Wallpaper From the 70’s

I really think Art directors are going to like this company and, we cinematographers are going to enjoy working with them with this kind of wallpapers.

The good old wallpaper is back and she dressed to impress. She put on her patterned clothes and brightest colours. This way she first became the star in bars and clubs and it didn’t take long until more and more new friends invited her home. And those who have ever shared the privacy of their home with her don’t want to let her go.

wallpaper, 70’s, retro, 70’s style, 70s design, seventies, vintage, psychedelic

Surely, we are all wallpaper enthusiasts, actually even old pals who have known her since our childhood days. That’s why also her other mates visit our shop. And they all have one thing in common: They enjoy the style of the 70s and chuck out their white walls to get a thrill from the wallpaper.

Sourece: Wallpaper From the 70’s

DAVID TATTERSALL, BSC CAPTURES ANIME-STYLED LIVE ACTION FOR SPEED RACER

By Renee Dunlop for CGSociety

 

“The Brothers have a real sink or fly daring when it comes to aesthetic choice,” says David Tattersall, BSC, in describing the unique look directors Andy and Larry Wachowski were after for their live action resurrection of the classic animated series Speed Racer.

Originally broadcast in the late 1960s and early ‘70s, Speed Racer was the English language adaptation of the Japanese anime series Mach GoGoGo. Created by anime pioneer Tatsuo Yoshida, the series was one of the first anime programs to find success in the West. The easy translation of the series for American consumption was in part due to Yoshida’s affinity for American popular culture. Inspired by Viva Las Vegas and Goldfinger, Yoshida gave his characters Western physical attributes, including Speed’s Elvis-style black hairdo and racing neckerchief as well as sports cars loaded with gadgets straight out of the James Bond franchise.

Unlike domestically produced animation of the era, Speed Racer was an action program with fast cars, fist-fights and plot lines that often involved corporate conspiracies and dark family secrets. US audiences welcomed the show eagerly and it enjoyed a long run in syndication, but in other countries, such as Germany, the program was considered too violent and pulled from broadcast.
“I wasn’t aware of the source material having grown up in England,” says Tattersall, but added that he was thrilled when producer Grant Hill called to offer him the project. “I was flattered, just to be thought of and the chance to work with the Wachowski brothers is a great opportunity. That was my main interest. I almost didn’t care what the show was about because it was a chance to work with Larry and Andy. I have a great respect for them and their work.”

 

From his initial conversations with the directors, Tattersall knew the project would break new ground visually. The Wachowskis are

best known for their dark and gritty Matrix trilogy, which forever altered the look of action movies. Since Speed Racer is a family movie, it marks something of a departure from their previous work and Tattersall said they embraced the opportunity to create something new.
“It’s quite different to what the Brothers are known for because it is aimed at a younger audience,” explains Tattersall. “It’s lighter and brighter. It’s got these outrageous racing sequences and monkey kung-fu and a lot of humor—it’s quite different from the Matrix.”

For this project, the Wachowskis wanted to explore an aesthetic that ran contrary to expectation. According to Tattersall, they wanted a look that was “super deep-focus, super color-saturated and very smooth, clean and sharp—quite different to the gritty, grainy, realistic thing that is happening in cinema at the moment.
“The Brothers are very techno-savvy fashionistas—they follow all the fashions and the trends, but they’re also sort of pioneers themselves,” Tattersall explains. “They like to sort of mix and match and there’s a lot of anime iconography dotted throughout this project.”

Elmo II

ELMO’s SUV-Cam’s advance features received high commendation from

athletes worldwide when it was first introduced.

Now, its usability and functionality are advanced further through extended

recording capacity on SDHC cards, quick one-push recording, and a new lens

support design that resists vibration.

It doesn’t matter whether you are on four wheels, two wheels, go-karting, on-road or off-road; The SUV-Cam can record your actual run, exactly as you experience it.

Whatever the sport, this wearable camera can capture all the action from the player’s point of view.

