Canon introduces EOS-1D C Digital SLR Camera, helps keep the costs of filmmaking high(ish).
Canon introduces EOS-1D C Digital SLR Camera, helps keep the costs of filmmaking high(ish)
4K recording, Super 35mm crop mode, 1080/60p, log profile, uncompressed 4:2:2 HDMI output. $15,000 ($8,000 more than the similar 1D X.) Panasonic and Sony are following with 4K products of their own. Because everybody has to do 4k now (or at least soonish.)
It’s awesome and gorgeous and aimed at a segment of the market that will see this as a bargain. But it’s also part of something that bugs the crap out of me.
A couple of months ago, Christina mentioned the peculiar Hollywood rule that says ‘as the technology gets better, the costs get higher’. While this is true for VFX, it’s a totally artificial, culture based phenomenon when it comes to capture technology.
When DV first appeared, it was better and cheaper than Hi8 and mid-range beta. But engineers complained that they couldn’t justify replacing $15,000 cameras with $3,000 ones in their budgets so the camera industry responded with the more expensive DVCAM and DVCPRO implementations. The chips and optics were the same but there was just enough differentation to justify a higher price. The tapes were the same but cost 3x more.
And it was a practice that repeated itself time and time again over the past two decades. When HDV hit the market, all new “broadcast ready” flavors of HDV (and AVCHD) popped up on the more expensive end. When DSLR video revolutionized the low budget and pro-am video market, suddenly the pro “cinema” cameras got more expensive. And now that you can shoot 1080 lines of resolution with your phone, lo and behold, 4K is the new more expensive standard that everyone is moving to.
vii magazine april 2012 - the world in pictures
VII MAGAZINE REBLOG
how photographers see the world.
Haviv is a co-founder of the photo agency VII that is dedicated to documenting conflict, both violent and non-violent, to produce an unflinching record of the injustices created and experienced by people caught up in the events they describe.
Award-winning photojournalist Ron Haviv has produced images of conflict and humanitarian crises that have made headlines from around the world since the end of the Cold War.
Numerous museums and galleries have featured his work, including The Louvre, United Nations, and the council on Foreign Relations.His work is published by magazines worldwide, including two critically acclaimed collections of his photography – Blood and Honey: A Balkan War Journal and Afghanistan: On the Road to Kabul.
Haviv has been the central character in three films including National Geographic Explorer's Freelance in a World of Risk that explores the hazards inherent in combat photography. In addition, Haviv has spoken about his work on NPR, NBC Nightly News, MSNBC, The Charlie Rose Show, Good Morning America, ABC World News Tonight and CNN.
sEAGULLS AND ZEBRAS
THE CREATIVE FOUNDRY
NATURES CREATIVE CONFUSION.
Photograph by Katie Cuttriss.
Photograph by LifeInMacro | Thainlin Tay's.
1920 music video - behind the scenes
THE CREATIVE FOUNDRY - KATIE CUTTRISS
a film noir shoot.
A dark city street bathed in shadows. A light post leans against a cobble stone backdrop. A seedy dance floor with tap rhythms knocking against wooden floors. A winding road and sharp corners. An isolated house on the outskirts of town. The scenes of film noir take us back to a time when flapper dresses lined women’s wardrobes and awareness of one’s hold on a cigarette balanced one's sexual promiscuity. Archetypal characters glamorized the underworld with hard-boiled detectives, the dangerously alluring femme fatale, and the well-heeled villain surrounded by gun-toting thugs.
The visual style – canted camera angles, deep-focus shots, high-contrast lighting – and ultimately subversive message that are the hallmarks of classic film noir.
Photographs shot on set for the latest music video produciton by The Creative Foundry. New single "Epidemic" by the GreenThief is out now and the band are touring the East Coast throughout April.
Video to be released soon - look out for it on The Creative Foundry website.
bluebird sand castle
THE CREATIVE FOUNDRY
“SOMETIMES WE HAVE TO LOOK A LITTLE CLOSER.”
