When unpredictable weather conditions boast a 50/50 success rate, the odds are in your favour – at least, as far as BC-based surf filmmaker Ben Gulliver and surf photographer Jeremy Koreski are concerned.
ABOUT A NEW BREED
Times are changing, and a new breed of artists are closing the gap on their ambitions; relieved of obstacles that were hindering a decade ago. When a musician's Soundcloud uploads turn into a world tour, and a photographer's steady Instagram following evolves into an international campaign, it's clear to see that more than ever, being a creator is synonymous with being self-made.
Ben Gulliver - @bengulliver
Jeremy Koreski - @jeremykoreski
Pete Devries - @petedevries
Noah Cohen - @cohenscorner
Directed, edited, and filmed by: Alex Craig
With additional cinematography by: Ben Gulliver
Canon C100 camera
EF 70 - 200mm f/2.8L
EF 28mm f/1.8
EF 85mm f/1.2L
Canon 1D X
Canon 5D Mark III
EF 600mm f/4L
EF 70-200m f/2.8L IS II
EF 24-70mm f/2.8L
EF 16-35mm f/2.8L
EF 50mm f/1.2L
EF 15mm f/2.8
Chad Vangelaan - "Monster" (Courtesy of Sub Records and Sub Pop Publishing_
Web of Sunsets - "Room of Monsters" & "Navey Blue" (Courtesy of End of Time Records by arrangement with Sub Pop Licensing)
Apparatus : Canon 7D / Canon 60 D / Canon EF 50 mm f/1.8 II Lens / Canon EF-S 18-200mm f/3.5-5.6 IS
Software : After Effects Cs6 / Premier Pro Cs6.
Director statement :
This piece is based on the idea of time perception and the fact that our inner clock is constantly distorted by temporal and spacial illusion with emotion having a huge role ...
A simple car journey of a set length can take extremely different measures of perceived time depending on the attributes of the trip the individual associates with.
Funny to think how Emotion can change our lifespan....
This video is a result of countless experiments in a similar vein.
All footage/photographs were shot from the inside of a car.The most prominent effect is generated from the 50mm's depth of field,the use of 'echo' effects or 'mirror' effects were were not employed with the exception of less than 25 seconds...
For my time-lapse sequences......I first shot long exposure time lapse's of a car journey . I then spread the photographs out in 3d space and flew a virtual camera through them , tracking the camera to a real camera on a separate car trip.
For the footage sequences.....I shot various city lights , constantly shifting the depth of field,and pieced them together in a seamless video, I then set this video out in 3d space duplicating the clip multiple times and spreading them out ,playing each video 1 frame later than the video previous.(this gave the illusion of moving forward) I then set up a virtual camera and re - shot the scenes from new perspectives with an additional depth of field.
For the morphing parts..this was a regular 2d time-lapse using pixel motion and time remap to generate a morph.