The possible applications for our small, lightweight and flexible SUV-Cam are virtually unlimited.

The SUV-Cam’s digital images can easily be copied to DVD media for your friends and associates to enjoy.

It is easy to put your most recent race or exciting sports experience on your blog or personal web page

Sample Movies

Source: ELMO

Sapphire

 

Sapphire Plug-ins from GenArts, Inc. is a collection of over 175 image processing and synthesis effects — ranging from every day tools to exotic effects. Each plug-in has many options and parameters that can be adjusted and animated for an unlimited range of results. Sapphire Plug-ins are resolution-independent, include multi-processor support for faster rendering, and run on Windows, Mac, Linux, and IRIX. Complete online documentation and seamless integration with host platforms make it easy to enhance any project.

Sapphire Plug-ins have become a standard for high-end visual effects creation at leading studios, broadcast and post production facilities around the world. They are widely recognized for their unrivaled image quality and unique organic look, and have been used extensively in feature films such as The Chronicles of Narnia: The Lion, The Witch and The Wardrobe, The Lord of the Rings trilogy, Star Wars – Episode I, II and III, Spider-Man 1, 2 and 3, X-Men 1, 2 and 3, Sin City, Serenity, Fantastic Four, The Matrix trilogy, Harry Potter and the Prisoner of Azkaban, War of the Worlds, I Robot, and Titanic.

  

 Sapphire demo

Source: Sapphire

VPL-FH300L projector projector 2K x 1K Resolution

The VPL-FH300L projector is Sony’s first fixed installation business projector featuring 2K x 1K Resolution (2048 x 1080) at 6000 lumens brightness. Not only is this projector ideal for large classrooms, but also mid-size auditoriums, board rooms, and for all types of displays across the board. The installation flexibility varies greatly as five lens options are available and the projector can be tilted freely in the vertical axis.

Source: Sony

Sachtler SOOM Tripod

By Carl Mrozek for DV MAGAZINE

 

At a glance, Sachtler’s SOOM 4160 Tripod System — first glimpsed at IBC last year and then unveiled at NAB – looks like a typical medium-sized, two-stage tripod, but with a monopod descending from its 75mm ball and protruding below the mid-level spreader. In fact, this tube drops through the ring bowl of the mid-level spreader, but is secured to it with a locking pin for added stability. The legs themselves are secured by locking clamps. When fully extended, they measure 57″ overall or up to 54″ from the floor to ring bowl when spread for use. There’s also a removable carrying handle that snaps onto the upper length of any of the legs for balanced transport. When properly positioned, the 11.5-pound SOOM tripod can be comfortably carried from setup to setup. For convenient use indoors and on the street, round rubber footpads are fastened to each of the claw-toed feet. This provides for rock-solid footing on floors and on paved and other smooth surfaces.

If not for the aforementioned 35″ vertical tube and the high-hat bracket atop it, SOOM would be quite similar to other midrange Sachtler tripods. However, with these additions, the maximum lens height is around 3’ higher than it would be otherwise. What is also unique about this tube is that it is also a self-contained monopod when removed from the tripod. After loosening two locking bolts, the tube can be pulled out from the top, ready for use as a fluid head-monopod. The fluid head functionality distinguishes SOOM‘s tube from other monopods, as few of them have truly functional fluid heads. Panning and tilting are usually problematic with monopods, as they lack the stability needed for really smooth camera moves. SOOM‘s secret solution to this shortcoming is a simple foot stabilizer pedal. The pedal lies flat against the tube when it’s not needed and flips out perpendicularly to allow placing one’s foot upon it when extra stability is needed. With this stabilizer feature, the monopod shaft is held securely in place, enabling the fluid head to pan and tilt much the same as when integrated with the tripod. This makes it feasible to utilize Sachtler’s FSB 6 fluid head for panning and tilting. It also makes it feasible to move the tube in an arc at various angles, much like a mini boom or jib arm. This is assisted by the hard round ball at the base of the shaft that makes it smooth and easy to move in any direction.

