A Quick History Of The Staunton Chess Set

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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

Vancouver Aquarium in Anamorphic

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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!
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Cinematography Tribute 2015 from Serena Bramble on Fandor

From a 70MM revival to iPhone filmmaking, enjoy what a year it was in cinematography.

Fandor — Video: Best Cinematography of 2015

Cinematography Tribute 2015 list of films and cinematographers with links to info in order of appearance:

CarolEdward Lachman
MeadowlandReed Morano
A Pigeon Sat on a Branch Reflecting on ExistenceIstván Borbás, Gergely Pálos
By The SeaChristian Berger
Far from the Madding CrowdCharlotte Bruus Christensen
Crimson PeakDan Laustsen
The RevenantEmmanuel Lubezki
Hateful EightRobert Richardson
TangerineRadium Cheung
SicarioRoger Deakins
Fifty Shades of GreySeamus McGarvey
Magic Mike XXLSteven Soderbergh
Ex MachinaRob Hardy
Mission: Impossible – Rogue NationRobert Elswit
Mad Max: Fury RoadJohn Seale
It FollowsMike Gioulakis
Beasts of No NationCary Joji Fukunaga
The WalkDariusz Wolski
The Stanford Prison ExperimentJas Shelton
Macbeth (2015)Adam Arkapaw
The Assassin (2015)Mark Lee Ping Bin

Filmakr Filter: Days Of Heaven

via GIPHY

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 App Shoots Video Content for Inclusion Inside Another App:

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.

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Rocking the Beastgrip Pro and the Joby.

What You Actually Want

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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.

The Verge: The science behind Netflix’s first major redesign in four years

Filmakr Filter ‘Vilmos’: Magic Hour for iPhone Video

Coming in at the number four position in the Warm & Natural set, our video app filter Vilmos is a Filmakr LUT-based filter named after Oscar-winning cinematographer Vilmos Zsigmond that brings magic hour to your iPhone video. Read more