Wicked tilt-shift time-lapse experiments by Keith Loutit (thanks, Sergio Godoy!)
Wicked tilt-shift time-lapse experiments by Keith Loutit (thanks, Sergio Godoy!)
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November 20, 2009
November 19, 2009
Enjoy a fascinating discussion about filmmaking and art in A Talk with Alfred Hitchcock (thanks Jimmy!). Brought to us by Luma, check out The Making of Standard Bank Global, from concept to execution. November 18, 2009
Also, dont miss out on his great list of stuff to live by. Shel Silverstein would be proud. London based director Scott Altman hits the ground running with a frenetic reel, and a slim but slick portfolio. As an extension of Asylum Visual Effects, Asylum Design is making its mark with three reels showcasing their work in main titles, screen design, and commercial productions. November 17, 2009
November 16, 2009
Ross Neil and Matt Clark direct an alternate “Strawberry Swing” music video. (See Shynola’s official video.) Thanks, Hector! November 14, 2009 Nikon Film Festival open for entries — closing 12/15. November 13, 2009 Toronto based Alchemy drops this wicked spot for MEDT (Ontario Ministry of Economic Development)
November 12, 2009
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Wicked tilt-shift time-lapse experiments by Keith Loutit (thanks, Sergio Godoy!)Wicked tilt-shift time-lapse experiments by Keith Loutit (thanks, Sergio Godoy!)
2 responses to “Wicked tilt-shift time-lapse experiments by Keith Loutit (thanks, Sergio Godoy!)” |
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Monday, October 13th 2008 at 7:12 pm |
I think it is a wonderful technique in motion. Congratulations!!!
Any influence of the argentinian fotographer Esteban Pastorino?
check out this link!
http://www.pdnbgallery.com/artists/esteban/
Esteban uses a kind of kite or something like that to shift up his camera. I don’t know what Keith uses….does anybody knows???
bye and sorry for my english!!!
Wednesday, October 15th 2008 at 5:06 am |
This made my day! It looks like he’s using actual tilt-shift lenses. The effect can be done with a series of blur masks to recreate the depth of field, but the quality of this footage leads me to believe it was done in-camera. It’s a mighty fine experiment, that’s for sure.