You are currently browsing the archives for the Video category.

March 12th, 2015

The Best Drone Movies: NYC Drone Film Festival Crowns Winners

We’re still in the infancy of drone cinematography, but there’s more than enough content available now to start passing judgement on it.

The New York City Drone Film Festival wrapped up earlier this month and handed out awards, or “Dronies” in nine categories. To enter, films had to be five minutes or less with at least 50 percent of the footage captured using a drone.

A few of the winners, like “Superman with a GoPro,” may be recognizable from their days on the viral video circuit, but a few were new to us. We’ve included a few of the winning films below. The full list is here.

The festival, which was created by aerial photographer Randy Slavin, will begin accepting submissions for the 2015 Dronies beginning in August.

March 11th, 2015

Tim Matsui, TIME Win Top Prizes in 2015 World Press Multimedia Contest

Time magazine has won first prize for short documentary in the World Press Photo contest for film titled Behind the Video of Eric Garner’s Deadly Confrontation With New York Police. In the long feature category, photographer Tim Matsui has won first prize for The Long Night, a documentary he produced in conjunction with MediaStorm about teenage prostitution in Seattle. Last month, Matsui won POYi’s Documentary Project of the Year for the film.

A film titled {The And}, which explores the dynamics of relationships between couples, won first prize for Interactive Documentary. It was written and directed by Topaz Adizes and Nathan Phillips

Runners up in the multimedia competition included The New York Times, which won second place in the short documentary category for a video by Ben C. Solomon about the Ebola outbreak in Monrovia. Carlos Spottorno won third prize for his video called At the Gates of Europe, about a wave of refugees from Africa since the Arab Spring uprisings.

The second place winner in the long feature category was Charles Ommanney, who won for his documentary The Fence, about the barriers along the US-Mexico border. Photographer Shiho Fukada and MediaStorm won the long feature third prize for Japan’s Disposable Workers: Net Cafe Refugees, about white collar workers with low-paying, dead-end jobs.

There was no second or third prize winner in the Interactive Documentary category.

Winners of the multimedia prizes were announced today by World Press Photo organizers in Amsterdam. Jurors for the contest included Dan Chung, Hussain Currimbhoy, Barbara Davidson, Bob Sacha, Samuel Bollendorff, Louis-Richard Tremblay, Adnaan Wasey, and Sarah Wolozin. Marianne Lévy-Leblond, a web producer at ARTE France, chaired the jury.

The winning videos can be viewed on the World Press web site.

Related:

Ed Kashi, Tim Matsui Win Top Multimedia Prizes at 2015 POYi
PDN Video Pick: A Spotlight on Underage Victims of the Illegal Sex Trade
Picture Story: Japan’s Disposable Workers (PDN subscription required)

February 23rd, 2015

Ed Kashi, Tim Matsui Win Top Multimedia Prizes at 2015 POYi

From "Syria's Lost Generation," by 2015 POYi Multimedia Photographer of the Year Ed Kashi. ©Ed Kashi

From “Syria’s Lost Generation,” by 2015 POYi Multimedia Photographer of the Year Ed Kashi. ©Ed Kashi

Ed Kashi has won Multimedia Photographer of the Year honors at the 2015 Pictures of the Year International competition for his project called Syria’s Lost Generation, while Tim Matsui won Documentary Project of the Year for The Long Night, a film he produced with MediaStorm about teenage prostitution.

Winners of other categories in POYi’s Visual Editing Division included Katie Falkenberg of the Los Angeles Times, who won first place in the Motion News Story category for a story about a Utah town torn apart by an FBI sting operation; Eugene Richards, winner of the Motion Feature Story prize for his project in the Arkansas delta called Red Ball of Sun Slipping Down; and Lisa Krantz and Jessica Belasco of the San Antonio Express-News, first place winners of the Motion Issue Reporting category for “A Life Apart: The Toll of Obesity.”

Earlier this month, during judging for POYi’s Reportage Division, Krantz won the 2015 Community Awareness Award for the obesity project.

