Cinematographer Greg Wilson and Director Brendan Bellomo were asked by Vision Research and Abel CineTech to shoot the first test footage with the new Phantom Flex4K Digital Cinema Camera. The camera was a little more than a week old and still in its alpha prototype stage when we got our hands on it.
All the live action footage was shot on March 24th, 2013. Some additional fire elements were shot on the 23rd and 25th of March with the Hebron and Glastonbury Fire Departments in Connecticut. We were thrilled with the camera's performance at this early stage of its development and are very much looking forward to this camera as it matures prior to it's release this fall. This is a true 4K RAW camera capable of at 1000fps at 4K resolution. Thanks to our great crew, including lead Phantom camera technician Edward Richardson, VRI and Abel CineTech for giving us the opportunity to shoot with this amazing new camera system. For more info check out twitter.com/phantomflex4k
A rotating supercell. And not just a rotating supercell, but one with insane structure and amazing movement.
I've been visiting the Central Plains since 2010. Usually it's just for a day, or three, or two...but it took until the fourth attempt to actually find what I'd been looking for. And boy did we find it.
No, there was no tornado. But that's not really what I was after. I'm from Arizona. We don't get structure like this. Clouds that rotate and look like alien spacecraft hanging over the Earth.
We chased this storm from the wrong side (north) and it took us going through hail and torrential rains to burst through on the south side. And when we did...this monster cloud was hanging over Texas and rotating like something out of Close Encounters.
The timelapse was shot on a Canon 5D Mark II with a Rokinon 14mm 2.8 lens. It's broken up into four parts. The first section ends because it started pouring on us. We should have been further south when we started filming but you never know how long these things will last, so I started the timelapse as soon as I could.
One thing to note early on in the first part is the way the rain is coming down on the right and actually being sucked back into the rotation. Amazing.
A few miles south is where part two picks up. And I didn't realize how fast it was moving south, so part three is just me panning the camera to the left. During that third part you can see dust along the cornfield being pulled into the storm as well...part of the strong inflow.
The final part is when the storm had started dying out and we shot lightning as it passed over us.
Between the third and fourth portions we drove through Booker, Texas where tornado sirens were going off...it was creepy as all heck. And intense.
I hope you enjoy this. Once thing I've learned about timelapsing is that I always wish it would be longer or wouldn't end. I wish I had been south and been able to record this storm come at me for 45 minutes.
But I love it the way it is. I wasn't ever certain I'd see structure like this even though it's been such a goal of mine. But we did it.
And by we, I mean myself and my buddy Andy Hoeland, who knows his crap and got us into position so we could chase this storm. Without him along I don't know if I get this timelapse.
All visuals captured in camera by back projecting the animated story into the breaths of the band.
In the same way that you can see your breath on a cold day, we filmed at -1ºC to make the animations appear.
Update: Thank you so much to all of you. I am humbled and a little bit overwhelmed with all your comments. I am trying to answer all the questions (please keep 'em coming) but would like to thank each of you for taking the time to write a comment. I am reading them all. THANK YOU.
Almost 3/4 of a million views and 10k likes in one week, I am floored. It truly makes me happy that my little film is able to connect with you and hopefully evokes the same feeling of happiness that I felt while shooting it.
Thank you also so much to everybody that has left me tip. You are too kind!
It has been almost 3 years since I released "The Unseen Sea" and I'm excited and proud to share with you my latest project "Adrift".
"Adrift" is a love letter to the fog of the San Francisco Bay Area. I chased it for over two years to capture the magical interaction between the soft mist, the ridges of the California coast and the iconic Golden Gate Bridge. This is where “Adrift” was born.
The weather conditions have to be just right for the fog to glide over the hills and under the bridge. I developed a system for trying to guess when to make the drive out to shoot, which involved checking the weather forecast, satellite images and webcams multiple times a day. For about 2 years, if the weather looked promising, I would set my alarm to 5am, recheck the webcams, and then set off on the 45-minute drive to the Marin Headlands.
I spent many mornings hiking in the dark to only find that the fog was too high, too low, or already gone by the time I got there. Luckily, once in a while the conditions would be perfect and I was able to capture something really special. Adrift is a collection of my favorite shots from these excursions into the ridges of the Marin Headlands.
I hope with my short film I am able to convey the feeling of happiness I felt while I experienced those stunning scenes.
I am so grateful to Jimmy LaValle, from the band “The Album Leaf”, for composing a custom score for Adrift. Jimmy's music is fantastically beautiful and captures the mood perfectly. Please check out his website. Thanks again Jimmy for your hard work.
I hope you enjoy the film and thank you for watching.
If you like this short film, please consider using the Tip Jar below, proceeds will go towards the next project...
Licensing: Adrift is copyrighted. All of my work is available for licensing under a rights-managed agreement. If you are interested in using any of my images and/or time lapse footage, please visit my website or contact me directly. Most of my clips are available up to 4K resolution! All of them support 2.8K and standard HD resolutions of 1080p/720p. Some of my favorite scenes in the film are also available as high resolution prints.