Travis Mortz Interview
“Framework” The Making Of:
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FISHEYE PHOTO CONTEST WINNER
LONG LENS SHOT WINNERS
HOP PHOTO CONTEST WINNER
- “The Animal House” Photo Journal pushitastop.com/2015/12/30/the… https://t.co/gj8qZKjApu --posted 1 month ago
- Melbourne Zoo Street Jam Gallery pushitastop.com/2015/12/15/mel… https://t.co/qPjItSmyUh --posted 1 month ago
- Justin Care by Dennis Bunn pushitastop.com/2015/12/08/jus… https://t.co/iPBXUwK6wW --posted 2 months ago
- New Matthew Windsor Portfolio Website pushitastop.com/2015/12/07/new… https://t.co/NuXYhf8cgN --posted 2 months ago
- “The 100 Best Photographs Taken Without Photoshop” pushitastop.com/2015/12/07/the… https://t.co/Uqp8AwkLt4 --posted 2 months ago
Monthly Archives: November 2012Image
Russell Houghten takes us through some detailed methods of getting a smooth slow motion shot. First he shoots the same scene with four different cameras and compares their abilities to slow the motion (LOL at the VX glitching). He then takes us into After Effects and describes, very graphically, the coveted ramped slow-mo technique.
Linking up with Rob while he’s in the field is no easy task- As you can tell, he’s got more cameras than hands, and numerous important deadlines to meet. Luckily I caught him while traveling slowly in rainy interstate traffic for a few minutes of his time. Enjoy a look at some of the prototype lenses and extended life batteries that power his vision.
We also spoke for a few minutes, off the record, about his unconventional video workflow, which includes compressing with iMovie.
Rob’s technique involves laying both HD and SD footage (a typical mix in his edits) in an HD timeline, and exporting from Final Cut, uncompressed, in two minute segments. He swears that he can achieve far superior image quality if he exports with increments not exceeding 120 seconds. These segments are then imported to iMovie and compressed with normal HD settings, utilizing the popular H.264 codec. He then pieces the segments back together in Final Cut, and exports uncompressed. Obviously he bumps up the “fun” filter about five or six points, then uploads to Vimeo.
His self-proclaimed magnum opus of standard definition is the No Peg Left Behind Campaign Ad he created for 14th Division Street Controller Nominee Damian Racut.
Rob insists that Cali’s Patrick Taber had used the HD timeline technique in an SD edit many years ago, prompting his own research into negating Vimeo’s backend compression.
Late yesterday, Ryan Navazio publicly announced a workflow for standard definition footage to yield better results after being uploaded to Vimeo- Trick the uploader into thinking it’s working with an HD video.
He went so far as to re-upload the Talk Is Cheap Promo, with positive results.
Visit The Navi Arm for more in-depth coverage of Navaz’s export settings.
Midnight in a forest of darkened debris, buildings like redwoods, trash strewn in heaps.
Downtown In The Dark