Judging for the Visual Editing Division ended Friday. The category included a number of editing awards for magazines and newspapers.  National Geographic magazine took Best Publication honors. The Los Angeles Times won first place for Editing Portfolio-Newspaper, while Time magazine won the top prize for Editing Portfolio-Magazine.

A complete list of the 72nd annual POYi contest winners is available online. Links to galleries of the winning entries are also on the site.

Related:

Daniel Berehulak Wins Reportage Photographer of the Year at 2015 POYi Competition
Brad Vest Named Newspaper Photographer of the Year at 2015 POYi Competition
Cameron Spencer Wins POYi Sports Photographer of the Year Honors
PDN Video Pick: A Spotlight on Underage Victims of the Illegal Sex Trade

February 9th, 2015

PDN Video Pick: Office Scene (“Today, I’m going to let them touch me”)

Photographer Endia Beal’s video “Office Scene” demonstrates how it is possible to make strong, compelling video with almost nothing, if you’re smart about it.

The video is a foray into the discomfort zone of inter-office race and personal relations. Beal, who is African American, heard rumors around a corporate office she worked in that several of her white male colleagues were fascinated by her hair. So she decided to let them touch it–on the conditions that they really dig their hands in, and agree to talk on tape afterwards about how the experience felt to them. Amazingly enough, they agreed. “I transform into a voyeuristic actress fulfilling the desires of my male colleagues,” Beal explains. She uses just two video shots to tell the story. By focusing her camera on the banal and stripping the visuals down to a minimum, she’s able to use the audio to maximum effect, leaving much to the imagination of the viewer.

Beal projected this video, along with her more recent (and equally compelling) “9 to 5″ video, at the National Geographic Photography Seminar last month in Washington, DC.

She explained at that seminar that her work is intended to push conversation about the experience of women of color in corporate America, particularly about issues that people are afraid to talk about. Beal credited Tod Papageorge with pushing her to use photography to explore her own experiences while she was enrolled in the MFA photography program at Yale.

“I said, ‘[Those experiences are] so intimate and personal to me,’” she recounted. “He said, ‘Those are the stories that need to be told.’ So I took the risk. I had no idea that something so personal and private could be universally translated, that other people could understand, that a minority woman could speak to the universal.

“The history of photography for minority women is still being written,” she continued. “I think about Deborah Willis, LaToya Ruby Frazier, Deana Lawson, Carrie Mae Weems, Lorna Simpson–all these wonderful women. But our book is really short. If I can add a couple of photographs to that narrative, then I’ve done my job.”

Related:
Look3: Carrie Mae Weems on Race, Sexuality, History and Finding Meaningful Work

February 5th, 2015

PDN Video Pick: Vincent Morisset’s Interactive “Way to Go”

Promotional still from "Way to Go"

Promotional still from “Way to Go”

When you travel from point A to point B, what do you see? How does the experience change when the route becomes familiar? These are questions asked in “Way to Go,” a new interactive video project funded by the National Film Board of Canada and premiered at the recent Sundance Film Festival’s New Frontier program.

Part film, part game, “Way To Go” takes players through a 3D environment with a 2D character, following a predetermined path through an immersive, interactive environment. Players control a blockheaded animated figure, deciding whether to walk, run, stop, jump, fly, or investigate elements in the environment recorded on video.

“I’m really interested in the notion of space and time,” says Vincent Morisset, the project’s director, “and how we relate to our environment in real life, and if there was a way to transport or put into perspective this really universal premise of going from point A to point B.”

The visuals—art directed by Caroline Robert—are a striking mix of video footage, hand-drawn animation and live GL effects. Morisset captured the live video with a DIY pole-mounted 360-degree camera rig comprised of six GoPro cameras. He’s visible in the game as the black figure holding a pole that follows the main character everywhere through the interactive universe.

