READ FULL ARTICLE here: vashivisuals.com/evolution-dolly-zoom/
The Dolly Zoom is a camera shot made famous in Alfred Hitchcock’s VERTIGO (1958). It was invented by cameraman Irmin Roberts to visually convey the feeling of agoraphobia by zooming in with the lens while simultaneously dollying backwards the entire camera…or vice versa.
When the Dolly Zoom shot is used in conjunction with an unsettling or emotional moment…the viewer is swept up in a visceral visual that represents the pain/confusion/anguish occurring in the story. Here are 23 classic film examples of this technique in chronological order. I’ve also included the shot before or after the Dolly Zoom so it can be seen in context of the scene…and not as just a trick shot.
NOBUMICHI ASAI (PLANNER / PRODUCER / TECHNICAL PRODUCER - P.I.C.S.)
HIROTO KUWAHARA (ART DIRECTOR & MAKEUP)
PAUL LACROIX (TECHNICAL DIRECTOR / PROGRAMMER - TRANSIT DIGITAL WORKS)
JIN HASEGAWA (CG DESIGNER - SPADE)
TAKASHI ISHIBASHI (CG DESIGNER - SPADE)
AYAKA MOTOYOSHI (PRODUCTION MANAGER - P.I.C.S.)
AYA KUMAKURA (PRODUCTION MANAGER)
YOSHIHIRO UENO (PRODUCTION MANAGER - P.I.C.S.)
KAZUHIRO NAKAMURA (COLORIST - McRAY)
KENJI NAKAZONO (PHOTOGRAPHER - CREATIVE STUDIO WORKS)
KIMIHIRO MORIKAWA (PHOTOGRAPHER - SHOOTING & LIGHTING)
RHEA TOR’S INC.
K.FURUMOTO (HAIR - &´S MANAGEMENT)
YUKA SEKIMIZU (MODEL - SATORU JAPAN)
HIDEAKI TAKAHASHI(MUSIC - mjuc)
The Photosynth technical preview is here!
The newest Photosynth technology preview highlights the third generation of our technology. It combines the tactile smoothness and unlimited resolution of a stitched panorama with the 3D reconstruction of space provided in the original Photosynth. It introduces three new kinds of synth (spin, walk, and wall) while also revitalizing the capabilities of panorama synths.
You can use any camera, from cell phone cameras to D-SLRs, to capture for the new synths. The synths made with this technical preview’s technology work on the latest versions of Internet Explorer, Chrome, Firefox, and Safari. (Safari users need to manually enable WebGL.)
System requirements to view the new synths:
"Slow" marine animals show their secret life under high magnification. Corals and sponges are very mobile creatures, but their motion is only detectable at different time scales compared to ours and requires time lapses to be seen. These animals build coral reefs and play crucial roles in the biosphere, yet we know almost nothing about their daily lives.
Learn more about what you see in my post: notes-from-dreamworlds.blogspot.com.au/2014/03/slow-life.html
EDIT - answer to a common question: yes, colors are real, no digital enhancement, just white balance correction with curves. When photographers use white light on corals, they simply miss the vast majority of colors. Read more in my blog.
This clip, as well as stock footage, is available in 4k resolution. Make sure you watch it on a large screen! You won’t be able to appreciate this clip or see individual cells moving in a sponge on a smartphone. If you have a full-HD screen, when you enter full-screen mode, please press on “view actual size” next to the HD icon to improve sharpness.
To make this little clip I took 150000 shots. Why so many? Because macro photography involves shallow depth of field. To extend it, I used focus stacking. Each frame of the video is actually a stack that consists of 3-12 shots where in-focus areas are merged. Just the intro and last scene are regular real-time footage. One frame required about 10 minutes of processing time (raw conversion + stacking). Unfortunately, the success rate was very low due to copious technical challenges and I spent almost 9 long months just to learn how to make these kinds of videos and understand how to work with these delicate creatures.
I am glad that I abandoned the idea of making this clip in 3D (with two cameras) - very few people have 3D screens and it doubles processing time.
- Canon 7D (died at the beginning of the project as I had overused it in my research), Canon 5d Mkiii (90% of footage is done with it)
- Canon MP-E 65 mm lens
- adjustable custom-spectrum lamps (3 different models) - they were needed to recreate natural underwater illumination.
- several motorized stages including StackShot for focus stacking
- multiple computers to process thousands of 22+ Mpx raw images and perform focus stacking (an old laptop died on that mission after 3 weeks of continuous processing).
Edited in Sony Vegas, Adobe Photoshop CS6, Zerene Stacker, and Helicon Focus.
Music: Atmostra III by Cedric Baravaglio, Jonathan Ochmann and Zdravko Djordjevic.
Visit my website to see more cool stuff: microworldsphotography.com
(consideration to buy a print from my website or to use the tip jar below the video is always welcome, but this option is better: secure.marineconservation.org.au/donate.php?campid=701900000006kqX)
Inquiries/licensing/press: find my contact details here: microworldsphotography.com/About
Please do not share this clip to promote or endorse marine aquarium industry. I simply want people to admire life, but not to be told to buy stuff, especially poses captive animals
More about using my videos:
Directed by cloudandco.
The 11+ World Clock reinterprets the traditional functionality of the clock by creating a unique and playful interaction between the user and the design. Although the face of the World Clock may not seem out of the ordinary, its cylindrical body allows it to display 24 different time zones via a clever rolling mechanism. Independently working hands allow the clock to be quickly rolled back to any of its 24 time zones, while immediately transitioning back to the local time. The World Clock comes with 3 color variations; Modern Gray, Midnight Blue, and Orange passion.
How to use
Let’s say someone living in New York wants to know the time in London. When it is 5:57 pm in New York, you can see that is is 10:57 pm in London if you roll the clock so that London appears on top. (See the number on the clock to read the hour and the position of the minute hand to read the minutes.)
Starting with cars used in the 1948 Silverstone F1 Race, to two beautiful Lotus’s, continuing on through the years to many James Hunt cars, some of which were also used in the filming of the movie Rush. Marc Webber’s 2013 Red Bull brings up the rear. The 2013 is much more earsplitting than the 2014 cars and it showed here.
Sorry if hands were shakey while filming.
Mackevision is proud to be along with other world-class VFX studios part of this saga: Game of Thrones, Season 4
Visual Effects Supervisor: Jörn Großhans
Visual Effects Producer: Katharina Kessler
Protected bike lanes are the latest approach US cities are taking to help their residents get around by bike. But these protected lanes lose their buffer separation at intersections, reducing the comfort and safety for people riding.
What the protected bike lane needs is the protected intersection.
This proposal for the George Mason University 2014 Cameron Rian Hays Outside the Box Competition presents a vision for a safe, clear intersection design that improves conditions for all users. Proper design of refuge islands, crossing position and signal timing can create a safe intersection that people of all ages and abilities would feel safe in.
Learn more online at ProtectedIntersection.com