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adidas Fastest Mile dir. cut from William Armstrong on Vimeo.

Dir @williamarmstrong DOP @deonvanzyl Art director @wikus165 Art assistant @lizbepeyper 1st AD @jonlukel EP @vincent_roussel Producer @isabellelongue Producer @suzanne.currie.1253 PM @wade.olckers Production @moonlighting_commercials Locations @gaz_is_life_ Movi @decio11 Underwatercam @pauldanielvideo DIT @m_rixen Lights @deanmcgowanfilm Sound @akimmanda MUA @cassidi_bradshaw Editor @stephendunne_ Edit assist @moogie94 Edit House @tenthree_editing Grade @nickecantarelli Sound design @ballad.co Music intro @orpheenoah

Thanks to @martinpetersginsborg for finding a 1-in-a-million track to make this whole thing come together, and the hours of creative ping pong. @guillaume_charny for that sexy French doctor’s voice. And @mariamlatif.colorist for your help with the footage! And my reps that helped me pull this together:

@antidotefilms @sibling.films @wrightprojects @spencerdodd @markenfilm.official

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T-REX Multidirectional Lens System - Demo Video by P+S Techniks from Bfc Rental / FxBox on Vimeo.

bfcrental.com/#!multidirectional/cc8t

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Ollin VFX 2021 Demo Reel from Ollin VFX on Vimeo.

20+ years doing the magic of VFX.

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Pantera // TSHEGUE - MUANAPOTO from BWGTBLD on Vimeo.

A film by Pantera Written and Directed by Francisco Canton & Pato Martinez

Produced by Handsome Paris & Anonymous Content  Co-produced by OPC & BWGTBLD DP: Steve Annis Producer: Melodie Saba Executive Producer: Eric Stern Editor: Chris Zimmermann  Color Grading: Simon Bourne / Framestore

Shot in Côte d’Ivoire in April 2018

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Max Cooper’s remix of ‘Hanging D’ by Joep Beving – official video from Ksawery komputery on Vimeo.

An official video for Max Cooper’s remix of ‘Hanging D’ by Joep Beving

For this video I was inspired by the idea of "data excavation" – an imaginary scenario of future generations travelling back in time – possible thanks to the archives of data that we generate today. (full note on my website)

ksawerykomputery.pl instagram.com/ksawerykomputery

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Music by Joep Beving (joepbeving.com) and Max Cooper (maxcooper.net) Video by: Ksawery Kirklewski Produced by Max Cooper Mixed by Max Cooper Piano: Joep Beving Programming: Max Cooper Mastering Engineer: Chris McCormack

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Porsche | Electricity from Bipolar Studio on Vimeo.

Lightning grows inside the clouds. Flying creatures above and beasts down below reveal. It strikes down hard and bright into a crater. Something begins to form.

We wanted to mold a visual film for the new Porsche Taycan. Something electrifying. Something powerful, enough so that it could represent the vehicle itself. We wanted to imagine what the birth of this beautiful electric masterpiece would look like in an alternate world.

The creatures gather in awe as something extraordinary is about to take place. But lighting strikes in a split-second. A fraction of a blink of an eye, moving at the speed of light. This is what we captured.

Sneak peaks, updates, new posts and be our friend here: twitter.com/bipolarstudiola instagram.com/bipolarstudiola

Brand: Porsche Creative: Bipolar Studio Director: Bipolar Studio Production & CGI: Bipolar Studio Color & Finishing: Bipolar Studio

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WANDERERS - Discarded Scenes from Erik Wernquist on Vimeo.

These are a selection of 4 shots that I made for and subsequently discarded from my short film "Wanderers", which can be seen in full here: vimeo.com/108650530

Please note that these shots are all more or less incomplete and not color graded - which makes them look quite different in quality from the finished film.

For detailed descriptions of the shots, please read below:

1. MERCURY SUNRISE This shot is a time lapse sequence of the Sun rising over the plains of a crater floor on Mercury, with the camera sequentially decreasing it's exposure time as the light dramatically increases. A procession of trains are transporting people to safety in the shade. Mercury is the planet closest to the Sun, orbiting at an average distance of about 58 million kilometers. While Mercury does have a quite significant magnetic field, exposure to Solar radiation on its surface would be highly lethal for a human, and anyone visiting there would be wise to stay in the shade, if not only to stay out of the scorching daytime temperatures reaching above 400 degrees Celsius at the equator. Staying in the shade would however be quite easy on Mercury as it rotates very slowly, a full day on Mercury being equal to a little more than 58 days on Earth. This means you could actually walk away from the sunrise (which is, again, highly recommended). As with so many other scenes in "Wanderers", inspiration for this comes from author Kim Stanley Robinson. While somewhat different from what I made here, he has written about some fantastic concepts about humans on Mercury, both in his novels "Blue Mars" and - even more elaborate - in "2312". The reason for discarding this shot is simply that I never got it quite finished and wasn't too happy about the smaller landscape details nor many aspects about the appearance of the Sun, which is still very temporary here (based on a sequence of photos by NASA/GSFC's Solar Dynamics Observatory). At the time I got around to be working with this again, I felt that I didn't really need this shot in the film (guess it was some inner laziness that did part of the arguing there). 2. ALTERNATE RINGSURF This is an additional shot to the Ringsurf scene that ended up in the final version of the film. Here we are looking straight "down" at the plane of the rings from a close distance, with two people floating some 20 or so meters above it. Originally this scene was going to be two shots, starting with this one, but I found they didn't go very well together and that the other shot worked fine by itself. On their own, I think each shot looks nice, but since I eventually only needed one, and this didn't have Saturn in it, this is the one I decided to discard. This is also from quite early in the process, before I had shot any live action footage, so the people here are done in CG. When I eventually shot the live action elements I decided to only use one person in the second shot.