“In 2015 it’s less and less easy to get lost, we’re constantly knowing where we are,” Morisset says. “There’s something to the line and the path that resonates with how we deal with our environment.” As the character is confined to traversing the universe along a pre-determined path, the exploration is in the changing perspective—what do you run past, what do you stop and investigate?

The NFB previewed the project at a virtual reality at Sundance’s New Frontier utilizing the Oculus Rift VR headset. While the game is playable on any computer with a Web browser, the Oculus experience took full advantage of the 360-degree camera footage to provide a truly immersive experience.

Sounds are synced to the movements of the character. Composer Phillipe Lambert designed a Euclidean rhythm console so that the complex rhythms interweave seamlessly with the pace and movements of the character.

Lambert, Robert and Morisset, along with Édouard Lanctôt (a developer and technical director), make up AATOAA, Morisset’s Montreal-based digital studio. Their commercial clients include Red Bull and Google, and they’ve produced an interactive video for Arcade Fire’s “Just a Reflektor.” “Way to Go” is the team’s second personal project; their first, “BLA BLA,” was an interactive short film exploring human communication.

To experience “Way to Go” yourself, visit a-way-to-go.com. For more on the interactive projects produced with support from the National Film Board of Canada, visit: www.nfb.ca/interactive.

Promotional still from "Way to Go"

Promotional still from “Way to Go”

January 28th, 2015

PDN Video Pick: Acclaimed Beijing Portrait Project, Expanded with Video

With support from two clients and a creative approach to funding, photographer Sim Chi Yin has just released this video showing an old project from a new, more immersive angle. The video profiles Zhang Xi, a college graduate turned street peddler who is part of Beijing’s “Rat Tribe,” so named because they live in sub-standard apartments in the basements and former bomb shelters of the city.

Sim’s portraits of “Rat Tribe” basement dwellers, which she began making in 2010, have been widely published–and widely acclaimed. She previously produced a multimedia slideshow of the portraits. But this video expands on her earlier work by exploring how one subject ended up living in a Beijing basement, the tension it has caused with his parents, and what day-to-day life is like for him.

The video, published January 24 by Creative Time Reports (CTR) and Al Jazeera America, is also a case study in multi-source production funding. Sim says it was first “leanly funded” by CTR, a media website that commissioned the video last fall for a European conference on migration issues. For additional funding, Sim applied to the Pulitzer Center for Crisis Reporting. Around the same time, Al Jazeera America asked Sim for new portraits of Beijing basement dwellers, and an updated multimedia piece. So she put CTR and Al Jazeera in touch with each other, and “they decided to work together and timed their publications to appear on the same day.”

Sim hired producer Yin Jiawei, a recent college graduate, to work as a fixer and assist with the shooting.  The video was edited by Jian Yi, a freelance Chinese filmmaker.

Related:
Picture Story: Beijing’s Basement Dwellers
PDN’s 30 2013: Sim Chi Yin

January 12th, 2015

PDN Video Pick: Ed Kashi and Matt Black for The New Yorker

For PDN’s January 2015 print edition, we spoke with photographer Matt Black about the photo essay he made for The New Yorker about the drought in California’s Central Valley. Black, who lives in Exeter, California, has been documenting the valley—which produces much of the country’s food—for more than 15 years.

But the story in The New Yorker was assigned before Black ever got involved; months earlier, photographer Ed Kashi had successfully pitched a story on the drought to Whitney Johnson, the magazine’s director of photography. When it came time to shoot the story, however, Kashi realized that Black—his former assistant—was not just embedded, but invested, in the valley, and would be a perfect collaborator.

“I was thinking, I’ll never, in the week or so I have of field time, produce the body of still work that this man has produced over 15 years,” Kashi says. “So why try to reinvent the wheel?”

Kashi proposed that he would shoot motion, and Black would shoot stills, and Johnson was quickly on board. Sky Dylan-Robbins, a video producer at The New Yorker, would edit their work into the 7-minute video that ran on newyorker.com.

