Tutorial on how to use picture styles to increase the dynamic range of the Canon 7D / 5DMkII.
Custom picture styles are an amazing feature that almost compensate for the lack of a raw codec for video capture on the Canon DSLRS. The default picture styles on the camera are geard towards producing nice results out of the box but are not very good if you intend to do color correction and grading in postprocessing. This tutorial shows how to use custom picture styles that produce very flat, high dynamic range footage (similar to real film cameras).
If you have problems downloading them, you can get them from here in one package (crnkovic.org/video/picture_styles.zip). I do however recommend that you get them from the original sources and read the forum posts/blog posts associated with them.
The final example footage was shot handheld (Zacuto rapid fire + zfinder) at Skogskyrkogården cemetery in Stockholm. I scouted the place for a possible future shoot and the footage I shot was never meant for release - it did however come handy in this tutorial as it was all shot using the super flat picture style.
The Phonotrope™ is a type of 3d/2d zoetrope using a record player and a camera.
Title Sequence for the fabulous Owen Harris and Tony Roche's Holy Flying Circus, a fantastical comedy docu-drama of the Pythons, produced by the equally fabulous Polly Leys and Kate Norrish at Hillbilly Films for BBC 4.
....Holy Flying Circus Title sequence directed by Jim Le Fevre....
This is the making of the Phonotrope that comprised the title sequence The title sequence shown here is from the rough cut and changed a bit in the final film but for the purposes of seeing the whole Phonotrope I have used the rough cut.
I can't thank everyone that helped make this enough, from Ben who created an amazing tool for me to use, Gordon and Gee (and Jo) who created the structure, to Matt and Elizabeth (and Toby) who helped make it look so good to Sophie for being my third and fourth hands (and Dom and Carmen briefly) and Ewen for being an utter star with his laser.
Especially to Luke and Claire at Nexus Productions too, and especially to Claire for all the nonsense I put her through asking her to find laser cutters.
Colin, I salute you.
(oh and credit must also go to Jack C Arnold for his music work jackcarnoldmusic.co.uk/. Again, the track on the final section is a work in progress from him)
Production Company Nexus Productions
Director Jim Le Fevre
Executive Producer Luke Youngman
Production Manager Claire Thompson
Production Assistant Fernanda Garcia Lopez
Production Assistant Carmen De Witt
Intern Leila Smith
3D Pre Visualisation Development Ben Cowell
3D Pre Visualisation Development Mark Davies
Art Department Assistant Sophie Powell, Dominic Owen
Studio Assistant Elizabeth Day
Elizabeth Day who makes Clapham Road Studios the most welcoming and brilliant place to work in.
Ewen Dickie at Laser Make who was truly amazing with his Laser-cutting services. I don't say that in a gushing kind of way but in a way that he was both enthusiastic, interested and passionate and worked above and beyond the call of duty to get us to where we got to. I thank you Ewen. lasermake.co.uk/
positioning systems II - Kinetic Speakers | nº 37 - 44
motors, sensors, custom made speakers, custom made mechanical parts
Year: 2008 - 2011, (prototype)
Kinetic Speakers proposes a modular interactive environment permitting the variable listening and processing of external sound-sources.
A responsive mobile speaker system generates sound through a mapping of environmental sounds and the physical distention and clustering of the speakers themselves. Eight specially designed speakers are individually controlled by highly accurate motors and position sensors allowing for precisely calibrated positioning and rotation. An evenly distributed microphone matrix isolates specific sound sources, which the detached and fully rotational speaker membranes are able to track and respond to in 2-dimensional space.
The speakers and microphones assemble a listening system which moves between modes of interacting with sonic environmental input. In the first mode, a form of passive listening in response to an over-saturated acoustical environment, the system silently gathers environmental information. Under such conditions the speaker membranes are inert and the physical movement of the mechanism is made more visually apparent.
The second, and most internally differentiated, is a mode of selective listening in which the program interprets and synthesizes, sometimes blending with the gathered material, and sometimes contrasting with the acoustic input.In the case of low external stimuli, the system passes to a reflexive mode in which it listens and reprocesses its own memory.