Ken Murphy is capturing a year’s worth of timelapse sequences from atop San Francisco’s exploratorium – seen above is the first 42 days of his project -
“The earliest day is in the upper left, and consecutive days follow left to right, then down, with the most recent day in the lower right. It starts a little before sunrise, so it’s dark for the first few seconds:
Keep in mind that all of the days are synchronized, so at any given moment, you’re looking at the sky at the exact same time of day for each of the panels. The cascading effect at sunrise and sunset is caused by the variations in day length.”
This past June, Esquire magazine did a “photoshoot” with Megan Fox via the Red One camera. Instead of a traditional still-camera, they opted to shoot motion video in incredible hi-res and pull their cover image from the footage. Well some months later, they’re upping the ante’ using Red’s newest baby –
The photographer-director grabbed the photos for our June issue — at four times the resolution of high-def — from that mouth-watering video a couple million people happened to notice. The camera folks from Red noticed, too.
“I had a feeling since the Megan Fox experience turned out to be so incredible, that the combination of Greg Williams and Esquire would be the perfect platform to reveal our next-generation equipment for the first time,” says Jarred Land, who holds the enviable title of Fire Chief at Red.
Having finished a prototype just two days before this summer’s scheduled shoot with Esquire’s Sexiest Woman Alive 2009, Land hand-delivered to Williams the first-ever RedOne camera outfitted with the Epic 5K Mysterium-X Sensor. You know, just a couple of tens of thousands of dollars worth of the world’s most advanced photographic equipment in your carry-on.
Is it wrong that what gets me all hot-and-bothered isn’t Megan Fox but the thoughts of this imminent evolution in video technology? Don’t answer that.
[Esquire]
Brilliant wall-animation done by Sam3 during his exhibition in San Jose, CA. Love the music in conjunction with the watercolor-esque imagery, reminds me of something that should’ve come out of the 60s.
I don’t mean to undermine this tremendous 4-week effort by the production team on this video, but despite the strong visual component I couldn’t find very much that felt connected with the song. Looking nice for the sake of looking nice without a strong element to tie everything together. Nonetheless, kudos to GB for being one of the few bands who continue to find interesting directors to shoot far-from-traditional vids.
Great little interview of Garson Yu, the preeminent master of motion graphics and title sequences. An almost under-appreciated art form in its own right that’s slowly getting its due. His studio’s work on Watchmen was one of the best things about that film.
Your daily fix of creepy. Probably shouldn’t have watched this before going to bed last night. It’s like entering the world of the Eastern European doppelganger of Ellen Burstyn’s character from Requiem for a Dream.
While thematically this is not very different from a number of “take a photo of my face 1/day for _______ period of time” videos, Christoph Rehage has a great sense for movement and background within the frame, making his take much more visually compelling (and more fun) to watch.
[via BB]
