Canon G1X Test Video – San Francisco Scenery

Specs

“Spent a few hours around Pier 39 San Francisco with Canon’s latest G1x point and shoot camera. All the footage here is done with the Canon G1x only. I attempted to make the footage look like Old San Francisco using Cinegrain.com film scans and boosted saturation and contrast.

Lots of aliasing and moire, but very impressed with the sharpness this camera captures. The G1x does not have FULL MANUAL Video controls, but the exposure can be locked before hitting the record button. After the exposure is locked, you can adjust exposure compensation if you’re trying to keep highlights or shadows.

I want to like this camera, but the price just doesn’t cut it. She’ll be heading back to the store next week. More information at cheesycam.com/canon-g1x-test-video-san-francisco-scenery/”

Anúncios

Gulp. The world’s largest stop-motion animation shot on a Nokia N8.


“‘Gulp’ is a short film created by Sumo Science at Aardman, depicting a fisherman going about his daily catch. Shot on location at Pendine Beach in South Wales, every frame of this stop-motion animation was shot using a Nokia N8, with its 12 megapixel camera and Carl Zeiss optics. The film has broken a world record for the ‘largest stop-motion animation set’, with the largest scene stretching over 11,000 square feet.”

Making of:

Columbia Water Center | “Deeper than Water”

Realização: Gabe Askew (+)

Ficha Técnica:

Hornet Inc.
Executive Producer: Michael Feder
Head of Production: Greg Bedard
Producer: Jan Stebbins
Storyboard Artist: Bill Moore
Editor: RJ Glass
Concept Artist: Carlos Ancalmo
CG Artist: Erwin Riau
Modeler: Dave Soto
Rigging: Phil McNagny
Animation: Peter Karnik
Compositing: Arthur Hur
Illustration: Paul Daniel

Agency: GOOD/Corps
ECD: Kirk Souder
Creative Directors: Driscoll Reid, Jason Nichols
Partnership Manager: Carolyn Sams
Executive Producer: Jimmy Greenway

Music: Robert Schwartzman (of Score A Score)
Mix: Luke Bechthold (Subtractive)

Client: Columbia Water Center
Director, CWC: Upmanu Lall
Assistant Director, CWC: Samantha Tress
Communications Coordinator, CWC: Lakis Polycarpou
Assistant Director, Communications, Earth Institute: Kyu-Young Lee

Production Partner: PepsiCo Foundation

unnamed soundsculpture

Realização: Daniel Franke & Cedric Kiefer

produced by:
onformative.com
chopchop.cc

Documentation:
vimeo.com/38505448

Ideia:

“The basic idea of the project is built upon the consideration of creating
a moving sculpture from the recorded motion data of a real person. For
our work we asked a dancer to visualize a musical piece (Kreukeltape by
Machinenfabriek) as closely as possible by movements of her body. She was
recorded by three depth cameras (Kinect), in which the intersection of the
images was later put together to a three-dimensional volume (3d point cloud),
so we were able to use the collected data throughout the further process.
The three-dimensional image allowed us a completely free handling of the
digital camera, without limitations of the perspective. The camera also reacts
to the sound and supports the physical imitation of the musical piece by the
performer. She moves to a noise field, where a simple modification of the
random seed can consistently create new versions of the video, each offering
a different composition of the recorded performance. The multi-dimensionality
of the sound sculpture is already contained in every movement of the dancer,
as the camera footage allows any imaginable perspective.

The body – constant and indefinite at the same time – “bursts” the space
already with its mere physicality, creating a first distinction between the self
and its environment. Only the body movements create a reference to the
otherwise invisible space, much like the dots bounce on the ground to give it
a physical dimension. Thus, the sound-dance constellation in the video does
not only simulate a purely virtual space. The complex dynamics of the body
movements is also strongly self-referential. With the complex quasi-static,
inconsistent forms the body is “painting”, a new reality space emerges whose
simulated aesthetics goes far beyond numerical codes.

Similar to painting, a single point appears to be still very abstract, but the
more points are connected to each other, the more complex and concrete
the image seems. The more perfect and complex the “alternative worlds” we
project (Vilém Flusser) and the closer together their point elements, the more
tangible they become. A digital body, consisting of 22 000 points, thus seems
so real that it comes to life again.
text: Sandra Moskova”

nominated for the for the MuVi Award:
kurzfilmtage.de/en/competitions/muvi-award/selection.html

see video in full quallity:
daniel-franke.com/unnamed_soundsculpture.mov