Filmmaking
Remember Lomography's LomoKino we featured back in November? It's an uber-faux-retro film camera that can shoot about a minute of 3-5 frames-per-second footage using any old 35 mm stills film. Well, Lomography have now released the LomoKino SmartPhone Holder which, though you mightn't have guessed by the name, is a means of digitizing your LomoKino movies using only your smartphone (*cough* by which they mean iPhone *cough*). Cunningly, it's done without need of an app. Read More
Amateur or low-budget videographers who want to smooth out their shaky handheld camera work have for some time now had the option of using the Smoothee, a simple rig made by none other than Steadicam. The product is intended for use with pocket camcorders and smartphones, however, which kind of leaves DSLR-users in the lurch. Well, those people now have a new affordable stabilizing system of their own, in the form of the Cam Caddie Scorpion. Read More
Magic Lantern announces free HDR video firmware for Canon DSLRs
Those cheeky gear hackers at the Magic Lantern team have announced a very interesting upgrade to their custom Canon firmware mod. As of tomorrow, owners of 550D, 600D and 60D DSLR cameras will be able to use a very cool new tool to shoot video in HDR, meaning that you can capture scenes where the lights would normally be too bright and the shadows too dark to get a workable exposure level. Check out the demo video after the jump. Read More
When you think about the best-loved movies depicting space travel, what names come to mind? Star Wars, 2001: A Space Odyssey, Star Trek - The Motion Picture, Silent Running, Battlestar Galactica? Interestingly enough, all of those enduring films were made decades ago, and utilized hand-built model spaceships for their space-flight sequences. Today, even low-budget productions usually use CGI (computer-generated imagery) for the same purpose – it’s logistically much easier to create and “film” a virtual spaceship on a computer, than it is to build, light and shoot an actual model. Nonetheless, that second approach is exactly what New York film-makers Derek Van Gorder and Otto Stockmeier are taking with their short film, C. Read More
The guys over at Portland, Oregon’s Metrofiets are a pretty talented bunch when it comes to designing cargo bicycles for more than ... well, for more than hauling cargo. Not long ago, they made headlines with their Beer Bike, that incorporates a tap-equipped wooden bar, space and hardware for two kegs, and a rack created specifically for carrying pizza boxes. They’ve also built bikes that have served as a mobile coffee shop, and as a go-anywhere bicycle repair station. Their latest creation, however, is aimed at the world of broadcasting – it’s a two-wheeled human-powered talk show set. Read More
Heavy-duty housing lets iPhone shoot video deep beneath the sea
If nothing else, the iPhone 4’s ability to shoot 1080p high-def video has certainly done one thing – provided inventors with things to make. There is currently what could almost be described as a gold rush, as products are being designed to augment the smartphone’s camera, to the point that it could be used for all of the same things as traditional, stand-alone video cameras. Some of these innovations have included interchangeable lenses, a mini SteadiCam, and a rugged helmet-mount system. Now, an underwater housing system for the iPhone 4 and 4S is in the works, which will allow users to shoot undersea video at depths of up to 100 feet (30.5 meters). Read More
Digital face-swapping heading for low-budget film-making
If you've seen the film The Social Network, then you might have wondered about the identical Winklevoss twins - were a real-life pair of twins cast for the roles, or was it a bit of Hollywood magic? Well, it was magic. Although two different actors' bodies were used, their faces both belonged to actor Armie Hammer. After the movie was shot, the body double's face was digitally replaced with Armie's. While such computer-enabled face-swapping trickery has so far been available only to feature film-makers with deep pockets, that could be about to change, thanks to research being conducted at Harvard University. Read More
I have to admit to occasionally doing something that’s perhaps a little dorky. If I’m listening to particularly moody music, I’ll sometimes close one eye, then simulate a tracking shot or a crane shot from a movie, by slowly moving my head past the items on my desk. Yeah, I look pretty dumb doing it, but the continuous change in perspective created by such a simple move really has a way of making even the most mundane scenes look ... poetic? Profound? Good videographers realize how powerful such shots can be, which is why some of them put their DSLRs or prosumer-level camcorders on camera sliding mechanisms like the Glidetrack. Now, users of smartphone cameras and pocket camcorders can get in on the smooth-tracking action, with Glidetrack’s compact new mobislyder. Read More
LomoKino lets you shoot VERY old school 35mm movies
Video cameras now routinely offer features such as full 1080p high-def video, night vision mode, and stereo sound ... if you're one of the people who reads that and thinks "Big deal, that just means people will have nicer-looking home videos," perhaps you would appreciate a camera that's focused less on the latest tech, and more on the art of moving pictures. Well, Lomography's new LomoKino Super 35 Movie Maker should fit the bill. Paying homage to the original Chaplin-era movie cameras, users hand-crank 35mm film through the box-like device, while a fixed-focus lens captures all the jittery, grainy action. Read More
Two young men who spend their time together building Mad Max-esque vehicles and weapons see their lives and friendship thrown into violent disarray when one of them meets a girl - that's the premise of Bellflower, an independent American film that has been hitting the festivals and arthouse theaters since it was released this August. It's a simultaneously brutal and poetic movie, which writer/director/star Evan Glodell wanted to reflect in the look of its onscreen images. While he perhaps could have tried simply applying some digital effects in post production, he decided to ingrain the film's look on a deeper level ... so he had it shot with cameras that he jerry-rigged together himself. Read More