Tony Takitani http://www.imdb.com/title/tt0420260/

And i was mind blown about how coherent the cinematography was to the drama at hand, everything makes sense, quite a sad story and with an open ending, so perhaps not really appealing to a mass audience, but it has a beautiful cinematography, that proyects what the main characters feels really well, It is alo interesting for the budget filmmakers, as the style is really minimalistic and yet interesting.

Does anyone has other cinematography jewls, that are not really well known?

Gear used on both videos:

• Panasonic GH2 cam with flowmotion hack
• Two Minolta MD lenses, 28mm F1.8 and 50mm F.17
• Sigma 19mm F2.8
• Mostly shot with: a rig, tripod, table slider and handheld

My goal is to eventually work more with commercial artists and especially to learn as much as possible about cinematography and cinematic aspects used in music videos.

Would love to receive some feedback on both videos!

Cheers,

D

I have been extremely busy recently touring my ROAD film (www.driftwoodroad.co.uk) made with a Lumix GH4 around the UK arts and culture festivals.

Recently we entered into the Frequency Festival of Culture in Lincoln, UK and received some tremendous reviews.

We borrowed a DZ13K 17:10 projector & the amazing D75LE6 lens to create a > 200" screen and built a cinema around it, finishing off the auditorium with a car chair ripped out of an old Austin, placed directly in front of the screen (to represent the windscreen vision that the Panasonic GH4 was placed behind).

We received hundreds of really encouraging comments regarding the film which traverses 5 states of the American South West (California, Utah, Arizona, Nevada, Colorado) to show a half hour cut from 32 hours of constant road footage. We constructed it as a series of Movements, working closely with musical composer Kevin Matthews: Palm Springs; Wipers; Monument Valley; Night Trucks; The Chase; Utah; Vegas; Death Valley and Big Sur.
We wanted to recreate that perfect feeling of freedom that you feel on a road trip, almost meditative - alone but in perfect harmony with the world around you.

It also gave me the chance to experiment with my new 'Chromarithm' algorithm - mapping music midi controller values from YUV picture values and motion vectors. More about this soon as I get further down the line with version 2.

All in all, I was gobsmacked by how well it was received by both festival attendees and the press alike. Indeed it was a wholly encouraging experience as I never assumed arts & culture festivals would generate great feedback, ask lots of questions, and were as interested in the technical as well as the creative.

Hopefully the film will be shown at other up and coming festivals around Europe soon - hope to see you there!

Reviews:

Design Week: https://t.co/lQlGYi8T6M

The Telegraph: https://t.co/4AvHwnr0BR

Fused: https://t.co/7opowWYybE

New Scientist: https://t.co/UfTyzsgtfy

www.driftwoodroad.co.uk

The video work "INVERSION", consisting of two full HD video projections side by side, shows indoor and outdoor spaces of an abandoned place in a forest. The camera slowly scans the landscape showing traces of a silent inversion of nature taking over culture and culture taking over nature.

support creator: https://www.patreon.com/directorsseries?ty=h

Direct Link: http://www.4shared.com/download/TSeWp89Vce/Shining_light_thru_lens.jpg?lgfp=3000 (Its a larger size picture so that you guys can zoom in for a better look).

Other pictures: http://www.4shared.com/download/CrrLTrBhce/DSC00044.JPG?lgfp=3000

http://www.4shared.com/download/bDS8rfrace/DSC00029.JPG?lgfp=3000

Not sharing the exterior pics of the lens as that looked good.

Thanks in advance.

I have a Sigma 18-35mm f/1.8 DC HSM Art Lens for Nikon mount for sale. The lens is just over a month old, only mounted on the camera 3 times. I decided to sell my pocket camera setup to fund my editing station, and so this lens is now for sale. It is in perfect condition. Comes with Original Box, paperwork, hood, and case. I'd rate it as a 10, pre-owned but looks as new.

I'm asking 680.00 usd shipped with in the USA.

700.00 usd shipped to Canada

Paypal accepted. Will supply tracking number at shipment.

I have a brand new Nikon to MFT Metabones adapter also for 60.00

http://www.bifest.it/en/

In combnation with a speedbooster this lens is by far the best zoom for m43. See pictures.

Location is Germany.

Price 590 Euro. SHipping is not included.

It comes in original packaging.

He's the top dog artist in the world. Here's my three minute short spoofing portrait documentaries and life in NYC. Shot on the Sony FS7 - graded in resolve .

