Here’s a little outtake from the interview with Philip Bloom. He told me a little bit about his friends:

Philip Bloom’s Friends from Aaron P Kohn on Vimeo.

Philip Bloom in NYC with his friends on the Highline

See the full story at coolhunting.com.

Check out Spectrum – 7D from Aaron P Kohn on Vimeo.

The first video I’ve made on my 7D. Check out Spectrum at http://spectrum.columbiaspectator.com

First of all, Philip Bloom seems to be the master of timelapses on DSLR’s.  Below is one he recently made in Dubai.

Room with a view: Dubai timelapse tests from Atlantis hotel from Philip Bloom on Vimeo.

All shot from my room in the Atlantis Hotel in Dubai.

Different timelapse shots to test the best way to capture day to night and vice versa.

First sequence and penultimate sequence done with Panasonic GF1, the rest with the Canon 5DmkII and Canon 7D.

To be used in Documentary on Dubai Royal Family for Media Prima and Talkabout Media.

Read all you need to know about shooting timelapses with DSLRs here: http://philipbloom.co.uk/2010/01/17/dslr-timelapses-addictive-frustrating-and-often-rewarding/

Most people assume that a timelapse is a sped up video, but it doesn’t have to be that complicated (and that would be super hard with 14min clip limits on FAT32 cards).  Also, people assume that I’m panning my tripod head, but there’s an easier way around that.

First of all, you’ll need a juiced up battery, solid tripod, DSLR, and some sort of interval remote.  Canon makes one that’s absurdly expensive.  You can get a wireless one for less, but I have two knock-offs that I’ve bought from Hong Kong (!) that have worked really well (takes a week or so to ship from Asia).  They make the same remote for Nikon/Pentax/Canon and probably others, though I think Nikon has the function built in.

Then you need to think about how many frames you want to have.  If you’re mixing the timelapse with 24 frame video from your Canon, like I did, remember you’ll need 23.98 frames per second.

It adds up, so make sure you have room on your memory card.  If you’re not going to pan through your video (coming later), you won’t need to shoot an 18/21 megapixel file.  This is a chart that I finally saved.  Even though it’s really simple to do the numbers on the fly, it’s easier just to have this printed and thrown in my wallet or camera bag.

The way I process the footage is through Quicktime 7 (Quicktime Pro).  Quicktime in 10.6 doesn’t have the feature, but you’ll find Quicktime 7 in your Utilities folder in Applications if you have Final Cut Studio installed.

You can watch Philip Bloom’s tutorial on his website, but basically inside quicktime you open an “Image Sequence” from the folder that has the stills from your camera.  It allows you to pick your framerate that defines the duration of each individual frame and makes a movie.  When you save the movie, you can open it in Final Cut Pro.

Remember, if you composed your timelapse of 18 megapixel images (5184 x 3456) is a lot higher than even 1920 x 1080, so it is bigger than your video canvas.  This means you can either shoot a lower resolution (on my 7D even a 4.5M image is 2592 x 1728), or you can take the 5K video, and pan or zoom (even “Ken Burns” effect) your video clip using motion keyframes in Final Cut Pro.

I hope this helps!  Post questions of comments!

People Suck! from Aaron P Kohn on Vimeo.

“I need hardly remind you that people are more inclined to believe in bad intentions than in good ones, and hence my account will carry no less conviction than yours.”
-The Decameron, Boccaccio

Richie is a normal guy who tackles the question many of us face in life about how much to trust people. Just as Richie decides to give up on humanity, things change for him.

Directed by Aaron KOHN
Written by Robert CAUDY
Starring Kostas PARAGIOS

Shot on a Canon 7D
with Support from Zeiss, Indisystems, Humble Monkey, Columbia University Film Productions.

People Suck!

Also, my interview with Mitch Aunger at Planet5d!

While Philip Bloom and gang are probably recovering from a long night in midtown, I decided to try to be the first to get some pictures and video up from the NY DSLR Meetup, which was awesome!  About 100 filmmakers and photographers who are all interested in the video capabilities of DSLRs met up in Times Square, and well, geeked out, met some new people, checked out gear, exchanged cards…and of course, we all got to meet Philip Bloom who basically was the main attraction (If you haven’t seen his work, check it out!).

I pitched my work a bit, and also talked about the new DSLR rig that I designed with Tim Ovel over at Indisystems, the WRAITH (more coming soon!).  Sadly I didn’t have it on me.

Anyway, about halfway through the meetup I got pushed aside by a film crew with a 7D on a steadicam…as it turned out, by coincidence.  It was a Brazilian crew shooting a doc with the Zeiss 50mm lens we had for People Suck and a 7D.  I followed one of their shots where they had our gang line up in a circle to pretend to be paparazzi.  I think my video is steadier than theirs!

The meetups should be a more frequent event!
Nice meeting everyone!

PS: Check this awesome still from Tramm Hudson, the creator of Magic Lantern!

