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The art and science of making media.

Lighting Still from OnLive "Spectate" Spot

Diffusion doesn’t just soften light; it relays light. Here’s how I used a large piece of dense diffusion to light the inside of a car and hide the little known fact that the sun moves.

This spot was the first in a series of six that I shot two years ago for OnLive, a company that specializes in streaming gameplay over the Internet. They went through some rough times but now they’re back and they’ve decided to release these spots as part of a new ad campaign.

My lighting budget had to cover the needs of all six spots over five days, so I had to build an equipment package that worked for everything. This car was the only location that would normally have required some big lights to balance a dark car interior with a day-lit exterior and keep the quality and direction of light consistent over time, but we didn’t have the money for a generator and a couple of large HMIs. Fortunately I had two tricks up my sleeve: an Arri Alexa and a 12’x12′ frame of full grid cloth.

Camera Support

To me the Phantom is a tool to which I can attach a camera to take stunning photographs or video from an angle that is totally alien to us. To some and sadly a few of our newspapers the Phantom is a drone, a device which is seen as being used for surveillance, to strip away our privacy. As responsible pilots we need to act in a manner that doesn’t harm this emerging market for aerial video and photography. My fear is that sooner or later a member of the public will be hurt by somebody flying irresponsibly. The press that will follow will put all multirotor pilots in the spotlight in a negative way.

My involvement with multirotors has up to this stage been as a hobbyist. I was introduced by a friend to this technology about 18 months ago and have fallen in love with it. I was involved with building my first rig, went on to buy a Phantom and have almost finished building the larger DJI S800. From this point on my interests are of a commercial nature, I want to provide aerial footage to a niche and specific market. To do this though however brings about what appears on the surface to be another set of complexities.

Camera Support

Every year at NAB we see new and improved hardware accessories for taking mobile device video to new levels. Now, we have the Padcaster. The Padcster consists of an aluminum…

Acquisition Sensor areas for the 1D C

In the beginning… there was the Canon 5D Mk II. It wasn’t the first HD-capable DSLR, but it was the first one good enough for serious work. Once Vincent Laforet’s “Reverie” went viral, there was no putting the large-sensor, low-light, super-shallow-depth-of-field genie back in the bottle—no matter how soft the images, how prevalent the aliasing, and how much bother it was (for the two years prior to firmware version 2.0.3) to deal with 30p images in a 24p world.

Fast-forward five years: Canon’s EOS-1D C, announced at NAB 2012, is now shipping. It’s a full-frame DSLR with an 18 Megapixel sensor, full-frame and crop-mode HD recording, and true 4K at 24fps: 4096×2160 pixels. Yep, 4K in a DSLR package. And it’s only… $12,000.

Acquisition

Sony gives us a lot of gamma table options in the F5 and F55. I recently had a chance to sit down with an F5 and map them all out, and in doing so I learned a lot about both gamma curves and how BlackMagic Resolve Lite handles them. I had no idea what I was getting into when I shot these tests. Usually I bring clips into Final Cut Pro, export them to Apple Color and capture waveform images from there, but according to Sony there are no current options to import XAVC HD directly into Final Cut Pro 7 or X. I’m not that familiar with BlackMagic DaVinci Resolve Lite, but I learned a lot… while putting a nice dent in both my forehead and the wall over my desk along the way.

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