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08 OCTOBER 2015

Taking re-focusable photos with the Lytro Illum camera

"LYTRO ILLUM is the first high-end camera to harness the entire light field – to retain the richness and depth of a scene. Explore focus, perspective, and depth of field within a single image and render full-color, 3-D living pictures. Use the Lytro Desktop application to adjust a wide range of photographic parameters, including the scene's depth of field, and transform those pictures into immersive cinematic animations."

(Lytro, Inc.)

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TAGS

angular variation • camera • depth information • depth of fielddepth of focusdepth-sensing cameradigital cameradirectional information • focal distance • focus spread • image capture • image focus • image sensor • interactive photography • interactive re-focusable pictures • light field • light field camera • light field technology • light rays • light-field photography • live view • living pictures • Lytro Illum • megaray • megaray sensor • mise-en-scenenarrative photographyperspective viewphotography • plenoptic camera • plenoptic image • plenoptic photography • point of focus • post-processing • post-shot refocusing • re-editable • re-focusable • refocus • refocused • refocusing • relative focus • Ren Ng • stereophotography • two-dimensional representation • visual spectacle

CONTRIBUTOR

Simon Perkins
12 MARCH 2015

Joep Frens: To Make is to Grasp

"Joep Frens, Designer/Researcher and Assistant Professor in the 'Designing Quality in Interaction' group at Eindhoven University of Technology, the Netherlands. Joep's work explores how to design for (growing) systems and the power of 'making' as a physical way of thinking. He takes a 'hands-on' approach to design based in the research-through-design method and regularly gives workshops on cardboard modeling.

Joep is a designer/researcher from the Netherlands. He holds a master degree in Industrial Design Engineering from Delft University of Technology and a doctoral degree from Eindhoven University of Technology on a thesis called: 'Designing for Rich Interaction: Integrating Form, Interaction, and Function' (2006). Currently he is assistant professor in the 'Designing Quality in Interaction' group at the same university. He teaches several courses at bachelor and master level and supervises several PhD students.

In his teaching and research Joep tries to bring together two of his fascinations: the question of how to design for (growing) systems and the power of making as a physical way of thinking. He takes a hands-on approach and is well versed in the research-through-design method. He regularly gives workshops on cardboard modeling and runs a website around the technique.

Before his doctoral research he spent a year at the Swiss Federal Institute of Technology in Zürich (ETH), and after he has been invited to teach and lecture in the USA (CMU), Germany (HFGSG, FHD), South-Korea (KAIST), China (Tsinghua University, Jiangnan university), Belgium (UA) and at several universities in the Netherlands.

Joep's lecture occurred Wednesday, October 1st at 5:00pm in MMCH A14."

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TAGS

2014 • action based paradigm • aesthetic experience • aesthetic interaction • camera • cardboard modelling • Carnegie Mellon Universitycognitive skillsconcept camera • David Menting • Delft University of Technologydesign conceptDesign the Future Lecture Programme • designing for growing systems • designing for interaction • designing for rich interaction • designing for systems • ecological psychology • Eindhoven University of Technology • embodied interaction • expressivity • expressivity of form • feel thingsform and function • form and use • future interfaces • grasp • handlehaptic interfaceHCIhuman capabilitiesindustrial designinteraction styles • Joep Elderman • Joep Frens • Jordy Rooijakkers • Josje Wijnen • Kacper Holenderski • Ken Giang • Lukas Van Campenhout • making as a physical way of thinking • making processmodular design • multi-specific products • Netherlands • Nierenberg Chair of Design • on-screen menus • our tools talk to usphysical modelsphysical objectspliability • proceduralisation • product design • research-through-design method • rich interaction • standardisation interaction styles • systemic design • tactile richnesstechnology affordances • Tom Frissen

CONTRIBUTOR

Simon Perkins
12 DECEMBER 2013

Digital Bolex: 16mm Filmmaking Goes Digital

"Most film students now use DSLRs. But for those who want a digital tool to produce more film–like images, Bolex – one of the classic 16mm camera makers – recently started shipping a digital 16mm–equivalent video camera that's fully compatible with the most desirable vintage C–mount lenses.

