This is how you do it filmakrs: gorgeous well-composed steady shots in glorious Moondog Labs anamorphic Home Movie Masters take note of this experiment from Donald Rees with his MoondogLabs lens and our Filmakr app at the Vancouver Aquarium!
You can quick switch back and forth between the front and back cameras as much as you like while recording continuous video. Read more
Filmakr has a dedicated manual focus slider and upon interaction, the entire screen clears unnecessary UI elements from the screen. After all, you are trying to focus aren’t you?
In the midst of today’s lazy Sunday afternoon, I heard my son calling from across the room and saw him looking up from assembling a Lego with his eyes fixed out the window. “There’s a rainbow, you should film it.” I leapt over to the window, launching Filmakr on my iPhone6s Plus, selected the 4K preset, hit record first, and then got into position. First there was the bug screen to content with so, I raised my arms high to the clear pane of glass above. Then I called for him to turn off the overhead lights to eliminate a reflection I was getting and finally settled on my composition cropping out some unwanted elements on the left and right sides of the frame. I held my arms up in the awkward position for 6 minutes sensing the rainbow would disappear. Some. Time. Soon. Even after the rainbow dissolved off I held the shot a good fifteen to twenty seconds longer knowing that I wanted to speed up the shot in post and that the additional moment of footage with clouds heading toward the building would serve to distinguish the before and after of the rainbow.
In playback, the head of the clip showed a bit of the window frame for a moment, so I double-tapped the clip and moved the left trim-handle to trim off these frames. Then I tapped the Motion icon under the clip and used the UIPicker over the video area to select Fast-Mo; I double-tapped the UIPicker to get to the Motion Settings Screen where I could chose 60x from the granular speed settings on the slider. Once the fast-motion clip rendered, I saw that is was 6 seconds — perfect for Vine! Before making and sharing, I tapped the Top-Center Dropdown, tapped the right-most circle BUG Button and selected the default www.filma.kr URL BUG.
I tapped MAKE and then shared to YouTube. I wanted to share the clip to Vimeo as well so I tapped the Play Icon over the film’s thumbnail on the Films List, paused the video and tapped the V for Vimeo icon, entered my text and tapped SHARE. Whoosh, to the internets she went!
For sharing on Vine and Instagram I turned on the Instagram Square Aspect Ratio Mask, used Scale tool to reposition the image into the square frame.
The Filmakr app provides you with a range of Aspect Ratio Masks to prep your films for sharing on square-format social site such and Vine and Instagram, or to give your films that cinematic look such as 2.20:1 (70mm), 2.39:1 Anamorphic, or 16:9 which is the HDTV standard and for all intents and purposes at 1.78:1 is comfortably close enough to substitute for 1.85:1 Academy Flat.
What was the first movie released in 1.85:1 Aspect Ratio Format? Thunder Bay
May 20, 1953 Thunder Bay opens in 1.85:1 (the American “flat” ratio) at Loew’s State in New York.
• Production Dates: late September to mid-November 1952
• Filmed during principal photography in 1.37 to 1 aspect ratio (Originally planned to be photographed in 3D)
• Released in 1.85 to 1 widescreen aspect ratio
BONUS FIRST: Universal Studio’s first use of stereophonic sound
The film marked Universal’s first use of stereophonic sound, which at the time was presentable only in select theaters. Some contemporary reviewers complained that the sound, with its use of three speakers, was loud and distracting.
Thunder Bay is an American adventure film directed by Anthony Mann and starring James Stewart. The plot is set following World War II, when ex-Navy engineer Steve Martin (James Stewart) and his friend Johnny Gambi (Dan Duryea) come to Louisiana with dreams of wealth. They build an offshore oil drilling platform with the help of a large company, and find themselves in a lucrative business. However, local shrimp fishermen are hostile, feeling their livelihood is at risk. A further complication is the budding romance between Steve and the daughter of one of the shrimpers. Most of the picture was shot in Morgan City, LA, and some scenes were shot in New Orleans and on an oil-drilling barge thirty miles out in the Gulf of Mexico
Apple can be sneaky. They’ve left a hack in for speeding up some of their default iOS apps. Read more
After Haskell Wexler passed this week, our thoughts immediately turned to his contemporary Vilmos Zsigmond. Unfortunately our fears have been realized much sooner than we thought : (
Hungarian-born cinematographer Vilmos Zsigmond, winner of an Oscar for his achievements on “Close Encounters of the Third Kind” and a nominee for “The Deer Hunter,” “The River” (1984) and the “The Black Dahlia” (2006), has died at 85. His business partner Yuri Neyman said he died January 1.
One Perfect Shot: ONE OF THE GREATS HAS GONE, VILMOS ZSIGMOND PASSES AWAY AT 85
Also check out the great documentary film No Subtitles Necessary: Laszlo & Vilmos
From Filmakr Emnaudin, a nice Moondog Anamorphic clip shot down-under. You don’t need to read a Moondog anamorphic lens review to see how great this lens is. And what Filmakr does with it ain’t too shabby either : ) Read more
From a 70MM revival to iPhone filmmaking, enjoy what a year it was in cinematography.
Cinematography Tribute 2015 list of films and cinematographers with links to info in order of appearance:
Carol – Edward Lachman
Meadowland – Reed Morano
A Pigeon Sat on a Branch Reflecting on Existence – István Borbás, Gergely Pálos
By The Sea – Christian Berger
Far from the Madding Crowd – Charlotte Bruus Christensen
Crimson Peak – Dan Laustsen
The Revenant – Emmanuel Lubezki
Hateful Eight – Robert Richardson
Tangerine – Radium Cheung
Sicario – Roger Deakins
Fifty Shades of Grey – Seamus McGarvey
Magic Mike XXL – Steven Soderbergh
Ex Machina – Rob Hardy
Mission: Impossible – Rogue Nation – Robert Elswit
Mad Max: Fury Road – John Seale
It Follows – Mike Gioulakis
Beasts of No Nation – Cary Joji Fukunaga
The Walk – Dariusz Wolski
The Stanford Prison Experiment – Jas Shelton
Macbeth (2015) – Adam Arkapaw
The Assassin (2015) – Mark Lee Ping Bin
Haskell Wexler at work on Medium Cool, 1969 shooting with a blimped 35mm Panavision Silent Reflex [PSR] Camera. Photograph: Ronald Grant
Haskell Wexler belonged to a key time in the development of the art of cinematography. As we move completely to digital filmmaking, this era is now capped off with all the greats who will have pioneered and achieved great work shooting on film.
His cool, uncluttered but visually distinct style grew out of his years as an educational and industrial filmmaker, which led to his photographing of documentaries such as Joseph Strick’s “The Savage Eye” in 1959. He continued to invest his own money in films that promoted causes because he saw them “as an instrument for social change.”
Variety: Haskell Wexler, Oscar-Winning Cinematographer and Documentary Filmmaker, Dies at 93
Good overview of Wexler’s career in The Guardian: Haskell Wexler obituary
Haskell Wexler at work on one of our favorites Elia Kazan’s America, America. Shooting handheld with a French Éclair Caméflex camera: