-
Making ZODIAC (with David Fincher & Harris Savides, ASC)
A detailed look to the making of 'Zodiac' (2007) along with the interviews from the cast and the crew including behind the scenes.
For educational purposes only. Non-commercial purposes.
Cinematographer Harris Savides, ASC, explains the benefits of an IT-based workflow and Thomson’s Viper: “The Viper is a high-definition video camera that captures data raw, meaning the camera outputs the image data off the sensor chips without modification. HD sensor chips generate tremendous amounts of data. Initially, HD cameras recorded to tape–a medium that cannot support HD’s high data rate. Camera manufacturers decided to address this drawback by compressing the data and reducing the data rate that the tape mechanism can handle. When the data is compressed, decisions about color balance, contrast, b...
published: 13 Dec 2020
-
TACTILE CINEMA
The Michael Mann's Cinema in the Digital Era,Ali(Emmanuel Lubezki ASC AMC Sony HDW-F900 ),Collateral(Paul Cameron-Dion Beebe ASC ACS Sony F 900-Thomson Viper),Miami Vice(Dion Beebe ACS ASC Sony F 900-Thomson Viper) and Public Enemies(Dante Spinotti ASC AIC Sony Cinealta F23, Sony 950s, EX-1),enjoy these images of TACTILE's Cinema.Music by Moby "The Violent Bear It Away" .
published: 18 Feb 2013
-
Cellular 2004 Trailer [The Trailer Land]
Collateral is a 2004 American neo-noir action thriller film[2][3] directed and produced by Michael Mann from a script by Stuart Beattie and starring Tom Cruise and Jamie Foxx. The supporting cast includes Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill. The film follows Max, a Los Angeles cab driver and his customer Vincent. When offered a high fare for driving to several locations, Max agrees but soon finds himself taken hostage by Vincent who turns out to be a hitman on a contract killing spree.
Screenwriter Beattie first conceived the idea for the film when taking a taxicab home from Sydney airport. Beattie shared the idea with producer Julie Richardson, who showed it to director Frank Darabont. The film was pitched to HBO but was declined. It was purchase...
published: 24 Aug 2021
-
Digitising Hollywood — the Development of Digital Recording for Cinema
The film industry was a relative latecomer to the world of digital cameras. In this talk we’ll discover why the transition took so long, and look at some of the pioneering cameras. We’ll then go on to look at recording technology, which was video tape-based in the early days before transitioning to hard disks and finally to solid state flash memory. We’ll look at some of the technical problems that needed to be solved to create systems that can reliably capture video at very high data rates on location, in all weathers, and when a second take may not be an option. Along the way there will be a few war stories too!
Delwyn Holroyd started his career in computing in 1987 with ICL Mainframe Systems at West Gorton. During his time at ICL he worked with the Series 39 SX OCP, VME and Open TP tea...
published: 26 Oct 2021
-
David Fincher: The Bleeding Edge (The Definitive Documentary) - The Directors Series
Want to take a FREE Filmmaking or Screenwriting Course by Hollywood Pros?
👉 https://indiefilmhustle.com/free
Download Film Grains, VHS Overlays, VFX Elements, Color Grading LUTS and more...
👉www.enigmaelements.com
Subscribe to my YouTube Channel!
➡️ https://www.indiefilmhustle.com/youtube
============================================================
The fifth installment of THE DIRECTORS SERIES' examination into the films and careers of director David Fincher, covering his recent quartet of hard-edged dramatic thrillers and further innovations with digital filmmaking technology.
-VARIOUS COMMERCIALS (2008-2010)
-THE SOCIAL NETWORK (2010)
-THE GIRL WITH THE DRAGON TATTOO (2011)
-HOUSE OF CARDS (2013)
-VARIOUS MUSIC VIDEOS AND COMMERCIALS (2013 & 2014)
-GONE GIRL (2014)
Help us make mo...
published: 08 Oct 2017
-
HD 101: A Beginners Guide to Consumer HD
Google Tech Talks
June, 27 2008
ABSTRACT
This Tech Talk is designed to in two parts and covers the basics of high definition video for consumers and the basics for video production and post production.
This talk will cover the current HD delivery formats in the US and their relationship to consumer equipment (e.g. television, home video) and installation. Different viewing methods will be compared including direct displays vs projection.
Speaker: Dave Van Hoy
Speaker: Brian Rutz
published: 28 Jun 2008
-
Atlas Lens Co. // Frame & Reference
Find F&R on your favorite Podcast app :: https://www.linktr.ee/FrameAndRefPod
Follow Atlas Lens Co.
Website ► https://atlaslensco.com/
YouTube ► https://www.youtube.com/atlaslensco
Instagram ► https://www.instagram.com/atlaslensco/
Follow OWL BOT
Subscribe ► http://bit.ly/SubOWLBOT
Website ► https://www.owlbot.co
Instagram ► https://www.instagram.com/_owlbot
Twitter ► https://www.twitter.com/_owlbot
Follow ProVideo Coalition
Website ► https://www.provideocoalition.com
Instagram ► https://www.instagram.com/provideocoalition
Twitter ► https://www.twitter.com/ProVideo
Shot/Cut by Kenny McMillan
Instagram ► https://www.instagram.com/kwmcmillan
Twitter ► https://www.twitter.com/kwmcmillan
Gear Used ► https://kit.co/owlbot
Shop ► https://owl-bot.myshopify.com
#AtlasLensCo #AtlasOrion #Anam...
published: 29 Jul 2021
-
The Film Lab, Image Basics Ep. 1: Exposure Latitude
Why does Public Enemies look so weird? What does it matter that it was shot digitally instead of on film? Rajo explains the concept of exposure latitude, and how some film makers are changing the way movies look.
http://www.thesubstream.com
published: 06 Jul 2009
54:16
Making ZODIAC (with David Fincher & Harris Savides, ASC)
A detailed look to the making of 'Zodiac' (2007) along with the interviews from the cast and the crew including behind the scenes.
For educational purposes only...
A detailed look to the making of 'Zodiac' (2007) along with the interviews from the cast and the crew including behind the scenes.
For educational purposes only. Non-commercial purposes.
Cinematographer Harris Savides, ASC, explains the benefits of an IT-based workflow and Thomson’s Viper: “The Viper is a high-definition video camera that captures data raw, meaning the camera outputs the image data off the sensor chips without modification. HD sensor chips generate tremendous amounts of data. Initially, HD cameras recorded to tape–a medium that cannot support HD’s high data rate. Camera manufacturers decided to address this drawback by compressing the data and reducing the data rate that the tape mechanism can handle. When the data is compressed, decisions about color balance, contrast, brightness, etc. must be made during the compression process. Once these decisions are made and the results compressed, any subsequent modifications degrade image quality. In effect, the filmmakers must live with what was recorded to tape. The Viper represents a drastic departure from this paradigm. Rather than making image processing decisions and then compressing the data, Viper only captures the data and outputs the unmodified, unprocessed data. Without an onboard recording device, the Viper depends on an external recording device. Filmmakers can opt to record to a tape recorder, like the Sony HDCAM tape system. In this instance, image decisions would be made and the data would be compressed. However, with the availability of S.two digital field recorders and Thomson’s Venom data recorders, filmmakers can choose to capture the raw data. These are high-capacity, high-speed recorders that are able to handle the HD data uncompressed. As a result, filmmakers can modify the data as much as they wish without degrading the image. Plus, filmmakers have access to the full range of image controls available from postproduction tools rather than being limited by the in-camera image controls.”
https://wn.com/Making_Zodiac_(With_David_Fincher_Harris_Savides,_Asc)
A detailed look to the making of 'Zodiac' (2007) along with the interviews from the cast and the crew including behind the scenes.
For educational purposes only. Non-commercial purposes.
Cinematographer Harris Savides, ASC, explains the benefits of an IT-based workflow and Thomson’s Viper: “The Viper is a high-definition video camera that captures data raw, meaning the camera outputs the image data off the sensor chips without modification. HD sensor chips generate tremendous amounts of data. Initially, HD cameras recorded to tape–a medium that cannot support HD’s high data rate. Camera manufacturers decided to address this drawback by compressing the data and reducing the data rate that the tape mechanism can handle. When the data is compressed, decisions about color balance, contrast, brightness, etc. must be made during the compression process. Once these decisions are made and the results compressed, any subsequent modifications degrade image quality. In effect, the filmmakers must live with what was recorded to tape. The Viper represents a drastic departure from this paradigm. Rather than making image processing decisions and then compressing the data, Viper only captures the data and outputs the unmodified, unprocessed data. Without an onboard recording device, the Viper depends on an external recording device. Filmmakers can opt to record to a tape recorder, like the Sony HDCAM tape system. In this instance, image decisions would be made and the data would be compressed. However, with the availability of S.two digital field recorders and Thomson’s Venom data recorders, filmmakers can choose to capture the raw data. These are high-capacity, high-speed recorders that are able to handle the HD data uncompressed. As a result, filmmakers can modify the data as much as they wish without degrading the image. Plus, filmmakers have access to the full range of image controls available from postproduction tools rather than being limited by the in-camera image controls.”
- published: 13 Dec 2020
- views: 12612
6:49
TACTILE CINEMA
The Michael Mann's Cinema in the Digital Era,Ali(Emmanuel Lubezki ASC AMC Sony HDW-F900 ),Collateral(Paul Cameron-Dion Beebe ASC ACS Sony F 900-Thomson Viper),M...
The Michael Mann's Cinema in the Digital Era,Ali(Emmanuel Lubezki ASC AMC Sony HDW-F900 ),Collateral(Paul Cameron-Dion Beebe ASC ACS Sony F 900-Thomson Viper),Miami Vice(Dion Beebe ACS ASC Sony F 900-Thomson Viper) and Public Enemies(Dante Spinotti ASC AIC Sony Cinealta F23, Sony 950s, EX-1),enjoy these images of TACTILE's Cinema.Music by Moby "The Violent Bear It Away" .
https://wn.com/Tactile_Cinema
The Michael Mann's Cinema in the Digital Era,Ali(Emmanuel Lubezki ASC AMC Sony HDW-F900 ),Collateral(Paul Cameron-Dion Beebe ASC ACS Sony F 900-Thomson Viper),Miami Vice(Dion Beebe ACS ASC Sony F 900-Thomson Viper) and Public Enemies(Dante Spinotti ASC AIC Sony Cinealta F23, Sony 950s, EX-1),enjoy these images of TACTILE's Cinema.Music by Moby "The Violent Bear It Away" .
- published: 18 Feb 2013
- views: 4024
2:17
Cellular 2004 Trailer [The Trailer Land]
Collateral is a 2004 American neo-noir action thriller film[2][3] directed and produced by Michael Mann from a script by Stuart Beattie and starring Tom Cruise ...
Collateral is a 2004 American neo-noir action thriller film[2][3] directed and produced by Michael Mann from a script by Stuart Beattie and starring Tom Cruise and Jamie Foxx. The supporting cast includes Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill. The film follows Max, a Los Angeles cab driver and his customer Vincent. When offered a high fare for driving to several locations, Max agrees but soon finds himself taken hostage by Vincent who turns out to be a hitman on a contract killing spree.
Screenwriter Beattie first conceived the idea for the film when taking a taxicab home from Sydney airport. Beattie shared the idea with producer Julie Richardson, who showed it to director Frank Darabont. The film was pitched to HBO but was declined. It was purchased by DreamWorks but would not see development for three years. Before the trio of Mann, Cruise and Foxx joined the film, Mimi Leder, Janusz Kamiński and Fernando Meirelles were each considered as director, and Russell Crowe and Adam Sandler were in talks to star as Vincent and Max, respectively. Filming primarily took place throughout Los Angeles, and was the first feature film to be shot with a Viper FilmStream High-Definition Camera. The musical score was composed by James Newton Howard, with additional songs from Audioslave and Paul Oakenfold.
Collateral was released in the United States on August 6, 2004, and grossed over $220 million worldwide. The film received critical acclaim in particular for the performances of Cruise and Foxx, Mann's direction and the editing, although the pacing and second half of the film received a mixed reception. Collateral was chosen by the National Board of Review as one of the top ten films of 2004. At the 77th
Academy Awards, Foxx received a nomination for Best Supporting Actor; while film editors Jim Miller and Paul Rubell were nominated for Best Film Editing.
https://wn.com/Cellular_2004_Trailer_The_Trailer_Land
Collateral is a 2004 American neo-noir action thriller film[2][3] directed and produced by Michael Mann from a script by Stuart Beattie and starring Tom Cruise and Jamie Foxx. The supporting cast includes Jada Pinkett Smith, Mark Ruffalo, Peter Berg, Javier Bardem, and Bruce McGill. The film follows Max, a Los Angeles cab driver and his customer Vincent. When offered a high fare for driving to several locations, Max agrees but soon finds himself taken hostage by Vincent who turns out to be a hitman on a contract killing spree.