Another unique SOOM feature is that once it’s detached from the tripod, the mid-level spreader (tri-spread) becomes a two-stage mini-tripod with a set of mini-baby legs, complete with rubber-tipped spikes for use on the ground or on bare or carpeted floors. There are high and low leg positions for the “mini,” selected by rotating the adjusting ring counterclockwise or clockwise. In the low position, the lens height is only about 8″ off the deck and in the high position, a bit more than 19″.

The same clamping bowl (tie-down) secures the FSB 6 head to the baby legs, as well as to the ring bowl atop the tube. In both cases it must be inserted carefully from below to fit and operate properly. SOOM ‘s mid-level spreader is sturdier than most, as the upper section has a pair of rods, while the lower has one. All are permanently attached to a ring bowl that encircles the tube when in use and is also where the fluid head fastens when the spreader becomes a mini-tripod. Packaged with SOOM, the FSB 6 head features three grades of pan-and-tilt adjustment, along with a 10-step counterbalance and 75mm ball. It also features Sachtler’s Snap and Go sideload mechanism for fast loading. The SOOM is also available with Sachtler’s classic Touch and Go camera plate. The FSB 6 is designed to support cameras weighing up to 13.2 pounds. When used with SOOM, the FSB 6 sits 5″ higher up than it would with a typical cradle atop the tripod. It’s fastened to a ring bowl/mounting bracket atop the monopod, with just enough space beneath it to fasten and loosen the clamping bowl tie-down. The head and cradle can be elevated by loosening the clamping lever on the outside of the collar atop the tube. The tube can then be moved upwards to a maximum bowl height of 98.4″.

HBO Voyeur: BBDO New York

HBO created a very spectacular presentation in the side wall of a building in NYC (Lower East Side), they used 2 HD projectors to show the presentation at nights for several weeks, to do the wall they invited several TV series directors to create the spectacular movie, they also make invitations for people in the streets, to invite them to see the show and the invitations were specially cut for the invitees so they could find hidden secrets of the wall, you can see the full wall presentation bellow:

Source: HBO Voyeur

Studio: “Look At” in Russia

Very interesting work from this studio in Russia called “Look At”

Source and Link

 

The 0-360 Panoramic Optic

I know you will say to me this is a lens designed for still photography not for video or film, but I truly believe that this lens can be used in video or film, we just need to attach it to a lens adapeter like the Letus 35 Extreme.

The 0-360 One-Click Panoramic Optic™ is a specially designed camera panorama lens attachment, with an exclusive optical reflector which captures an entire 360 degree panoramic virtual tour with a single shot (no more stitching of multiple photos!). With the 0-360, you can capture an entire panorama (115 x 360 degree field of view) with one photo. In fact, the 0-360 Panoramic Optic has the highest field of view of any one-shot virtual tour lens system on the market.

 Ok, now imagine the lens adapted to the Letus 35 Extreme  in a motion picture (Video or Film) and making really interesting 360 degree shoots, probably on cars, airplanes, horse-tracks, soccer games, we can be as creative as we can with this Idea.
 Shots in still photography from this lens go to this link: Photo Link

Source: 0-360 One-Click Panoramic Optic

 

Dear Edi Lamp By David Abad

David Abad has designed The Dear Edi lamp for DAB, the lamp interprets the sheer essence of the origin of illumination. It is a tribute to the father of modern illumination, Thomas Alva Edison. With regard to design the volume of a metallic body and the latest technology are in the centre of attention. So this lamp unites the past and the technological present with the future. Its light source is a powerful three-watt LED in white, blue or red. Its optics has been deliberately incorporated into the structure. It serves as suspension or wall lamp. Its metal structure is made of shiny chrome or anodised black. A simple design that just concentrated the lamp light source, the results is pretty impressive.

Source: designzen