KATIE CUTTRISS March, 2012
Photography by Katie Cutrtiss.
galapagos - shot on iphone 4s, 2012
MIGUEL ENDARA, 2012
Directed, Filmed, and Edited by Miguel Endara
Music by Bushy - "There's a Light"
Shot with iPhone 4S
Stabilized, Edited and Rendered in After Effects
discovery: trixie whitley JANUARY, 2012
INTERVIEW MAG REBLOG
TRIXIE Whitley is refreshingly complex: vibrant and lively, but when she opens her mouth to sing, her voice wields the force of an old soul who once drowned her sorrows in whiskey and wants you to feel what she feels.
EARLIER this year, the part-time New Yorker released Live At Rockwood Music Hall—a six-track EP that is lightly laced with charming imperfections. Now, Whitley has taken to the studio with producer Thomas Bartlett to record her first full-length album (due out this fall) and recently took some time out to talk to us about her nomadic childhood, her time with Daniel Lanois, and the breathtaking video for her song "A Thousand Thieves," which went viral.
HOMETOWN: Born in Belgium, raised between New York and Europe
HER NAME: Yes, it is my given name. My parents were both musicians and artists, and I have an eccentric background, but actually, funny enough, I think they got it from The Honeymooners.
ON TOURING AS A CHILD: It taught me so much. It taught me a lot of focus and that I was obviously never going to have a normal life—that's one thing that became really clear at a very young age. I missed out on a lot of school because I was touring all the time. I was working with a lot of professional companies so I was always the only child that was there. With the [modern] dance company, I danced with [everyone from] Russian prima ballerinas, [to] Argentinian salsa dancers, to breakdancers from New York, so it was very eclectic. I was exposed to a lot of traveling at a very young age and a lot of really, really talented people but also realized that there was no way I would be able to function in a "normal" society.
SIMULTANEOUSLY GOOD & EVIL: The fact that I am really sensitive. That's something I could definitely live without, at various times. But I also feel like it's one of my strengths, for my creativity. I am a really fucking emotional being, which is kind of challenging.
ON DANIEL LANOIS: I was a huge fan of his. I grew up with a lot of his records and I went to a show of his a couple of summers back. He was playing with Sinead O'Connor and Brian Blade, and I happened to stumble upon him after his show. I had just recorded my first EP and, somehow, I had the balls to give him an EP. I didn't expect him to listen to it at all, but I basically got a call from him a few months later saying, "I'm going to be in Boston. I want to meet up with you. I listened to your EP. Do you want to come to the show? I have a few things on the horizon..." So I did. I had just written this song called "I'd Rather Go Blind" and we did that as an experiment to see if we could work together. That extended to becoming a whole group project. Daniel started this band, Black Dub, and I became the lead singer of it and I also played drums in it and from there, the ball started rolling.
MOST MEMORABLE LIVE SHOW: I have to say Antony & the Johnsons. You get out and your heart is just shaken up, which for a lot of people is really frightening and terrifying but I find it really admirable that someone can make you feel so much.
HER CHILDHOOD IDOL: One of the first concerts that I remember that had a major impact on my life was Bootsy Collins. Boot actually took me up on stage. I was six. That show changed my life. He became my first idol. I started recording mixed tapes and sending them to Bootsy Collins, hoping that he would write me back.
ON FINDING INSPIRATION: I try to write on a daily basis, and most of the stuff that I write is total crap, but every once in a while, something will pop up that can inspire a song. I always try to be as sensitive as possible to my surroundings and really observe everything that I see, and translate that into metaphors. Living in New York is really inspiring in that way too.
ON GIVING IT ALL UP: I think I was 20 years old when I decided, "Ok. I'm going to go and lead a normal life, and go to college." That same month I got the call from Daniel [Lanois] saying that he wanted to work together. So I've had times where I've really craved normalcy. I've had that a lot, but giving up on music—it's not even really a choice I feel I have. Music is like breathing for me. I just need it so much. I can't live without it. The professional side that comes along with it? I've definitely questioned numerous times.
