Here's a beautiful stop-motion, tilt-shift type short film done by Sam O'Hare with production assistance from Aero Film. (The original music is gorgeous, as well.)
Some tech notes: Although it looks like it was shot with tilt-shift lenses, it wasn't: Sam says:
It is shot on a Nikon D3 (and one shot on a D80), as a series of stills. I used my Tamron 17-50mm f/2.8 and Sigma 50-150mm f/2.8 lenses for all of these shots. Most were shot at 4fps in DX crop mode, which is the fastest the D3 could continuously write out to the memory card. The boats had slower frame rates, and the night shots used exposures up to two seconds each. The camera actually has an automatic cut off after 130 shots, so for longer shots I counted each click and quickly released and re-pressed the shutter release after 130 to keep shooting.
After he amassed his 35,000 stills over the course of five hot days and two evenings in August of 2009, he began putting the look together in post.
The footage was shot as raw NEFs, which I organised and colour graded in Adobe Lightroom. I always shoot raw, as it gives you so much more latitude when grading. These were then output as 720p jpg sequences and quickly stabilised to do the initial edit. Once the edit was mostly locked, all the final footage was re-output at full 2800px resolution, tracked, stabilised and the DOF effect and movement added in Eyeon Fusion, using Frischluft Lenscare. I output the final shots at 1080p. Although most shots stay with the basic tilt-shift effect, some have focus pulls, or more complex depth mattes were built up along with some paint work to allow buildings to drop out of focus next to the in-focus ground. This would not have been possible if I had shot using tilt shift lenses on the camera, which works best with relatively flat landscapes. New York City is anything but flat!
Nice stuff, Sam.Why didn't he use actual tilt-shift lenses? He needed more flexibility than they could provide:I did some initial tests a while back using a rented 24mm tilt-shift lens, which is the standard way to do this. However, after my tests, I found it made much more sense to do this effect in post, rather than in camera. Shooting tilt-shift requires a tripod, as it is very hard to stabilise afterwards, and gives less flexibility in the final look. I opted to shoot it on normal lenses, which allowed me options in the depth of field and shot movement in post. I used a tripod for the night shots, and my Gorillapod (which is much more portable) where possible, but many locations—like hanging over the edge of a roof or through a gap in fencing on a bridge-- had to be shot hand held, and the inevitable wobble removed afterwards.
(And a tip of the cap to Carlos Gonzales for the heads-up.)
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