Our friends at Photocinerent shot with a high-speed Phantom Flex as they drove through Paris, and posted their video on vimeo.
The combination of frozen people and a moving camera is eerie.

I’m guessing that the video was shot in HQ mode at 1275 fps, which means they were driving pretty quickly

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Link

http://bit.ly/1iMjUJu

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Jacques is the founder of Transvideo, the manufacturer of video monitors for the set, and also the president of Aaton Digital.

I took some photos of the ceremony, which took place at the Femis film school.

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J’ai rassemblé ces 4 séries de photos de l’évènement Interaction proposé par K5600 Lighting, Transvideo et Little Grand Studio à Paris. L’idée de Marc Galerne était de faciliter des rencontres et discussions de gens de l’image autour du matériel lumière et monitoring. L’expérience est réussie ! Les photos sont de Jacques Delacoux, Jean-Noël Ferragut, Samuel Renollet et moi.

INTER ACTION 1

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Samuel Renollet et l’équipe de RVZ ont créé des portraits “captés” par la caméra Dragon.

Samuel Renollet and the team from RVZ created portraits “captured” by the Dragon camera

INTER ACTION 2

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There was a space dedicated to measuring the light output, angle and color of different fixtures, which I found particularly interesting.

Il y avait un Espace Mesure, où l’on pouvait mesurer les plages, puissances et couleurs de différent projecteurs, que j’ai trouvé particulièrement intéressant.

INTER ACTION 3

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Jacques Delacoux from Transvideo showed a range of monitors, including his new StarliteHD, the size of an iphone

Jacques Delacoux de Transvidéo a présenté une gamme de moniteurs, dont le nouveau StarliteHD, de la taille d’un iphone

INTER ACTION 4

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LINKS

K5600 Lighting web site
Transvideo blog: Interaction
Little Grand Studio in Aubervilliers

photos by Jean-Noël Ferragut on AFC web site

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Vous pouvez le commander ici
You can order it here

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My translation of the excerpt on the back cover gives an indication of Philippe’s finesse:

There is in Louisiana a kind of highway on stilts that crosses lake Ponchartrain, more than 40 kilometers in a straight line above the water. Early in the morning, late in the evening, it’s part of a roundtrip to a shooting location; thirty minutes at hundred kilometers per hour. And the first question of the day comes, looking at the light and the sky reflecting in the water: “How do you shoot this landscape? In which way? Where to put the camera, what movement to give it, where to place the vanishing point, the horizon line, what filter, what lens to use? How to describe what you can’t yet see, like the opposite shore hidden by the curve of the earth, which makes this bridge on the water stretch forever?”

All these questions are foreign to the film, to the working day that’s beginning, but are part of a daily practice, subterranean and semi-conscious, a practice of “giving an account” of fugitive impressions like the fragments of landscapes seen on the way in. An exercise which consists in seeing things inside a rectangle, in evaluating contrasts, color relationship, harmonies and clashes.

Before anything else, the cinematographer is an archivist.

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BRAVO à mes amis de l’AFC qui ont réuni des textes qui amorcent un dialogue important sur la Convention Collective pour le cinéma avec 14 directeurs photo, 15 réalisateurs, 2 chef monteurs, 2 chef ops son, 1 scripte, 1 producteur, 1 chef déco, 1 représentant d’un labo, 1 directeur de prod et 1 économiste.