Creative Filmmaking Archives - Page 12 of 12

Nikon have just shot their D5100 TV commercial on the D5100 itself.

A few years late to this game but at least they are doing it properly. No jumpsuited gimps in this one like the GH2 commercial shot on a 5D, just Ashton Kutcher… Oh wait.

But behind the camera was one of my favourite DPs of all time – Matthew Libatique, none other than Darron Aronofsky’s Director of Photography. He’s best known for DPing Black Swan and Requiem For A Dream – both modern classics.

Burnt Out – Philip Bloom ‘End is Nigh’ Challenge

June 3, 2011 by Andrew Reid (EOSHD)

I did some more filming at the abandoned Spreepark in Berlin last weekend. Usually the amusement park is closed and patrolled by security, but an event took place last week with bands, art and some of the old rides operational again. You can read about that at the Guardian here.

“After the Berlin Wall fell in 1989, the attraction was renamed the Spreepark and taken over by a colourful West German family – two members of whom were jailed after 181kg of cocaine was found hidden inside the base of the 1001 Nights Magic Carpet Ride.”

Hands-on guide to Technicolor Cinestyle, LUT curves and Canon 600D

September 8, 2014May 3, 2011 by Andrew Reid (EOSHD)

Cinestyle has transformed my Canon DSLR and footage looks so cinematic with it. The key to good looking CineStyle footage on Canon DSLRs is a LUT curve. Here is a guide on how to do all that, with Final Cut Pro and Adobe Premiere CS5.

Anamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 2

May 5, 2010 by Andrew Reid (EOSHD)

http://www.vimeo.com/10039537

Read part 1 here

I have some footage to show you from the Panasonic anamorphic lens on the GH1. I talked a bit about the rig earlier but here is part 2 of my anamorphic shootout for real.

Anamorphic Widescreen – Panasonic GH1 with LA7200 Lens – Part 1

April 5, 2010 by Andrew Reid (EOSHD)

Read part 2 here

Here at EOSHD I am a bit fan of widescreen cinema. When I shoot, I think of the greats of cinema like Hitchcock and Kubrick, and I not only find it fun to try and get the best out of the GH1 – but to get something unique. The look and feel of super-wide screen shooting with anamorphic lenses is unique, and very very cinematic.
At the moment, normal 16:9 widescreen is ubiquitous and everybody is doing it. So get ready to step away from the crowd and let’s investigate proper cinema widescreen with some real life shooting!