ARTS IN THE USA: There is something that I really, really respect. It's something that I love in the States and why I also believe that so much great, great art comes from the States as well. It really sucks that there is so little support from the government over here for the arts, but at the same time it enhances a lot of the struggle to make art, which I feel is also really productive. If you have to fight for your life to make what you want to make, it really forces you to push the envelope and to make something new and fresh.
THE NOWNESS VIDEO: Thomas Barlett, who I am making my record with, he gives these salons in New York and everyone plays these completely different things than they usually would. He invited me to play at one of these salons last year. I played a couple songs and Matthu Placek happened to be there and kind of flipped out. That same night we all went out afterwards, dancing, and Matthu approached me and said, "I have to make a video of you! And I have to do it for this song that you played." I hadn't even recorded that song yet. But Matthu was there that night and he had this entire idea in his mind already and he just moved forward with it right away. He said, "I'm going to make this happen. I want to see this come together."
SLOW & STEADY WINS THE RACE: I'm just kind of riding the wave and not trying to force anything. In terms of my career, I'm a hard worker and I like to know that I've earned whatever comes to me, that it wasn't forced because of the right business decision. I like the fact that I work hard at what I do and it can be recognized for what it is.
mnima nabili rad - music video cinematography
2011 "Winner - Silver - Australian Cinematographers Society"
2011 "Winner - 2 Bronzes - Australian Cinematographers Society"
2011 "Winner - Golden Tripod - Australian Cinematographers Society National Awards"
2011 "Nominated - Best Cinematography - SASA Awards"
2010 "Winner - Gold - Australian Cinematographers Society"
2010 "Winner - Bronze - Australian Cinematographers Society"
2006 "Winner - Highly Commended - Australian Cinematographers Society"
2006 "Nominated - Best Cinematography - SASSA awards"
2005 "Winner - Gold - Australian Cinematographers Society"
2005 "Winner - Highly Commended - Australian Cinematographers Society"
2005 "Winner - Best Cinematography - Flinders University"
2005 "Nominated - Best Cinematography - Zoom! awards"
2004 "Winner - Gold - Australian Cinematographers Society"
2003 "Winner - Best Cinematography - Flinders University"
Frank w. ockenfels 3, photographer
The kind of photographer who does everything well.
Frank Ockenfels, photographer.
PHOTOGRAPHER — Frank W. Ockenfels 3 is a Los Angeles based photographer who has spent more than two and a half decades working as a portrait photographer, photographing musicians, celebrities, corporate heads and everyday people. His images have graced the covers of Rolling Stone, Esquire, GQ, Men’s Health, Blender, Newsweek, Wired, Entertainment Weekly, Spin, New York Magazine and People to name a few. His work has appeared on the pages of such diverse magazines as W, Maxim, Men’s Journal, Popular Mechanics, New York Times Magazine, Los Angeles Times Magazine, Outside, Playboy and UK Conde Nast Traveler.
He has worked with most major record labels and has done over 200 album covers and press shoots for musicians such as David Bowie, Willie Nelson, No Doubt, The Yeah Yeah Yeahs, The Strokes, Wilco, Garbage, and LeAnn Rimes to name a few. Frank has photographed movie posters including The Social Network, The Last Airbender, Jonah Hex, Legion, Time Travelers’ Wife, Hellboy 2, Wanted, The Incredible Hulk, Harry Potter, Chronicles of Riddick, Eternal Sunshine of a Spotless Mind for studios such as Universal, Paramount, Focus Features, Warner Brothers, Sony and Fox. He has done TV advertising campaigns for all the major networks including ABC, NBC, CBS, Fox and CW and cable channels such as AMC, FX, E!, Lifetime, TNT, Showtime and HBO.
