Timelapse of the observatories atop Mauna Kea, Hawaii. The summit is at an altitude of nearly 14,000 ft and is the premiere site for astronomy in the Northern Hemisphere. As an astronomy graduate student at the University of Hawaii, I've enjoyed excellent access to the facility. Some of my favorite still images of Mauna Kea can be found at sgphotos.com/photostories/maunakea.
More information (i.e. "What's up with the lasers?" "What gear did you use?") can be viewed at sgphotos.com/portfolio/timelapse/makingmaunakeaheavens/.
More of my timelapse work can be found here and at sgphotos.com/portfolio/timelapse. Please notify me prior to featuring my work.
Music: "All is Violent, All is Bright" by God is an Astronaut.
Standard disclaimer: Mauna Kea contains delicate ecosystems and is sacred to the Hawaiian people. If you go there, please be sensitive to the cultural role of the mountain and obey the rules contained at ifa.hawaii.edu/info/vis/visiting-mauna-kea. Permits are required for large groups or commercial filming, and more information can be found at the link. And above all, please be safe—accidents are much more likely when you combine high altitude, sleep deprivation, cold, snow/ice, and darkness!# vimeo.com/75542539 Uploaded 476K Plays 4,208 Likes 78 Comments
A short motion timelapse movie by Alexandr Kravtsov (alexandrkravtsov.com).
Barcelona, Spain. August - October, 2013.
Broken camera, lost flash drive, near 100 subway rides, 24 000 photos, endless hours of post production and rendering and 480 gigabytes of material.
Canon 7D, Tokina 11-16, Canon EF 24-105 4L, Canon EF 70-200 2.8L.# vimeo.com/76440793 Uploaded 882K Plays 7,432 Likes 428 Comments
Nikhil & Nima’s wedding could best be described as a magical slice of heaven! The couple chose Park Hall Estate to be the perfect backdrop for their Forest-inspired wedding. The day was filled with enchantment, wonder and absolute warmth.
In the lead up to the big day, we had already heard many rumours about their over-the-top decor and theming, but the truth was even more jaw-dropping than we could have imagined! The creative collective at Well Pleased Events did quite an amazing job to wow the near 700 family and guests!
Other highlights include a mammoth lighting+audio+entertainment setup by Kudos Music, headed up by Jas Johal & DJ H, who are arguably two of the finest wedding DJs we’ve certainly come across. From a company that cover hundreds of luxury weddings each year, for them to say “one of the best weddings I have DJ’d at” - you knew you were part of something very special.# vimeo.com/82187791 Uploaded
After five trips to the game reserve, some test footage and a 10 day holiday in Mossel Bay we ended up with 1 terabyte of raw stock footage. I've now edited this down to 3 minutes.
Everything was graded with the new Resolve 10. Finally the pink fringing problem is completely gone with Resolve 10! Another great new feature is a special RAW sharpening tool designed for RAW footage that really improves the quality.
After filming and grading 1 terabyte of footage with zero drop frames or any problems whatsoever I am starting to trust Magic Lantern RAW firmware more and more. I am still running an old build of 27 July. It can only get better from here on!
Once you get to know the workflow, working with RAW footage is a breeze. I think of RAW as Proress 444 with a conversion step in between.
I used the 3x crop mode on a lot of these shots. I discovered that the crop mode has the same effect as the 2x extender in that it magnifies the image, so any imperfections of the lens get more noticeable, although this is hardly noticeable as you will see from the footage. Turning my 200mm 2.8 into a 600mm 2.8 with a click of a button was really great. All the wildlife shots were filmed from a car with a big pillow rested on the window.
Workflow: Import into Davinci Resolve and export proxies. Edit sequence in FCP. Import xml into Davinci. Automatically relink to original RAW files. Grade and export beautiful proress 4444 sequence.
The part I loved most about Resolve's workflow is that you can apply the BMD Film color space and gamma to all the clips which turns them into super flat gradable footage. An excellent starting point.
For archive of the footage I decided to render all clips in Resolve to Proress 4444 with the BMD super flat color space applied to it and the white balance and exposure set as desired. I did a few tests and applied the exact same grade from a RAW clip on the same Proress 4444 clip and even at 400% there is no difference at all. The only difference between RAW and Proress 4444 is that you can change the white balance and recover exposure, so do this before you export to Proress 4444. By archiving Proress and not RAW you save 60% on storage. Proress HQ is just not good enough as you can see the difference so be sure to use Proress 4444.
Camera: Canon 5D Mark III
Lens: 70 - 200 2.8 IS II & 24 - 70 2.8 II
CF Card: 2x 32gb Lexar & 2x 64gb Lexar (all 1000x)
HDD: NextoDi NVS1501 750gb
Support: Tripod & Pillow :)
Software: DaVinci Resolve 10 & FCP# vimeo.com/77580463 Uploaded 53.7K Plays 948 Likes 162 Comments