The painting, now protected behind plexi-glass, certainly raises numerous questions about the balance between making art accessible in museums, while still protecting it. Since the story of The Actor’s restoration will certainly be one of the big headlines in the art world this year, what are museums to do to conserve their art?

I am not an art appraiser or historian by any means, but here’s what I’ve gathered: Maybe the Metropolitan Museum of Art was lucky to have the accident occur.

First of all, Picasso was one of the most prolific artists of the last few centuries. He produced more than 50,000 works. It is impossible to be familiar with them all.

Most people are familiar with Picasso’s Guernica, his portrayal of the Spanish Civil War, and his work that popularized cubism. Many of his other “Rose-Period”, “African-Influenced”, and “Blue Period” works are lesser known—of which The Actor was one. Maybe the unfinished painting on the back of the canvas even suggests that Picasso painted the work as a casual exercise.

Either way, the lesser-known work headlined Art sections and blogs when the accident occurred, and is doing so again now that it is being re-released part of the new Picasso Show at the Met opening April 27.

Last year, curators probably thought it might be lost amongst the 300 paintings they were planning to install for the exhibition, but now The Actor stands chance to be the star of the show. The large canvas will be a draw for tourists, conservationists, art historians, and interested visitors.

No longer a minor work in the Picasso repertoire, The Actor and woman who tore it [accidentally] created a new narrative that helps the work stand out, maybe to become one of his most scrutinized pieces. The curious painting on the back that historians know little about will probably be studied by many more, and students studying Picasso and Conservation will probably have a new work added to their syllabus. It may even make it into the ArtHum curriculum, which already studies Picasso.

Sure, the art community is lucky that this event took place at the Met, a museum that probably has some of the best conservationists on hand. Carol Vogel of the New York Times wrote in one article, “It’s virtually impossible to tell” that the painting had been damaged. But, to say that the tear devalued the work, I think is a misunderstanding of the narrative of The Actor. It’s hard to hide things at the Met, but if museums are incentivized by devaluation from damages, I wonder how many other pieces have been restored elsewhere without the public knowing. Maybe in the future they’ll try to make headlines!

Also, Mitch and I will be screening the final cut May 3rd at 6PM EST live online and will chat after. Come listen in and contribute too! After May 4th we’ll be posting some tutorials about how we made the film and also some reviews of gear that we used.

Enjoy the Preview!
-Aaron

Teaser: People Suck! from Aaron P Kohn on Vimeo.

May 4: Coming to your computer, or iPad.

Check back May 4 for the Final Cut, and after May 4 for behind the scenes footage and tutorials.

PEOPLE SUCK!
Directed by: Aaron Kohn
Written by: Robert Caudy
Starring: Kostas Paragios
Featured Musicians: Noelle Martinez, Jake Snider

May 4: Coming to your computer, or iPad.

Check back May 4 for the Final Cut, and after May 4 for behind the scenes footage and tutorials.

PEOPLE SUCK!
Directed by: Aaron Kohn
Written by: Robert Caudy
Starring: Kostas Paragios
Featured Musicians: Noelle Martinez, Jake Snider

This version has been down converted to 720P, has not been color graded and you’re listening to the in-camera microphone.  To see it in full 720P, click the link to exposureroom.com

Why do you hate people? People Suck!

People Suck! is a short film staring Richie, a middle-aged man who struggles with the question we each face everyday about how much leeway should you give people in life?  When we meet Richie, he has lost faith in humanity, but over the course of the 10-minute film, things will change for him.  The screenplay was written by a GS student at Columbia, Robert Caudy.

The final cut of People Suck! will go live online, right here on May 4th.  Throughout this weekend we will be updating people-suck.tumblr.com with photos, videos, and notes from the production, and in the final weeks before the film goes live, I plan to post a behind the scenes video each day.

The purpose of these videos is going to be to talk about two things.  One is making student films.  The second is to talk about how new technology, specifically DSLRs, can be a great tool for low-budget filmmaking, and we’ll share some tips and lessons from our production.

….more on that coming soon.

In the meantime, if you end up seeing us filming this weekend or decide to be an extra, bring a camera and upload your photos to people-suck.tumblr.com/submit

Also, I need to extend a special thanks to our sponsors who are helping us out with free stuff, distribution, and demos to use during our shoot.

Sponsors:

Zeiss Lens

Humble Monkey Productions

indiSYSTEMS

Nussbaum and Wu

Oren’s Coffee

The Donut Pub

Check back for more updates!

Day One – Five Days on the Road from INCEF on Vimeo.

Day Two – Five Days on the Road from INCEF on Vimeo.

Day Three – Five Days on the Road from INCEF on Vimeo.

Day 4 – Five Days on the Road from INCEF on Vimeo.

Day 5 – Five Days on the Road from INCEF on Vimeo.

A couple photos I took (or that were shot of me):