OSCILLOSCOPE PICTURES in association with CINEREACH present
TEENAGE a film by Matt Wolf
‘Teenagers’ didn't always exist. In this living collage of rare archival material, filmed portraits, and voices lifted from early 20th century diary entries, a struggle erupts between adults and adolescents to define a new idea of youth.
Original Music by Bradford Cox
Featuring: Jena Malone, Ben Whishaw, Julia Hummer, and Jessie Usher
Could there is a better way to illustrate the tilt-shift technique but by photographing a theme park ?
With its various settings, numerous parades and constant excitement, Disneyland Paris was only waiting for the Audiovisual Service to meet a team willing to apply the tilt-shift technique and reduce the park to its original model look.
Director, Céranne Gantzer
Director of photography , Daniel Meyer et Christian Van Hanja
Quel sujet pouvait aussi bien se prêter à la technique du tilt-shift qu'un parc d'attractions?
Avec sa variété de décors, ses nombreuses parades et sa constante animation, Disneyland Paris n'attendait plus qu'une envie commune entre le service Audiovisuel du parc et une équipe désireuse d'exploiter la technique du tilt-shift pour être réduit à l'échelle d'une maquette.
Réalisateur, Céranne Gantzer
Directeurs photo, Daniel Meyer et Christian Van Hanja
"Valsa das Máquinas" é uma leitura poética da fábrica da Paramount Têxteis, grupo fundado em 1893. Criado e produzido pela Grafikonstruct, o filme conta com trilha especialmente composta por Lucas Lima.
"Machine´s Waltz" is a poetic vision of Paramount Têxteis textile plant, part of the group founded in 1893. Created and produced by Grafikonstruct, the film has a soundtrack specially composed by Lucas Lima.
I shot this for a friend of mine who is selling his apartment. We did this as a test to see how it can be done and what to think about. It will also be used on the real estate homepage (is.gd/oSLIYN).
It also gave me the opportunity to test the AF101 for the first time. Since I already had shot some of the footage a couple days earlier with the 5D MkII, my goal was to match the AF101 footage with the 5D. The video's footage is about 50/50 from each camera.
We used the Kessler Crane Pocket Dolly 2.0 with the Oracle Controller and a Marshall 5" field monitor.
All shots with 5D are with a Canon 16-35mm f2.8 lens.
With AF101, I used the Kipon EOS to Micro Four Thirds adapter, with a Canon 15mm f2.8 fisheye and Canon 16-35mm f2.8 lens.
These are the picture settings I used:
Canon 5D Mark II, semi-flat picture profile:
AF101, scene file settings:
Detail level: -5
V Detail level: -5
Detail coring: +1
Chroma level: -3
Gamma: Cine-Like D
Everything else default. I think I went a bit too flat with picture settings on the AF101. Next I'll be raising the detail levels to -4 or -3, and test different matrixes. Also maybe try the Cine-Like V gamma.
Can you see which shots are from the 5D and the AF101?
Edited in Premiere CS5. Graded with Magic Bullet Looks.
Music by Kevin MacLeod "Impact Andante" (Creative Commons).