Whether or not you know how to play Chess, one of the world’s oldest games, it is highly likely the checkered board and famously recognizable playing pieces are nothing new to you. However, few know the story of The Staunton Chess Set and how it became the standard around the world. Read more
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?
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
Found in the Warm & Natural set, this Filmakr LUT-based filter is named after the 1978 film Terrence Malick film Days Of Heaven.
Malick and cinematographer Nestor Almendros modeled the film’s cinematography on classic silent films, which often used natural light. They drew inspiration from painters Johannes Vermeer, Edward Hopper (particularly his House by the Railroad), and Andrew Wyeth, as well as photo-reporters from the start of the 20th century.
Much of the film was shot during the early morning or late evening right before the sun has set, what has become known as “magic hour”, which Almendros called “a euphemism, because it’s not an hour but around 25 minutes at the most. It is the moment when the sun sets, and after the sun sets and before it is night. The sky has light, but there is no actual sun. The light is very soft, and there is something magic about it. It limited us to around twenty minutes a day, but it did pay on the screen. It gave some kind of magic look, a beauty and romanticism.” Lighting was integral to filming and helped evoke the painterly quality of the landscapes in the film. A vast majority of the scenes were filmed late in the afternoon or after sunset, with the sky silhouetting the actors faces, which would otherwise be difficult to see. Critics were unanimous in citing the photography as a technical milestone.
The production ran so late that both Almendros and camera operator John Bailey had to leave due to a prior commitment on François Truffaut’s The Man Who Loved Women (1977). Almendros approached cinematographer Haskell Wexler to complete the film. They worked together for a week so that Wexler could get familiar with the film’s visual style.
In 2007, Days of Heaven was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant”. We’re looking forward to the remake with all those killer CGI effects — biplanes, locust swarms, digital sunsets! Not.
Original trailer for Terrence Malick’s Days Of Heaven
@Filmakr shooting for VH1. Tomorrow. #filmakr
A Digital Publishing Romance Novel Interactive Experience
Not that Filmakr doesn’t shoot content for broadcast tv and the web, but now we’re going to be included inside of a first-of-a-kind digital book app experience. Here’s a sweet photo from Tristan Pope making the Filmakr UI look as sexy as the model dude.
Rocking the Beastgrip Pro and the Joby.
It’s the difference between what people say they want, and what they actually want.
— Todd Yellin, Netflix’s VP of product innovation.
Word. Here at Filmakr Labs we’ve listened to input from professional DPs (directors of photography / cinematographers) and home movie makers not just by hearing what they say, but by watching what they do. The UX design (user experience) choices we’ve made let you make finished films, not just shoot a few clicks into your Camera Roll. We want to make sure you can quickly and easily make and share your family get-togethers, web antics, and stories needing telling. Just like Netflix wants you to watch what you actually want to watch, you want people to want to see your films. While Filmakr alone can’t unlock the inner creativity each and every one of us has inside, it sure can make it easier and more likely by taking lots of video-making obstacles out of your way.