Screenwriter Beattie first conceived the idea for the film when taking a taxicab home from Sydney airport. Beattie shared the idea with producer Julie Richardson, who showed it to director Frank Darabont. The film was pitched to HBO but was declined. It was purchased by DreamWorks but would not see development for three years. Before the trio of Mann, Cruise and Foxx joined the film, Mimi Leder, Janusz Kamiński and Fernando Meirelles were each considered as director, and Russell Crowe and Adam Sandler were in talks to star as Vincent and Max, respectively. Filming primarily took place throughout Los Angeles, and was the first feature film to be shot with a Viper FilmStream High-Definition Camera. The musical score was composed by James Newton Howard, with additional songs from Audioslave and Paul Oakenfold.
Collateral was released in the United States on August 6, 2004, and grossed over $220 million worldwide. The film received critical acclaim in particular for the performances of Cruise and Foxx, Mann's direction and the editing, although the pacing and second half of the film received a mixed reception. Collateral was chosen by the National Board of Review as one of the top ten films of 2004. At the 77th
Academy Awards, Foxx received a nomination for Best Supporting Actor; while film editors Jim Miller and Paul Rubell were nominated for Best Film Editing.
- published: 24 Aug 2021
- views: 6
1:20:57
Digitising Hollywood — the Development of Digital Recording for Cinema
The film industry was a relative latecomer to the world of digital cameras. In this talk we’ll discover why the transition took so long, and look at some of the...
The film industry was a relative latecomer to the world of digital cameras. In this talk we’ll discover why the transition took so long, and look at some of the pioneering cameras. We’ll then go on to look at recording technology, which was video tape-based in the early days before transitioning to hard disks and finally to solid state flash memory. We’ll look at some of the technical problems that needed to be solved to create systems that can reliably capture video at very high data rates on location, in all weathers, and when a second take may not be an option. Along the way there will be a few war stories too!
Delwyn Holroyd started his career in computing in 1987 with ICL Mainframe Systems at West Gorton. During his time at ICL he worked with the Series 39 SX OCP, VME and Open TP teams. Between 1994 and 2003 he worked for Lightworks Editing Systems, a pioneer in the field of non-linear video editing, and 5D Solutions, creator of innovative PC-based visual effects compositing software. In 2003 he co-founded Codex Digital, a company that provides recording and workflow technology to the media industry. Delwyn joined the National Museum of Computing in 2009 as a volunteer and leads the 2966 and HDC project teams. (He also won an Emmy!)
https://wn.com/Digitising_Hollywood_—_The_Development_Of_Digital_Recording_For_Cinema
The film industry was a relative latecomer to the world of digital cameras. In this talk we’ll discover why the transition took so long, and look at some of the pioneering cameras. We’ll then go on to look at recording technology, which was video tape-based in the early days before transitioning to hard disks and finally to solid state flash memory. We’ll look at some of the technical problems that needed to be solved to create systems that can reliably capture video at very high data rates on location, in all weathers, and when a second take may not be an option. Along the way there will be a few war stories too!
Delwyn Holroyd started his career in computing in 1987 with ICL Mainframe Systems at West Gorton. During his time at ICL he worked with the Series 39 SX OCP, VME and Open TP teams. Between 1994 and 2003 he worked for Lightworks Editing Systems, a pioneer in the field of non-linear video editing, and 5D Solutions, creator of innovative PC-based visual effects compositing software. In 2003 he co-founded Codex Digital, a company that provides recording and workflow technology to the media industry. Delwyn joined the National Museum of Computing in 2009 as a volunteer and leads the 2966 and HDC project teams. (He also won an Emmy!)
- published: 26 Oct 2021
- views: 143
1:11:25
David Fincher: The Bleeding Edge (The Definitive Documentary) - The Directors Series
Want to take a FREE Filmmaking or Screenwriting Course by Hollywood Pros?
👉 https://indiefilmhustle.com/free
Download Film Grains, VHS Overlays, VFX Elements, ...
Want to take a FREE Filmmaking or Screenwriting Course by Hollywood Pros?
👉 https://indiefilmhustle.com/free
Download Film Grains, VHS Overlays, VFX Elements, Color Grading LUTS and more...
👉www.enigmaelements.com
Subscribe to my YouTube Channel!
➡️ https://www.indiefilmhustle.com/youtube
============================================================
The fifth installment of THE DIRECTORS SERIES' examination into the films and careers of director David Fincher, covering his recent quartet of hard-edged dramatic thrillers and further innovations with digital filmmaking technology.