3. PALE BLUE DOT This is the shot I originally planned on ending the film with. It is a digital recreation of this famous photo (en.wikipedia.org/wiki/Pale_Blue_Dot) from Voyager 1, taken in 1990, looking back at the Earth from beyond the orbit of Neptune, at a distance of about 6 billion kilometers. I was very happy with this shot - it was a tedious process of getting all of those diffuse lens artifacts to match the shape and color of the original photo, and also to get them to move in a satisfying way. So, it was quite a mental effort to decide to discard it. However, I knew perfectly well that no one would care the least of whatever amount of work I had put into it, or even notice it, and that a human face would be a much more satisfying way to end the film. Also, this shot doesn't mean very much to anyone not familiar with the original photo. I am happy to be able to show it off here by itself though.

4. ALTERNATE IAPETUS RIDGE This is the same environment from the scene in the film, but seen from a somewhat different perspective. The idea here is a shot taken from a camera mounted on a rocket taking off from Iapetus' surface. I think it turned out pretty OK by itself, but when I put it in the film I found this shaky motion too aggressive and that the scene lost some sense of scale with this rapid ascent, so I went for a more slowly moving shot in the final film.

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Tread Softly from David Lee on Vimeo.

Through pain and sorrow, Katherine has been fighting to remain hopeful through an ongoing pandemic that has crippled all work for her. Can she still find it within herself to keep her dream of becoming a world wide star alive?

Please share this film with any and everyone you feel can be inspired from it.

Talent: Amanda Siobhan DP/Director: David Lee AC: Sean Murphy Gaffer: Luke Dejoras

Captured on Sony FS7 and SLR Magic E-Mount Microprimes

Music by: In The Beginning - Tony Anderson | Ariana Part 1 - Tony Anderson

legendarymediahouse.com atdavidlee.com Twitter: twitter.com/atdclee Instagram: instagram.com/atdavidlee

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Studio from Lisa Horten-Skilbrei on Vimeo.

Some improvisation, in a studio, after a photoshoot. Always fun with @Skjalgen!

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Parallel Universe from Dan Stein on Vimeo.

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BICEP - Saku (Official Video) from DAVID BERTRAM on Vimeo.

Directed by David Bertram Produced by Diplomats Executive Producer P.E Sigwalt⁣ Line Producer Adrien Chibatte Cinematographer Pat Aldinger Movi Operator Fullmotion Stylist Diane Gagnant Casting director Marie Gervais Production designer Mathhieu Henriot 1rst AC Romain Malavoy Gaffer Sophie Delorme Key grip Tintin 1rst AD Christian Alzieu ⁣ Make up artist Megumi Tano Post production Firm Studio Post producer Celine marsais⁣ Editor Sophie Fourdrinoy ⁣ Colorist Emiliano Serantoni VFX supervisor Alexis Baillia 3D animatic Sébastien Ebalard

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DUAL ISO Sony A7S III S-Cinetone from Philip Bloom extras on Vimeo.

In S-Cinetone:

Low base: 100 High Base: 2000

SLOG 3 Gamut3 Cine

Low Base 640 High Base 12,800

All profiles:

Minimum ISO is low base then count up 4 stops, switch to high is the next 1/3 stop increment

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TingTing Zhang Demo Scenes from TingTing Zhang on Vimeo.

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VOSS spring-summer 2001 interl-h264 720p 6500kbps from Metropolitan Museum of Art on Vimeo.

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Alexa709 Emulation LUT for A7s3 - Phantom LUTs from Joel Famularo on Vimeo.

Purchase LUT: joelfamularo.com/colour

Using my Arri Amira and A7siii in conjunction I have developed a LUT Purchase LUT: joelfamularo.com/colour

Use Code 'A7s3' for 30% off over the month of November.

Using my Arri Amira and A7siii in conjunction I have developed a LUT that matches the colour science of the Alexa 709 LUT. I shot a bunch of test footage with my Amira and A7siii side by side in a variety of lighting conditions and with different skin tones. The match I was able to get was very close and the A7siii continues to blow me away with its quality and value.

