Shot entirely with Canon 5D Mark II cameras. The season finale of House is online and available on Fox’s website. Vincent Laforet, an early-out-of-the gate 5D darling, sketched some of his thoughts about focus and lighting when the episode first aired.
Archive for May, 2010
Dennis Hopper was one of the great special effects in the modern era; our chemical man in the movies. But his loss reminds us that special effects continue to evolve as an honest performer’s most bitter competition – only occasionally inspiring them, and always at a price. And yet, like the best bare-knucklers, Hopper kept getting up and kept throwing punches even as the explosions got bigger, the colors coarser, and the fakery… well, shit – fakier. But what did it cost him, and what is it costing us?
Dennis Hopper was as internally combustible as the ‘Captain America’ and ‘Billy’ bikes in Easy Rider; he was every bit the pyrotechnical psychedelic to compliment the napalm plumage on the Nung beachhead and the light show over the Do Lung bridge in Apocalypse Now; he mingled among the vapors of his own invention in Blue Velvet; and was the most sopping wet of dry drunks in Hoosiers.
But whether he was any more human than the strictly chemical, gaseous, and now pixelist creations concocted by the whiz kids at Lightstorm, ILM and WETA is hard to say. In even his most memorable performances, Hopper was never a husband, never a father, never a best friend – certainly not a functional one. He was always more Richard Widmark than James Cagney. It’s just that Widmark’s era wouldn’t have known what to do with him. They didn’t have squibs and blood bags, animatronics, motion control or CGI.
They hadn’t even heard of napalm yet.
But we have. And until yesterday, we had Dennis Hopper to stand up in the jungle for us and give as good as he got.
Who will do it now?
Posted by Såladin and Jon Owen.
Start practicing Adam’s new technique over Memorial Day weekend and you’ll be a pro by the 4th. This is Cutlets in near speechless ecstasy – proof in itself that a revelation is at hand.
Shot with the Canon 7D 17-40mm f.4 at a high shutter speed (1/100) to pick up the flakes of parsley and all the fine droplets of blood and butter.
Posted by Såladin. Thanks to Jeff Larson.
The color palate in the salt room at Primehouse, with it’s marbled reds, dusty steels, and textured Himalayan salts highlights some of the brilliant characteristics of the 5D’s sensor. Naturally in these environs, Cutlets is at his synaesthetic best too.
See all the videos at Ozersky.tv/
Shot with the Canon 5D Mark II. 24-105 f4
Posted by Såladin. Thanks to Ben Leventhal, Laurie Pila and Jeff Larson.