-VARIOUS COMMERCIALS (2008-2010)
-THE SOCIAL NETWORK (2010)
-THE GIRL WITH THE DRAGON TATTOO (2011)
-HOUSE OF CARDS (2013)
-VARIOUS MUSIC VIDEOS AND COMMERCIALS (2013 & 2014)
-GONE GIRL (2014)
Help us make more video essays! http://www.special.tv/directorsseries
THE DIRECTORS SERIES is an educational collection of video and text essays by filmmaker Cameron Beyl exploring the works of contemporary and classic film directors. You can donate to support the project at Patreon: patreon.com/directorsseries
Cameron Beyl (http://www.cameronbeyl.com) is the creator of The Directors Series and an award-winning filmmaker of narrative features, shorts, and music videos.
His work has screened at numerous film festivals and museums, in addition to being featured on tastemaking online media platforms like Vice Creators Project, Slate, Popular Mechanics and Indiewire.
============================================================
FAIR USE
All multimedia clips included in this video constitute a 'fair use' of any copyrighted material as provided for in Section 107 of U.S. Copyright law, which allows for criticism, comment and scholarship. Learn more about fair use with this awesome app by New Media Rights! http://newmediarights.org/fairuse
============================================================
Buy Rise of the Filmtrepreneur: How to Turn Your Indie Film Into a Moneymaking Business
👉 http://www.filmbizbook.com
You can listen to my podcast on any platform!
iTunes: http://apple.co/1PrGesV
Sticher: http://bit.ly/2SWJBAN
Spotify: https://spoti.fi/2SQrsUm
Sound Cloud:https://spoti.fi/2Nwstfq
Need more filmmaking inspiration? Check out my book Shooting for the Mob
(Based on the Incredible True Filmmaking Story)
➡️ https://amzn.to/2T23HK3
#filmmaker #filmmaking #davidfincher
https://wn.com/David_Fincher_The_Bleeding_Edge_(The_Definitive_Documentary)_The_Directors_Series
Want to take a FREE Filmmaking or Screenwriting Course by Hollywood Pros?
👉 https://indiefilmhustle.com/free
Download Film Grains, VHS Overlays, VFX Elements, Color Grading LUTS and more...
👉www.enigmaelements.com
Subscribe to my YouTube Channel!
➡️ https://www.indiefilmhustle.com/youtube
============================================================
The fifth installment of THE DIRECTORS SERIES' examination into the films and careers of director David Fincher, covering his recent quartet of hard-edged dramatic thrillers and further innovations with digital filmmaking technology.
-VARIOUS COMMERCIALS (2008-2010)
-THE SOCIAL NETWORK (2010)
-THE GIRL WITH THE DRAGON TATTOO (2011)
-HOUSE OF CARDS (2013)
-VARIOUS MUSIC VIDEOS AND COMMERCIALS (2013 & 2014)
-GONE GIRL (2014)
Help us make more video essays! http://www.special.tv/directorsseries
THE DIRECTORS SERIES is an educational collection of video and text essays by filmmaker Cameron Beyl exploring the works of contemporary and classic film directors. You can donate to support the project at Patreon: patreon.com/directorsseries
Cameron Beyl (http://www.cameronbeyl.com) is the creator of The Directors Series and an award-winning filmmaker of narrative features, shorts, and music videos.
His work has screened at numerous film festivals and museums, in addition to being featured on tastemaking online media platforms like Vice Creators Project, Slate, Popular Mechanics and Indiewire.
============================================================
FAIR USE
All multimedia clips included in this video constitute a 'fair use' of any copyrighted material as provided for in Section 107 of U.S. Copyright law, which allows for criticism, comment and scholarship. Learn more about fair use with this awesome app by New Media Rights! http://newmediarights.org/fairuse
============================================================
Buy Rise of the Filmtrepreneur: How to Turn Your Indie Film Into a Moneymaking Business
👉 http://www.filmbizbook.com
You can listen to my podcast on any platform!
iTunes: http://apple.co/1PrGesV
Sticher: http://bit.ly/2SWJBAN
Spotify: https://spoti.fi/2SQrsUm
Sound Cloud:https://spoti.fi/2Nwstfq
Need more filmmaking inspiration? Check out my book Shooting for the Mob
(Based on the Incredible True Filmmaking Story)
➡️ https://amzn.to/2T23HK3
#filmmaker #filmmaking #davidfincher
- published: 08 Oct 2017
- views: 279857
52:07
HD 101: A Beginners Guide to Consumer HD
Google Tech Talks
June, 27 2008
ABSTRACT
This Tech Talk is designed to in two parts and covers the basics of high definition video for consumers and the basic...