Frank has also directed for many years. He has directed music videos for bands such as Alice in Chains, Blues Travelers, Johnny Lang, the Deftones, Better than Ezra, and Everclear. He has also shot commercials for clients such as Nike, Converse, K-Swiss, Canon and the New York Times and on-air promos for the CW, E!, The Style Channel and Comcast.
Frank is a nimble problem solver. His ability to adapt to unusual ten minute situations as well as staying away from the obvious seem to be qualities that set him apart from other photographers. He believes in meeting someone first and then deciding what the image will be. Working with artificial and existing light, he collaborates with the subject to create a unique moment. In many ways Frank is unconventional. He believes that photography can still have moments of purity without being overly conceptualized or retouched.
WEBSITE – www.fwo3.com
“Girl with dali scribble"
“In the HEadlights"
“plastic and pegs"
Azealia banks in london january, 2012
INTERVEIW MAG REBLOG
“They’ll forget your name soon,” Azealia Banks warns haters in her breakout Internet smash, “212.”
Banks herself shouldn’t worry about fading from pop-culture memory anytime soon. The 20-year-old New Yorker has proven to be one of music’s most intriguing new shape-shifters since she started posting songs and videos online a few years ago. Fast-forward to today, and her cheeky black-and-white video for “212” has amassed more than three million-plus YouTube hits. What’s fresh about Banks is how she combines audacious charisma with lyrical naughtiness and genre hop-scotching: Over ultrafuturistic dance grooves, she sings like a bird (check out her glistening cover of Interpol’s “Slow Hands”) and spits rhymes like a sexpot (“I guess that cunt gettin’ eaten” goes the unforgettable hook of “212”), forging an irrepressible persona in the process. “The beats are like scripts, and the raps are my monologue,” says Banks, who studied musical theater before she took to the mike. Her frankness also makes for good copy: Her shots at newcomer Kreayshawn made their way around the Web in January, and she’s also voiced her opinions about Nicki Minaj, a fellow outspoken female MC, and graduate of New York’s LaGuardia High School (known to most as the setting for the movie Fame ). “I don’t want to talk about Nicki Minaj anymore,” Banks groans. “At this point, I’m being scrutinized for everything.” Understandably, Banks doesn’t want anything to mitigate her speedy trajectory. She’s already collaborated with Paul Epworth—hitmaker for the likes of Adele and Florence + the Machine—and signed a major-label deal with Universal, which will release her debut album this fall. Karl Lagerfeld even invited her to perform at his home in Paris at a gala celebrating the launch of his new line, Karl. It’s all been quite a journey for Banks, whose current jet-set lifestyle belies her hardscrabble beginnings: Her father died when she was 2, and she was raised in Harlem by her mother. “Nowadays when I walk around, I get noticed, which is kind of weird,” Banks says. “It’s really just starting to hit me. For me, a 20-year-old girl from Harlem, it’s like . . . What?”
TOP: TOPSHOP UNIQUE.
UNDERWEAR: DANIELLE SCUTT.
HAT: JIL SANDER.
EARRINGS: STYLIST’S OWN.
NECKLACE (FROM SUSAN CAPLAN VINTAGE): CHANEL. CHOKER: MAISON MARTIN MARGIELA.
RINGS: FREEDOM FOR TOP SHOP.
COSMETICS: NARS COSMETICS, INCLUDING LAGUNA BODY ILLUMINATOR, SHEER GLOW FOUNDATION, EYELINER STYLO IN NUITS BLANCHES, GLITTER PENCIL, AND LIP LACQUER IN HOT WIRED.
STYLING: ROBBIE SPENCER.
HAIR: NAOKI KOMIYA/ JULIAN WATSON AGENCY.
MAKEUP: JANEEN WITHERSPOON FOR NARS/JULIAN WATSON AGENCY.
HAIR ASSISTANT: VICTORIA HUTCHINSON.
STYLIST ASSISTANT: ELIZABETH FRASER-BELL.
SPECIAL THANKS: HOXTON STREET STUDIOS.
Interview Magaine, Music
Written by Matt Diehl
Photography Kacper Kasprzyk