My Film Stock Emulation LUTs are also now ready for the A7siii - so check them out also while you're on my site.

For those who like a little more detail, read on... ----------------------------------------------------------------

I used the same lenses on both cameras (Sigma 18-35) and did zero grading to the images beyond slight exposure adjustments to match here and there.

I'm very excited to get out of lockdown so I can use this camera more because, after my Amira, this is by far my favourite camera I own. I used to feel that way about my P4k but honestly, as great as it is, this blows it out of the water. The A7s3 improves in all the areas that are important to me when considering which camera to use as a B Cam for my bigger cameras.

It has much better battery life (P4k is only useable if I mount it up with a V Lock battery and shoulder rig which makes it too big for a gimbal), more dynamic range and latitude, better lowlight, full frame vs m43, great efficient and still amazing looking internal codecs, a smaller form factor which is like the Pocket's claim to fame, better highlight handling, articulating screen, 4k 120 - ok, ok you get the point. It's just a little masterpiece and with this LUT it honestly gets like a 95% and up match with my Amira which is mind blowing! It's $3500!

So in terms of the process behind developing the LUT, I've got this down to a fine art now and I'm so familiar with Arri's colour science as I've now matched five cameras with it and know all it's quirks and idiosyncrasies.

Step 1) I started by matching the Alexa790 LUT's gamma curve down to the finest detail (side by side images on my website) as the gamma curve is the backbone of any LUT and personally I think the Alexa709 Curve is a masterpiece of design in terms of balance and beauty. The gamma curve, simply put, gives the LUT it's contrast characteristics and seeing as contrast effects luminance, and luminance effects colour, it's crucial to get this first step as bang on as possible. In my experience a lot of 3rd party LUTs don't take this crucial step seriously enough and as a result their LUTs lack balance and a filmic tonality and work great sometimes and then not at all in other circumstances. The other big reason to match this curve is for easy and intuitive matching between an Arri and A7siii camera - they now have the same exact middle grey value and gamma curve so matching is a breeze.

Step 2) Next step was tint and white balance base level. This is always step 2 for me and I'm very familiar with the Alexa tint and WB characteristics now. I chose to shoot a lot of my test footage against my dining room's white walls to really make sure I was able to nail these crucial targets because the Alexa has such a beautiful way of rendering really clean whites (bear in mind I shot everything at 5600K and 0 tint so the walls do look a little warm, but not unnatural or excessively so). Once I was done here, I started step 3.

Step 3) was colours, saturation and final tint adjustments.

So this is always much easier to do once you've built a firm foundation with steps 1 and 2 but it's always very meticulous and takes a lot of work. As mentioned, seeing as I own the Amira and shoot with it all the time, I have learned to identify a dozen or so interesting little quirks and unique traits of the ARRI colour science that set it apart from other cameras. For instance, when the arri sensor sees greens it doesn't saturate linearly - as the green saturates and expands out into the saturation spectrum (which you can see on the vectorscope) it starts to 'curl' toward yellow, which results in a very complex and beautiful rendering of greens. Similarly with reds, and blues - they all twist and turn in the vectorscope as saturation expands. This has all been modelled in the LUT as well as many more little idiosyncrasies that I have observed in studying the ARRI colour science. These are the little one percenters that make the ARRI stand out - such beautiful complexity and nuance!

After step 3, I go back over and make sure all three of those main dimensions are still working in concert and harmony and once the LUT is ready, I use that rock solid foundation to build my other 9 LUTs off of.

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Review of the SONY FX6: A most CONFUSING camera! from Philip Bloom Reviews & Tutorials on Vimeo.

Ue the code ZBOOKPB to get £100 off a ZBook Studio G7 Create here: esc.technology/38NUo75

This was the hardest camera review I have ever made. Some cameras are really simple to do but this one wasn't both in the camera itself and the wider picture.

My Movember fundraising/ gear prize draw: gopb.co/mo2020

Neat video: gopb.co/neatvideo 10% off Film Convert Nitrate: gopb.co/filmconvert

Sony FX6: gopb.co/fx6 Sony A7S III: gopb.co/a7siii "El Cheapo" shoulder rig: gopb.co/elcheapo Sigma 35mm F1.2 ART: https://bit.ly/sigma35artsony Sony 24mm F1.4 GM: gopb.co/sony24 Sony CFexpress A card: gopb.co/160gbcfea Prograde 128gb V90 SD Card: gopb.co/progradev90128gb Buy the FX9 here: http://bit.ly/sonyfx9 Sony 135mm F1.8 GM: gopb.co/sony135mm Sony 24mm F1.4 GM: gopb.co/sony24 Sigma 85mm F1.4 ART DG Sony: gopb.co/sigma85mmsony DJI RS2: gopb.co/djirs2

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The BikeSpike from Bike Spike on Vimeo.

The BikeSpike is a tracking solution that protects your bike and broadcasts your ride! Pledge a dollar for a holler or be one of the very first on Earth to Spike Your Bike. Join us @ bikespike.com