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productionlife - 566.1k posts

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  • #Repost @mediamonsters
• • •
We just got the new @zhiyun_tech #Crane3Lab and had to toy around and throw our Red Gemini on it, still some modifications we want to add but this beast is definitely coming along 😈😈😈
  • #Repost @mediamonsters
    • • •
    We just got the new @zhiyun_tech #Crane3Lab and had to toy around and throw our Red Gemini on it, still some modifications we want to add but this beast is definitely coming along 😈😈😈
  • 1,429 37 20 February, 2019
  • It’s all about TEAM work 💫 Show some love and tag the people that always support you, no matter what 📸 by @traviswhitelight⁣
・・・⁣
⭐️ Filmmaking and inspiration w/ @MikaelCross
  • It’s all about TEAM work 💫 Show some love and tag the people that always support you, no matter what 📸 by @traviswhitelight
    ・・・⁣
    ⭐️ Filmmaking and inspiration w/ @MikaelCross
  • 882 15 6 hours ago
  • I dare say bullet time in the Matrix is the most singular cinematographic innovation brought to screen. Color, Cinemascope, 3D, none of these emerged so mature and iconic as bullet time. Even Steadicam first appeared rough around the edges. There was plenty of wobble in those early Steadicam oners. It would take Kubrick and Lucas to fully exploit what Garret Brown’s invention was capable of..
.
 Most shooters know the gist of how bullet time was accomplished, but not the details. It was all on green screen, and the effect is as much VFX as practical photography. To make the transition between normal cinematography and bullet time, the rig starts and ends with a conventional high-speed camera. This lets conventional slow motion at 120 to 360 fps, ease the audience in and out of the bullet time. To further smooth the handoff between each of the 100+ still cameras, the crew pioneered digital frame interpolation. Virtual frames and transitions are algorithmically created to even out the subtle differences in perspective. Green screen facilitates all of this. It lets the camera move easily across the 180 line. It reduces the amount of data that needs to be interpolated, and removes all limitations of space and time on-location. High-speed, green screen, interpolation and wires, all help sell the effect. A contrarian might say “oh but it’s a one trick pony, that only worked in the Matrix,” but such a point misses the broader reality..
.
John Gaeta hits the nail on the head “we’re talking about cameras that are now broken from the subject matter, that are virtual.” This is the profound and invisible legacy of bullet time. Almost every modern blockbuster utilizes virtual camera techniques descended from the work that went into The Matrix.  No other technique has so inspired its audience. And few have pushed technology so far, so iconically, and narratively justified all of it so well. Because in the end, bullet time isn’t a gimmick. It is an essential storytelling tool for the tale of Neo’s messianic journey. This is why it inspires me so much. It is the apex of technology and art joined together to write history.
  • I dare say bullet time in the Matrix is the most singular cinematographic innovation brought to screen. Color, Cinemascope, 3D, none of these emerged so mature and iconic as bullet time. Even Steadicam first appeared rough around the edges. There was plenty of wobble in those early Steadicam oners. It would take Kubrick and Lucas to fully exploit what Garret Brown’s invention was capable of..
    .
    Most shooters know the gist of how bullet time was accomplished, but not the details. It was all on green screen, and the effect is as much VFX as practical photography. To make the transition between normal cinematography and bullet time, the rig starts and ends with a conventional high-speed camera. This lets conventional slow motion at 120 to 360 fps, ease the audience in and out of the bullet time. To further smooth the handoff between each of the 100+ still cameras, the crew pioneered digital frame interpolation. Virtual frames and transitions are algorithmically created to even out the subtle differences in perspective. Green screen facilitates all of this. It lets the camera move easily across the 180 line. It reduces the amount of data that needs to be interpolated, and removes all limitations of space and time on-location. High-speed, green screen, interpolation and wires, all help sell the effect. A contrarian might say “oh but it’s a one trick pony, that only worked in the Matrix,” but such a point misses the broader reality..
    .
    John Gaeta hits the nail on the head “we’re talking about cameras that are now broken from the subject matter, that are virtual.” This is the profound and invisible legacy of bullet time. Almost every modern blockbuster utilizes virtual camera techniques descended from the work that went into The Matrix.  No other technique has so inspired its audience. And few have pushed technology so far, so iconically, and narratively justified all of it so well. Because in the end, bullet time isn’t a gimmick. It is an essential storytelling tool for the tale of Neo’s messianic journey. This is why it inspires me so much. It is the apex of technology and art joined together to write history.
  • 6,510 91 18 February, 2019

Latest Instagram Posts

  • 📣 NEWS! Now in pre-production! ‘Black & Blue Together,’ in collaboration with the James R. Halsey Foundation of the Arts @jrhfoundation & New Jersey Council for the Humanities & Seven13Films. 🎥’Black & Blue Together’ will be a featured documentary episode from the ‘Generation Change’ docuseries. 📺 Stay tuned!

Learn more: https://www.seven13films.nyc

#njcouncilforthehumanities #NJarts #notforprofit #NJfilmmaking 📲 Support us by LIKING, SHARING &  ENGAGING with us!
  • 📣 NEWS! Now in pre-production! ‘Black & Blue Together,’ in collaboration with the James R. Halsey Foundation of the Arts @jrhfoundation & New Jersey Council for the Humanities & Seven13Films. 🎥’Black & Blue Together’ will be a featured documentary episode from the ‘Generation Change’ docuseries. 📺 Stay tuned!

    Learn more: https://www.seven13films.nyc

    #njcouncilforthehumanities #NJarts #notforprofit #NJfilmmaking 📲 Support us by LIKING, SHARING & ENGAGING with us!
  • 31 1 52 minutes ago
  • Fighting my cold but still working ⚡️ #2019
  • Fighting my cold but still working ⚡️ #2019
  • 408 9 1 hour ago
  • some really random BTS from @iamelenaking ‘s music video shoot last month ft. Biggie King of Brooklyn
  • some really random BTS from @iamelenaking ‘s music video shoot last month ft. Biggie King of Brooklyn
  • 38 3 1 hour ago
  • The Hail Mary rarely succeeds, but it sure is thrilling.  Big points can always be put on the board with a trip to Pandora. ⁣⠀
⁣⠀
Client: @NBCSports | @theofficialpandora⁣⠀
Director: Lorin Finkelstein ⁣⠀
Producer: @highten⁣⠀
DP: @johnengstrom_dp⁣⠀
⁣
  • The Hail Mary rarely succeeds, but it sure is thrilling. Big points can always be put on the board with a trip to Pandora. ⁣⠀
    ⁣⠀
    Client: @NBCSports | @theofficialpandora⁣⠀
    Director: Lorin Finkelstein ⁣⠀
    Producer: @highten⁣⠀
    DP: @johnengstrom_dp⁣⠀
  • 35 1 1 hour ago
  • DRONE FOOTAGE
❌
Drone footage can be denoised pretty much in the same way as any other video clip, with only one difference ☝🏾
Wanna know more? Checkout here 🤩
blog.neatvideo.com/post/drone-flicker-and-noise
.
#drone #dronestagram
  • DRONE FOOTAGE

    Drone footage can be denoised pretty much in the same way as any other video clip, with only one difference ☝🏾
    Wanna know more? Checkout here 🤩
    blog.neatvideo.com/post/drone-flicker-and-noise
    .
    #drone #dronestagram
  • 31 1 1 hour ago