This is just plain gorgeous. All footage shot on either iPhone or iPad using the FiLMiC Pro app and an anamorphic lens adapter from Moondog Studios. Sean Baker’s ‘Tangerine’ shot entirely using FiLMiC Pro was picked up at this years Sundance Film Festival for distribution by Magnolia Pictures
Sometime earlier I posted stills of this event. However I recently uncovered some video footage of this massive spinning cloud mass. It’s been sped up somewhat to make the rotation nice and clear. About 90 seconds of footage dropped to around 10.
My first run with Hipstamatic’s new iPhone app for video ‘Cinamatic’
It’s addictive. My only wish is that it had options to remove the built-in fades at the beginning and end of each clip. If you are using it the way it is intended this is no issue but if you are compositing clips in an external editor you end up having to cut a significant number of frames from each clip to clean it up, however, its good and easy to use. Well done Hipstamatic.
“After an afternoon of testing out the new Cinematic app for iPhone from Hipstamatic in the continuing heat of our 7th month of summer weather I had a stack of random footage and something needed to happen with it. Abbottsville 243 was the child of this junction of time and space. A serious cinematic experience? not really, but it was fun and putting it together took my mind off the prospect of an eternal summer.”
Whilst some may argue that the overall performance of the camera weighs in against the inconvenience of the dust and oil issue, I’d have to counter-argue, that there’s nothing worse than coming back with a swag of useful shots and suddenly finding them loaded with lots of visible spots out of the blue and (not even as in my case) be able to palm it off to a lens change gone horribly wrong. And if that’s not enough, conventional cleaning fails to remove the junk from the sensor so the camera has to lay idle until the sensor can undergo a wet clean. Which has in my case now been something like three weeks. That’s clearly not what you buy a camera for. i.e., you don’t go out and buy a good camera just to have a part time relationship with it.
All might be well in the ideal world if the ‘free clean’ offered by Nikon staved off the wolves, but apparently it doesn’t and you can, by all accounts, expect the issue to re-appear in the not too distant future. And then, hi-ho it’s off to another round of clean’n’go.
This is the first time that I’ve experienced visible particles at open apertures. I had a little dust on a Canon 50D which took two rounds of cleaning at Canon in Sydney, but in this instance the particles were sparsely scattered and visible only on shots taken with a Pinhole Cap (f/166) and a f/45 Zone Plate. However on the D600 the particles are visible on conventional lenses at apertures down to f/1.8 on both stills and video.
These two shots are about 30 min apart and the increase in what appears to be both oil and dust is clearly visible. Both crops are from the top left of the frame and are consistent with most other reports. They were visible under magnification in the preview and the lens filter was cleaned between shots to eliminate the possibility of anything foreign on the filter itself.
This is an earlier fractal based animations and was part of my submission to last years Digital Fringe (part of the Melbourne Fringe Festival) and screened internationally. The soundtrack was my first attempt at writing and recording a completely midi based composition inside Logic.