MIX de grabaciones de los últimos años por ciudades y pueblos de la costa mediterranea española con Miki Jaume, Denís Cuerdo, Miguel Castro, Victor Zamora, Cristian Vannella, Benoit Loth, Tom Penny, Nyjah Huston, Samuel Herreros, Trayan Mladenov, Fran Javayoles, Sergio Dotor, Juan Fernández & Miki Huercano. Grabado en Barcelona, Alicante y el Mar Menor.

http://www.skateboart.es/mediterraneomix/

1) We need interview guests! One of the series is called “High Scoring”. This is going to feature interviews with game and film scoring composers talking about the history and craft of scoring. Far from the usual discussion emphasizing creative process or tools or “industry realities”, these interviews will actually look at musical influences and changes in scoring approach over time. The continuity of composing for media. Following this discussion, the audience will also have chance to participate in a Q & A.

Several people have already volunteered to be guests and all I can say is “thank you!” for your desire to both help the arts and to help expand the perception of what we do as composers. It is my hope that the series will help both help to give a sense to the greater public of the history of what we do (in much the same way that music history classes do for classical composition) while providing a unique perspective to those of us already in the scoring community. Admission should be only a little more than the price of a movie ticket.

2) You can come to one the interviews, lectures or classes. It currently looks like they will be held in North Hollywood and tickets will likely be $15 to $25 depending on the event.

3) You can help us gauge interest in terms of the potential classes and the best schedule (for instance, would weekday evening or weekend evening classes be better?)

Here are some likely candidates (but feel free to suggest your own): - “High Scoring” The History and Culture of Film & VG Scoring - Supporting Your Child’s Creativity - Intro to Photography and Video - Composing and Producing - How To Communicate Better With Your Clients and Customers - Cultivating Creativity - Developing Expertise: The Keys to Learning Effectively

4) We will be launching a YouTube series in conjunction with “High Scoring” and possibly other courses as well. That means if you want to donate time or labor to any of the related areas (recording, filming, editing) it will be greatly appreciated. The more help we get, the more content we can create in a short period of time and the more attention we can bring to our craft.

5) We will need to get word of mouth out! Even if you can’t help directly or attend in person, chances are you know someone that would want to come to the seminars or classes or at least would want to watch the videos.

Anyway, this is something that I’ve been laying the groundwork for a long time and we only recently found a good venue for it. So I hope you’ll support us in making it happen any way that you can. I feel like we can really help make a difference, both for our peers and for the children that will soon be following in our footsteps.

So if you’re interested, please PM me or e-mail me at per@perlichtman.com. Thank you.

http://perlichtman.tumblr.com/post/69311146740/support-the-arts-for-the-price-of-a-movie-ticket

I shot it all on GH2 with @Driftwood Moon Trial 5. I used a Kowa 16-H with Redstan clamps and a Lightcraft Workshop Fader ND Mark II, mounted on a Konica Hexanon 40mm f1.8, usually stopped down to f2.8 or even f4.

This is the first, and has certain things that make it very successful in terms of capturing my concept for the project. But technically, I think I prefer the second film even though it is simpler in some ways.

I hope you enjoy it, and I hope it is of some use. Feedback and questions are of course welcome! (Note: I'm going to go ahead and post this, but Vimeo might initially be still in the process of converting the clip.)

Feedback very much appreciated, it is how I learn and improve my craft!

www.youtube.com/watch?v=bRGR4MugweE&hd=1

Camera : Panasonic GH2 AVC-Intra Sedna ~140mb/s Lens : Nikon AF-S 24-70mm f2.8 G ED Gear : Sachtler FSB-4 75 CF, Gini Rig Follow Focus, Lilliput field monitor Tools : FCPX, Magic Bullet Looks

The poem is written by the Frisian poet Durk van der Ploeg, a dutch writer and poet. His work is mainly published in the Frisian language and he is a Knight of the Order of Oranje Nassau.

The images portrait Frisian landscape architect Siem de Vlas working in his studio and visiting the grave of the famous dutch landscape architect Lucas Pieters Roodbaard (1782 - 1851). Roodbaard laid out many English landscape gardens in major cities in the Netherlands.

The Frisian languages are a closely related group of Germanic languages, spoken by about 500,000 members of Frisian ethnic groups, who live on the southern fringes of the North Sea in the Netherlands and Germany. The Frisian languages are the second closest living languages to English, after Scots.

Concept, Camera, Editing : Richard van der Laan Poem writer : Durk van der Ploeg Poem reading : Siem de Vlas

I hope you enjoy watching..

Chris Cunningham has flirted with the crossover between music video and art instalation over the past few years, as media saturation increases I'm sure we will start to see more sound and visual combinations that start to break away from traditional formats. The collapse of rigid boundaries is bound to bring critisim, as all unfamiliar art has in the past, but I welcome this :)

I feel it is incredibly relevant for the filmmakers of today because it discusses issues such as the possibility for everyone to be filmmakers with cheaper technology (and the problems with that), as well as dangers of adapting to either Hollywood or the snobbery of the European intelligentsia.

I wrote some more detailed account of my own thoughts on it here: “Art will not disappear into nothingness; it will disappear into everything”.