The new Bolex camera, dubbed the D16, doesn't just sport a retro look. Its Kodak–produced CCD sensor is very close to Super 16–sized, which is uncommon in modern cameras. Even better, that sensor shoots in RAW at 32 frames per second at a resolution of 2048x1152 pixels. Every uncompressed frame should be sharp, as opposed to the compressed footage even full–frame DSLRs produce. Plus, the Super 16–sized sensor means that the D16 can use C–mount lenses without any crop factor.

The camera is being produced under the name 'Digital Bolex,' but it's actually a joint venture between the original manufacturer, Bolex International, S.A., and Cinemeridian, Inc, a young company of digital wizards that was formed to bring this idea to fruition."

(Kif Leswing, 11 December 2013, Wired.com)

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16mm • 16mm-equivalent • 2012 • 32 fps • Blackmagic • Bolex • Bolex camera • Bolex D16 • Bolex International S.A. • C-mount lens • camera • camera maker • camera technology • CCD sensor • cinematic devices • Cinemeridian Inc • classic 16mm camera • compressed footage • D16 • digital • Digital Bolex • digital cameradigital cinema technologydigital pictures • digital tool • digital viewfinder • DSLR • film and video equipment • film camera • film school • film-like images • ilm grain • image qualityindependent cinemaindie filmmaker • joint venture • KickstarterKodak • moviemaking • old-school • pistol grip • RAW • retro look • sensor • Serious Cinema • stereo audio • Super 16mm • test footage • uncompressed frame • video camera • XLR

CONTRIBUTOR

Simon Perkins
12 MAY 2012

2010 IMPACT!: the 5th Dimensional Camera

"'With their evocative multidimensional camera, the designers have attempted to embody Hugh Everett's many–worlds theory in an object that adds to the cinematic tradition of The Matrix (1999), Lost (2004–10), Fringe (2008–ongoing), and Source Code (2011), to name just a few.

With researchers working to harness the the peculiar workings of our subatomic world, we, as designers, were given an opportunity to explore the implications of one of its more concrete and immediate applications: quantum computing.

Working with EPSRC, NESTA, the RCA, and a group of scientists from the Quantum Information Processing Interdisciplinary Research Collaboration (QIPIRC), the 5th Dimensional Camera was produced for the 2010 IMPACT! exhibition as a metaphorical representation of quantum computation – a fictional device capable of capturing glimpses of parallel universes."

(Superflux Ltd.)

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2010 • 2010 IMPACT! • 5th dimension • 5th Dimensional Camera • blending physics • cameradesignersEPSRC • exploring implications • fictional devices • Fringe (television) • futures studies • futurologyHugh EverettIndia • Lost (television) • Many Worlds Interpretation • Many Worlds theory • metaphormetaphorical representationmultiple dimensionsNESTAparallel universe • parallel universes • product design • QIPIRC • quantum computation • quantum computing • Quantum Information Processing Interdisciplinary Research Collaboration • quantum mechanicsRCAresearchersscientistsSource Code (2011)speculative designspeculative researchspeculative science • subatomic world • Superflux (consultancy) • tangible prototypeThe Matrix (1999)

CONTRIBUTOR

Simon Perkins
06 MARCH 2012

CINEMA ESSAY: SHALLOW FOCUS, DEEP FOCUS, TRACKING SHOT, ESTABLISHING SHOT

Majestic Micro Movies: Lloyd Fonvielle, James Lester, Kendra Elliot, Joe Griffin and Jae Song.

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a girl and a gunAndre Bazin • big depth of field • black and whitecameracinemacinematic conventionscinematic languagecinematic visual languagecinematographyclapperboardcoherent spacecompositioncontinuity editingdeep focusdepth of fielddepth of the screen spacedesign formalismDOF • establishing shot • figures in spacefilmfilm language • film take • film technique • filmlook • filmmaking • focus of attention • Manny Farber • master shot • medium is the messagemise-en-scenenarrative scenesproductionscenescreen spaceselective focusshallow depth of fieldshallow focus • shot countershot • shot reverse shottracking cameratracking shot • two shot • video essayvisual depictionvisual languagevisual literacyvisual style • wide lens

CONTRIBUTOR

Simon Perkins
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