film in front of a projector.
The whole concept echoes one of the signature scenes from the film where “Deckard” (Harrison Ford) analyzes a photograph via voice recognition software.
Part of the WORLD EXPO Shanghai 2010, presented by “OPEN THIS END”
source : Blade Runner de Ridley Scott (the final cut)
durée : 1h51mn52s19i > 167819 frames »
one picture / format psb : 60 000 X 60 000 : 3 540 250 000 pixels » 3,5 gigapixels
sound > from the original score by Vangelis
compositing> logiciel : Combustion. Mac pro 2X 2.26 GHz Quad-Core Intel Xeon.
Click the image to see some test shots form a project I’m currently working on.
I shot the JEA Tower the other day. Quite striking!