“It was fun,” Kashi admits. “We were like two little kids in a way, photo buddies who were just looking for visuals and trying to figure out how to put the narrative together without getting bogged down in the weeds of the issue. Because the issue of water in California is insanely complicated.”

Related:

Matt Black on Dorothea Lange

Matt Black and Ed Kashi Bring California’s Dried-Out Central Valley to The New Yorker

NewYorker.com: The Dry Land

January 9th, 2015

National Geographic’s Photo Engineering at Work

Striving for new and unusual ways to photograph subjects from land, sea, and air, National Geographic photographers often turn for technical assistance to NG photo engineers Kenji Yamaguchi and David Mathews. The two men, who are the subjects of an article in January PDN and now on PDN online, devise ingenious tools for making pictures that would otherwise be too dangerous or difficult for photographers to make. ““These guys are the unsung heroes of the Geographic,” says long-time contributor George Steinmetz.

Yamaguchi and Mathews worked behind the scenes on Nick Nichols’s Serengeti lions project, Steve Winter’s snow leopards project, and various projects by underwater photographer David Doubilet, to name just a few examples. Here are some videos that show their technical ingenuity in action:

 


Nick Nichols and his assistant, Nathan Williamson, at work on the Serengeti lions project with a robotic camera tank and a camera drone.

 


Steve Winter explains how he used camera traps to photograph a mountain lion at night under the Hollywood sign.

 


The Photo Engineering department faces possible budget cuts, but National Geographic recently profiled of Kenji Yamaguchi, with this video showing him at work in the publisher’s Photo Engineering lab.

 

Addition videos on National Geographic’s web site:

Steve Winter describes his 2008 snow leopard project in northern India. Scenes of Winter setting up remote cameras and strobes on snow leopard trails start at 2:47.

An encounter, narrated by Steve Winter, between a tiger and a robotic camera vehicle developed by NG Photo Engineering.

Scenes from the sinking of a ship for the creation of an artificial reef, featuring David Doubilet’s remote camera images from the ship’s deck as engineers set explosive charges, then detonated them. Remote camera images begin at 1:21.

Related Article:
The Technical Ingenuity of National Geographic’s Photo Engineering Department

January 8th, 2015

Mamiya Leaf Credo 50 in the Wild

The January issue of PDN features a review of the Mamiya Leaf Credo 50 medium format camera system.

You can get a sneak peek in this video starring our frequent co-tester, David Patiño, who used the Credo 50 in a marathon product catalog shoot late last year (among other things). Enjoy!

Special thanks to Generic Brand Human for producing the video.

November 21st, 2014

PDN Video Pick: Pitchfork’s Interactive Mini-Site for the 2014 Basilica Soundscape Festival

Basilica Soundscape

Pitchfork, the influential music website that has grown to include a quarterly print magazine and three art and music festivals, has launched a new mini-site to showcase videos made during September’s Basilica Soundscape Festival. The custom site, which lives at basilica.pitchfork.com, features videos of 12 artists performing at the third iteration of the annual festival, held on September 12 & 13, 2014, in Hudson, NY. Each video is a performance from the festival interspersed with meditative footage shot in the idyllic town and countryside surrounding the festival venue.

The Basilica mini-site was designed and developed by William Colby, who co-directed the videos with Jim Larson. Both are part of the in-house video team at Pitchfork.

Pitchfork has been at the vanguard of creating innovative displays of photos and videos on the Internet, as we highlighted in our feature (subscription required) on the site’s “cover stories” in late 2013.

On the Basilica site, it’s possible to watch every video without a single click, thanks to the site’s minimal design: There’s a small navigation menu at the top right of the page, but visitors can scroll down through each auto-playing video. The performances run the gamut from modern metal like White Lung and Deafheaven, to a string quartet led by the Arcade Fire’s Richard Reed Parry, and a deliciously funny reading of an essay on the gender politics of authenticity by Meredith Graves, of the hardcore band Perfect Pussy.

The mini-site is visually compelling, and is yet another example of Pitchfork’s commitment to experiment with new ways to deliver images to its readers.