Google Tech Talks
June, 27 2008
ABSTRACT
This Tech Talk is designed to in two parts and covers the basics of high definition video for consumers and the basics for video production and post production.
This talk will cover the current HD delivery formats in the US and their relationship to consumer equipment (e.g. television, home video) and installation. Different viewing methods will be compared including direct displays vs projection.
Speaker: Dave Van Hoy
Speaker: Brian Rutz
https://wn.com/Hd_101_A_Beginners_Guide_To_Consumer_Hd
Google Tech Talks
June, 27 2008
ABSTRACT
This Tech Talk is designed to in two parts and covers the basics of high definition video for consumers and the basics for video production and post production.
This talk will cover the current HD delivery formats in the US and their relationship to consumer equipment (e.g. television, home video) and installation. Different viewing methods will be compared including direct displays vs projection.
Speaker: Dave Van Hoy
Speaker: Brian Rutz
- published: 28 Jun 2008
- views: 7207
1:17:58
Atlas Lens Co. // Frame & Reference
Find F&R on your favorite Podcast app :: https://www.linktr.ee/FrameAndRefPod
Follow Atlas Lens Co.
Website ► https://atlaslensco.com/
YouTube ► https://www.yo...
Find F&R on your favorite Podcast app :: https://www.linktr.ee/FrameAndRefPod
Follow Atlas Lens Co.
Website ► https://atlaslensco.com/
YouTube ► https://www.youtube.com/atlaslensco
Instagram ► https://www.instagram.com/atlaslensco/
Follow OWL BOT
Subscribe ► http://bit.ly/SubOWLBOT
Website ► https://www.owlbot.co
Instagram ► https://www.instagram.com/_owlbot
Twitter ► https://www.twitter.com/_owlbot
Follow ProVideo Coalition
Website ► https://www.provideocoalition.com
Instagram ► https://www.instagram.com/provideocoalition
Twitter ► https://www.twitter.com/ProVideo
Shot/Cut by Kenny McMillan
Instagram ► https://www.instagram.com/kwmcmillan
Twitter ► https://www.twitter.com/kwmcmillan
Gear Used ► https://kit.co/owlbot
Shop ► https://owl-bot.myshopify.com
#AtlasLensCo #AtlasOrion #AnamorphicLenses
https://wn.com/Atlas_Lens_Co._Frame_Reference
Find F&R on your favorite Podcast app :: https://www.linktr.ee/FrameAndRefPod
Follow Atlas Lens Co.
Website ► https://atlaslensco.com/
YouTube ► https://www.youtube.com/atlaslensco
Instagram ► https://www.instagram.com/atlaslensco/
Follow OWL BOT
Subscribe ► http://bit.ly/SubOWLBOT
Website ► https://www.owlbot.co
Instagram ► https://www.instagram.com/_owlbot
Twitter ► https://www.twitter.com/_owlbot
Follow ProVideo Coalition
Website ► https://www.provideocoalition.com
Instagram ► https://www.instagram.com/provideocoalition
Twitter ► https://www.twitter.com/ProVideo
Shot/Cut by Kenny McMillan
Instagram ► https://www.instagram.com/kwmcmillan
Twitter ► https://www.twitter.com/kwmcmillan
Gear Used ► https://kit.co/owlbot
Shop ► https://owl-bot.myshopify.com
#AtlasLensCo #AtlasOrion #AnamorphicLenses
- published: 29 Jul 2021
- views: 178
7:19
The Film Lab, Image Basics Ep. 1: Exposure Latitude
Why does Public Enemies look so weird? What does it matter that it was shot digitally instead of on film? Rajo explains the concept of exposure latitude, and ho...
Why does Public Enemies look so weird? What does it matter that it was shot digitally instead of on film? Rajo explains the concept of exposure latitude, and how some film makers are changing the way movies look.
http://www.thesubstream.com
https://wn.com/The_Film_Lab,_Image_Basics_Ep._1_Exposure_Latitude
Why does Public Enemies look so weird? What does it matter that it was shot digitally instead of on film? Rajo explains the concept of exposure latitude, and how some film makers are changing the way movies look.
http://www.thesubstream.com
- published: 06 Jul 2009
- views: 3515