I shot this video in Cleveland, Ohio. This is a wonderful unique business that can pack and ship anything.
This was a full Multimedia shoot. We did interiors, exteriors, environmental 360, corporate head shots of all employes, group shots, vehicle, HDR, and a multitude of any sorts of assets I could think of. The more assets I have, the more options I have when I’m editing the clips.
Incorporating time lapse into fabricating crates was very interesting. Most of all the images and clips were shot with the Canon 5d. The time lapse footage was done with Canon and GoPro. The assembly of the crates took less then thirty minutes. I found the GoPro to be the savior in this multi-cam setup. The frame interval on both cameras was 2 seconds. I needed to keep these clips short, with enough handles to ease the editing options. Most of the post was done in Lightroom and edited in Final Cut Pro X.
This is a Time Lapse of a product shoot. I photographed a 1954 Fender Precision Bass. The Time Lapse was interesting for the fact that it shows how physical the shoot really is. Color grading and final edits were done in Final Cut X. I like to explore every angle I can possibly think of, almost 360 around. Two large light sources were used. I wanted coverage and softer light.The large 4×6 was moved closer to the subject, giving me soft light and keeping the background brighter and neutral. The octabox served as a nice fill when needed. This is a simple set up, and works really well in post.This is a very good way to exercise mind and body. (final images are found at the end of the video).
The process of shooting a complex experimental live music project. Using a total of 14 cameras, (8 GoPro, 8 5dmark 2′s and 3) as we embark on the positive and negative aspects of shooting, organizing, importing, and editing multi clips in Final Cut X. This video has a wonderful audio commentary at the end.
I rarely, if ever, use a light tent for product photography. In this case I was dealing with a glass jug, which has plenty of depth and curves.
Lighting glass requires attention to every detail. Removing the unwanted reflections and replacing them with specifically created reflections define the shape and contour of the glassware.
This is a combination of additive and subtractive lighting reflecting techniques. White cards were added to the sides to show volume and contour.
I have been shooting Time Lapse Video for many years and began with 35mm film.
The advent of the Digital Camera brought cost way down and creativity way up.
Today’s cameras are smaller and far more capable of capturing high rez images and video.
The Lobster Time Lapse was shot with one of my favorite small go- to cameras, the GoPro.
We use the GoPro extensively on our Video shoots. They can be utilized in very tight places and perform
beautifully even in extreme weather. They blend in seamlessly with our other video cameras.
I used the GoPro on the Lobster video with total confidence the camera would be able to focus very
nicely at 12 inches. The camera metered the scene with no problem especially as the light levels fell.
Frank Salle, in association with CBP/ Corporate Photography began principal photography on location in Arizona’s Solar Overlay Zone for Solon Corporation & McCarthy Construction in April 2011.
The assignment will document the 8 month development and construction of the 18MW solar photovoltaics plant just outside Gila Bend for Arizona Public Service (APS). This project includes the custom fabrication of weather proof, time-lapse camera rigs, state of the art motion control and video capture.
HDR 360′s are interesting to create, and move in and out of. I found that shooting video and HDR 360′s would somehow compliment each other if the Panoramic became a story within a story. Besides shadow and highlight detail, Panoramic shots can be used to focus attention by panning into and out of the shot. Audio, via music or voice over, could add establishing, or other details about the scene.
The clip below was taken from a previous 360 shoot and created in Photoshop extended, and edited this time with Premiere Pro.
Barry Friedman is the world’s foremost authority on antique Indian blankets, and a former Hollywood comedy writer. Barry published his book “Chasing Rainbows: Collecting American Indian Trade & Camp Blankets” in 2002 and hired me to do the photography and graphic design for his new book on the subject. We’ve had a great time doing this project and if we ever stop laughing long enough to turn over the files to the printer “Still Chasing Rainbows” will be published in fall 2011.
These images are two of the 400 or so images I have photographed for this coming book. The ideal shooting situation
was to shoot these blankets laying flat versus hanging them on a wall. The camera was placed well above, and shot
tethered using large softboxes.
When shooting time lapse, different situations and climates require special housing designs.
This project required the capture of raw images and webcam capabilities. I needed to design two camera housings capable of functioning in a wet, damp, cooler climate.
I used Storm cases for the outer shell. These have o-rings and are completely waterproof and light.
A precision camera sled was leveled and installed on the bottom of the housing. This gave me total access to the camera for changing cards or adjustments. A U-bracket was attached and provided tilt and swing to the housing.
To maintain sharpness of the Zeiss lense, and to repel moisture and dust, digital HGX filters were used. A cardboard plastic hood was attached on top to flag light and add extra protection.
The yellow webcam housing provided backup. The images were downloaded and saved to a Netbook, which were then uploaded to an FTP site. I used CaptureMAX software to program the webcam. CaptureMAX worked very well in capturing the images. Thanks to Doris Lee for the IT work. The Netbook never succumbed to the environment. Both these housings worked flawlessly. Doug Lehmann did a terrific job in bringing these camera housings together which I designed.
"Nothing is ever the same as they said it was. It's what I've never seen before that I recognize. It's important to take bad pictures. It's the bad ones that have to do with what you've never done before. They can make you recognize something you hadn't seen in a way that will make you recognize it when you see it again." Diane Arbus