Now they’re looking to do the same thing again with MIMIC, a completely new motion tracker for the MoVI Remote Operator. For those who may not be familiar, the Remote Op is the person who remotely controls the camera movement independently of where the MoVI Operator is pointing it.
As you can see from the video below, they’ve gone all out to make MIMIC completely intuitive for the operator, regardless of experience – “child’s play” indeed!
Doing away with a control joystick on the MoVI controller, Freefly have opted for a remote system with sensors that track your positioning and movement, translating these into silky smooth camera movement. This essentially allows for a totally organic, intuitive and completely immersive independent camera operation experience. I can see myself as a Director wanting to pick the control
NAB2015 is gearing up to be a very interesting event! Here’s my schedule, come and say hi and let me know what you think of Project AIR:
All times are PST
Monday April 13th
9.30am Blackmagic Booth
10.30pm Kessler Booth
12pm G Tech Booth
1pm Canon Main Stage
2.15pm G Tech Booth
Tuesday April 14th
1pm Atomos Booth
2pm Canon Talk EDU
Wednesday April 15th
10am Canon Main Stage
2pm Canon Talk EDU
This has been one of the purest and most exciting projects of my career – this definitely feels like a once in a lifetime experience to me.
We are currently in the middle of scheduling a series of shoots in Europe in May thanks to support from G-Technology, and you can expect as series of meetups and events in cities such as Paris, London, Barcelona and a few more – to be announced very soon.
We’ve also launched a new site laforetAIR.com where you can pre-order a book, postcards and a few more cool things yet to be announced. A fine art print site will also be going up very shortly.
Thanks to your pre-oder of the books, we’ve already been able to add new cities to our lists of destinations. A significant portion of every sale of each book will go towards shooting more cities!
Below you’ll find the series on Storehouse from San Francisco which was incidentally featured in The New York Times. Given that I was a staff photographer at The New York Times for 7 years, it was quite odd to be featured “in” the paper – we used to joke that our goal was to never make it into the paper, because a staffer would only make into the paper when either: a. They’d likely done something very very bad. or b. They passed away and the paper was running their obituary
It was extremely flattering to be included to say the least.
Once again thank you for all of the support to
So if you wondered what all of the Freefly MōVI gear stuff was about back in December of last year was about … here is is: it was for a spot that I directed for UGG for M&C Saatchi LA with a very talented young Director of Photography Matt Wise – the spot was released today.
This was an extremely refereshing shoot for me, as we were allowed to roam the streets of Los Angeles and to truly “chase the light” given that the shoes are of course “CGI” elements added in post (or Computer Graphics elements) created by the talented Rusty Ippolito of MakeVFX…
It was a bit of a head twister at times to direct the spot given that the team had no central characters to “follow” / focus / track but a wonderful challenge nonentheless for all involved. It’s not uncommon to work with CGI elements that everyone can reference … for example: imagine the helicopter banking to the right there, or the car turing the corner at this speed here… but when you are referencing shoes that no one else has ever seen, let alone them doing something that shoes don’t naturally do (float) … that’s where it get’s interesting. How high are they? How fast do they move? Do they wobble? Do they collide with other objects? Themselves? etc etc… It’s actually a LOT of fun. But when it comes to communicating that with several dozen people: you better have the answers. COLD.
Needless to say, this spot would have been absolutely IMPOSSIBLE without tools like Freefly’s M15 MōVI – well, OK – I guess we could have done it with a huge team / crew and street closures with Steadicams, cranes, technocrats etc… but this was not
I haven’t been able to verify this independently, but there was a recent article in Bloomberg along the same lines that forebodes very tough times ahead for Getty Images – if not its demise.
If this is true, this is major news for the photo industry and speaks to an increasingly difficult business landscape for the stock business and the photography market in general.
Some will celebrate the demise of a company that has arguably done harm to the photo industry in one way or another, but I personally have many close friends who are some of the very best photographers, editors and managers in the business, so as with any demise, I respectfully suggest there be no celebration…
A catastrophe of cataclysmic proportions for Getty Images (a subsidiary of the Carlyle Group, NASDAQ: CG) is on the horizon. Below are some historical insights, and a break down of the latest Bloomberg reports on Getty. First though, here’s a very simple comparison that will illustrate the state of Getty’s bank accounts and loans:
If you owe so much money to others that you can’t even afford to pay the interest accrued on the loan, and there are no promises of large cash influxes in the near future, no one will loan you the money to pay your monthly interest expense, let alone pay down the principal you owe.
Simpler? ok try this:
Assume you have a $30,000 credit card debt. The interest rate is 17%, so you are required to pay $418.89 a month – just in interest. In this example, using the numbers/income that apply to Getty’s situation, you would only have $52.36 of your income you can use to pay down your debt, thus you have NO WAY of paying offContinue reading "Getty Images in Dire Straits?"