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Which clippings match 'Mobile Video Production' keyword pg.1 of 1
16 SEPTEMBER 2013

How to deal with the demands of the rapidly evolving new technology and yet further the aesthetics of our filmic art?

"With digital capture and even digital intermediates, it becomes very easy to think of the image in the simplest of terms: contrast, saturation and color bias. But I think too often we forget about texture and sharpness. Film has organic grain texture that simply doesn't exist in digital cinematography. I'm not a film 'purist' but I think it's safe to say that with the advent of radical advances in digital cinema technology there has been a certain homogenization of the cinematographic image in regard to look and texture. It is common to shoot for an evenly distributed rich digital negative (protect the highlights, see into the shadows) with plenty of sharpness to endure the color correction suite and create the look in post. Everybody shoots the sensor the same way.

Painting is a great influence on me. Whenever I can I go to museums and look at the classics, the Dutch masters, Rembrandt and Georges de la Tour. Looking at these old paintings can be inspiring. These are the basics for cameramen because we can learn lighting from them. We can study the classic paintings and try to use that technique of lighting in our photography. I have lots of picture books at home–photography books and art books. When we did McCabe and Mrs. Miller, I showed a book of Andrew Wyeth's paintings to Bob Altman and said, 'What do you think of these faded, soft, pastel images?' And he liked it. Then I took the same book to the lab and explained to them that this was what we were aiming for. They understood right away why we were flashing the film. So it helps; a picture is worth ten thousand words. A picture can immediately tell you your feelings about something.

With digital capture, we have been given a completely different set of tools, trading physical lab processes for computer–driven non–destructive techniques, creating possibilities for the image to be pushed any way we wish in post. In a time when film is disappearing fast and digital is making progress in image quality improvement, it has become important for cinematographers to master these new tools."

(Vilmos Zsigmond ASC HSC, IMAGO European Federation of Cinematographers)

TAGS

aesthetics • American Society of Cinematgraphers (ASC) • Andrew Wyeth • ARRI Alexas • art of colour • available lightcamera technologycinematographycolour • colour bias • colour correctioncolour saturation • colourist • computer-driven techniques • digital capturedigital cinema technologydigital cinematography • digital intermediates • digital negativedigital picturesdigital progressdigital technology • European Federation of Cinematographers • faded images • film grain • film grain texture • film lighting • filmic art • filmmaking • Georges de La Tour • GoProimage contrast • image highlights • image manipulation • image quality • image shadows • image sharpness • image tone • IMAGO European Federation of Cinematographers • iPhone cinematographyKodak Eastman • lab process • light exposure • look and texture • low lightmaking process • McCabe and Mrs Miller (1971) • mobile video productionnew technology • non-destructive techniques • organic grain texture • painting with light • pastel colours • post-productionpre-productionrapid technological changeRED ONERembrandt van Rijn • retraining • Robert Altman • soft image quality • Sony camerataste (sociology) • taste cultivation • taste formations • Vilmos Zsigmond • visual compositionvisual representation • visual richness • visual sensibilityvisual storytelling • visual texture

CONTRIBUTOR

Simon Perkins
03 DECEMBER 2012

2nd Mobile Creativity and Mobile Innovation Symposium

"Mobile phones have evolved rapidly from a communication device to a creative and educational tool. The current mediascape can be described as a dynamic ecosystem that has seen the emergence of new media aesthetics and formats, such as iPhoneography and mobile–mentary (mobile documentary) filmmaking. For communities world–wide mobile technologies provide access to a vast amount of new services. (Mobile phone) users (or rather pro–d–users), artists, designers, filmmakers and independent creatives can define new modes of mobile media practices transcending the realm of established disciplines and transforming the contemporary mediascape. The participatory turn in media culture (collaboration, co–creation and crowd–sourcing) creates new opportunities and challenges for visual communication design. Mobile devices enable us to see the world from new viewpoints and angles."

(Mobile Innovation Network Aotearoa, 2012)

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TAGS

2012 • 2nd Mobile Creativity and Mobile Innovation Symposium • Andrew Quitmeyer • Aotearoa New Zealand • Camille Baker • Daniel Mauro • Daniel Wagner • Dean Keep • design researcherfilmmaking • Gavin Wilson • International Mobile Creativity and Mobile Innovation SymposiumiPhoneographyLaurent AntonczakLynne CiochettoMax SchlesermediascapeMINAMINA2012Mobile Innovation Network Aotearoamobile mediamobile media practicesmobile phonemobile video production

CONTRIBUTOR

Max Schleser
25 JULY 2012

Mobile Innovation Network Aotearoa: Call For Papers

"Call For Papers: 2nd International Mobile Creativity and Mobile Innovation Symposium, #MINA2012, Mobile Innovation Network Aotearoa, 23rd –25th November 2012, Massey University, Wellington, NZ ...

MINA [www.mina.pro] is an international network that promotes cultural and research activities to expand the emerging possibilities of mobile media. MINA aims to explore the opportunities for interaction between people, content and the creative industry within the context of Aotearoa/New Zealand and internationally.

The symposium will provide a platform for filmmakers, artists, designers, researchers, 'pro–d–users' and industry professionals to debate the prospect of wireless, mobile and ubiquitous technologies in art and design environments and the creative industries. MINA invites paper proposals relating (but not limited) to; mobile lens media, iPhoneography, mobile video production, mobile–mentaries (mobile documentaries), mobile network and transmedia, mobile communities, mobile media and social change, mobile visual arts, mobile locative media, citizen journalism, mobile visual literacy, mobile media in education and mobile technologies and civic media. ...

Paper proposals should be submitted by the 15th August 2012"

(Mobile Innovation Network Aotearoa)

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TAGS

2012Aotearoa New Zealandcall for paperscitizen journalism • civic media • co-creationco-creator-shipcollaborationcommunication devicecontemporary art practicescontemporary designcontent creationcreative industriescrowdsourcing • cultural research • design industrydesign professionalsdesign researcherfilmmaking • independent creatives • industry professionals • innovative business models • International Mobile Creativity and Mobile Innovation Symposiuminternational networkiPhone cinematographyiPhoneographylocative mediam-learningMassey University • media content • media distributionmediascapeMINAMINA2012mobile apps • mobile communities • mobile documentary • Mobile Innovation Network Aotearoa • mobile lens media • mobile mediamobile media in educationmobile media practicesmobile networkmobile phone • mobile phone users • mobile technologiesmobile video production • mobile visual arts • mobile visual literacy • mobile-mentary • modes of communicationmodes of production • new forms of connectivity • new forms of sociability • new media aesthetics • new media formats • paper proposals • participatory culturepro-d-userspro-sumerprodusersocial changesymposiumtransdisciplinaritytransmediaubiquitous technologiesvisual communication designwireless technologies

CONTRIBUTOR

Lynne Ciochetto
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