1. Time-lapse footage taken at the Very Large Array in Socorro, New Mexico; one of the largest Radio Astronomy Observatories in the world.

    As a learning exercise, and something to challenge myself, I wanted to try to combine two of my favorite things: motion-graphics and time-lapse photography.
    I also wanted to see if I could stretch my editing techniques a little further.

    The VLA really is a legitimately amazing thing to see in person. If you've ever considered making a visit, you should.
    It's an awe-inspiring feat of human engineering, and the surroundings are gorgeous. Unbelievable skies in New Mexico. I caught some nasty weather, but it was still a great experience. I'm definitely going back!

    Canon t3i / 600D (2 -rented a second)
    Canon 10-22mm
    Canon 24-105mm
    Canon 70-200mm 2.8 (rented)
    Sigma 30mm 1.4
    GoPro HD Hero

    Kessler Crane Pocket Dolly
    Kessler elektraDrive Basic Controller

    Completed in After Effects.
    Grading with Magic Bullet.

    Music: "What It Is Without The Hand That Wields It",
    Telefon Tel Aviv

    Many, many thanks to Rob Chiu and Tony Scott for their inspirational cutting style.

    # vimeo.com/35820201 Uploaded 182K Plays 244 Comments
  2. I film A LOT of b-roll. I've used several different setups over the years and recently found this to be one of the best rig configurations to shoot with.

    See the gear list and more info here: dslrvideoshooter.com/best-dslr-rig-broll

    # vimeo.com/72684635 Uploaded 19.5K Plays 10 Comments
  3. Want more tutorials like this? mediahalo.com/articles/?vim

    My Amazon Filmmaking recommended buy list:

    The first thing to understand is that lenses are built to project a certain size image circle, a full frame lens, also known as a 35mm, projects a 35mm size image circle. Then we have cropped sensor lenses, which are referred to as digital only, or digi, or whatever horrid marketing terms they chose, and basically they are built to project a smaller image circle, because the cameras they are intended for have the smaller sized 'cropped' sensors.

    Likewise a 4/3rds sensor camera has 4/3rds lenses, and 16mm and 2/3" sensor sized cameras have lenses with 16mm sized image circles. You can usually put a larger format lens on a smaller format camera, but it won't see as much of the image circle, which is what we call a crop factor. you cannot go the other way, because then you will get a peep hole effect, vignetting to the extreme.

    And now for our first debunk, because every time i hear someone talking about dslr video they say, well, the 5d has the amazing shallow depth of field, and it's because of it's huge sensor. Now granted, i'm sure not everyone out there thinks that sensors create DOF, but we'll clarify it for those who may not know: consider this demonstration, you can put a 35mm type lens on either a 35mm full frame camera, or on a smaller sensor body, but that sensor is going to 'crop' that larger image circle, so we're going to see a narrower FOV. So imagine this same lens on either camer, one with the larger sensor, one with the smaller.

    So where did the dof change? Here's a clue, it didn't. the sensor has nothing to do with DOF, it is physically impossible for the sensor the create or manipulate DOF, it simply captures the light being projected onto it. DOF is created in the lens.

    Moving on, in practice you can end up with shallower DOF with a larger sensor because the sensor is seeing more, aka larger field of view than a smaller sensor, so to get the same field of view as a smaller sensor camera you will need a longer focal length, and that in turn leads to a shallower depth of field.

    One last thing on DOF, many of you at one point were shooting something and said to yourself, hey, i want a shallower depth of field, let me pull back the camera and zoom in, because a longer focal length gives me a shallower depth of field. Well, yes, but no, not for what you just did.

    Try this out for yourself: Take two different photos of the same scene, place an object or person out in front of a background. Use a 50mm focal length. Then take the second shot by moving the camera back far enough so that you need a 100mm focal length to maintain the same field of view of that object/person. Change no other settings, especially keep the aperture the same.

    You're probably now looking at the two photos and calling me an idiot, because of coarse you're seeing much more background blur in the 100mm shot. Actually... you're not. What you're seeing is the exact same amount of blur.

    The reason the DOF stays the same is because you didn't just use a longer focal length, you also changed the focus distance, there is an inverse relationship between the focal length and the distance of the focus subject, what you are actually doing by pulling back is simply magnifying the background bokeh, and anytime you magnify an object, you see more detail, and in this case you see more blurry detail. To your credit, it is achieving what you were out to get, a blurrier background, but when going about it or showing someone how to do it, be sure to not pass along misinformation by saying your creating a shallower depth of field. Your actors have exactly the same amount of space to move in.

    Lastly, I want to put something in it's place: Full frame sensors will not make you famous. See because ever since the 5D2 came out, people have been clamoring over the Full Frame “look”, and I hear far too often about how smaller sensors are garbage. Well those who say such things are children, children who need to learn...

    The good old 16mm sized 2/3" sensor. Which, was the first sized sensor to be used as the A camera on a hollywood production, which was star wars episode 2 shot on the f900. So riddle me this filmmaker, you're saying that you need a FF, when your ultimate competitor is doing just fine with a fraction of that size... i call BS. Case in point, nearly any modern sensor size over 1/2” (EX1) will give you a great image.

    # vimeo.com/19940853 Uploaded 13.7K Plays 26 Comments
  4. Short documentary film about kite surfing, kite boarding, about one club which name is "Get trauma". Now season is ended. I will continue shooting in winter time, it calls snow kiting. After that I will continue in spring time, because it would be my documentary diploma work. I don't know, maybe 20-30 min. Special Thanks to all "Get Trauma" group and Titas Petrikis which is great young music composer.
    Shooted in Lithuania, in Kuršių lagoon with Canon 5D mark II. Canon 70-200mm f2.8 with extender 2x, Canon fisheye 15mm 2.8, Mamiya manual focus lenses (35, 45, 80, 150mm). Canon 5D underwater housing. Edited with Final Cut pro. Post production done by Magic Bullet Looks. lukosevicius.wordpress.com

    # vimeo.com/7460954 Uploaded 48K Plays 29 Comments
  5. A Shortfilm i shot with the new Canon 5D Mark III, there was nothing more than the three of us that morning.
    It was a total free shooting, all Images accured when i saw them.
    I tried to capture the relation between these 2 friends as nearby as i could without beeing cheesy.
    It was a great experience finally using the 5d mark 3 after shooting 2 1/2 Years with the mark 2.
    Really got some features i was waiting for, more will be on my blog soon.

    Actor: AVZAN & Diana
    Music: Tony Anderson " Hold On"

    Gear: Canon 5d mk 3, Zacuto rig, Small Hd Dp6,Redrock followfocus blue, Zeiss 21mm,50mm,85mm, canon 70-200mm ,Manfrotto monopod.

    # vimeo.com/39701988 Uploaded 46K Plays 106 Comments


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