Doug Urquhart from THE UPTHINK LAB sent us another awesome project (we've published “MUST WATCH! “Mountains in Motion” – majestic vistas and passing time like you’ve never seen” and “Making a DIY Solar Camera for multi-month timelapses – Behind the scenes on “Mountains in Motion”” from Doug before) – this one is a combination timelapse and Magic Lantern RAW video!
Doug sent us this last week and sent us this exclusive behind-the-scenes look at shooting this short – and it has really gone viral garnering over 200,000 views on vimeo in the first week!
I'll be releasing my new short film, Eye of the Beholder. It utilizes Magic Lantern 5D3 raw video (1 second exposures @ 1FPS and a few other 23.976 scenes) paired with time-lapse sequences captured on the Canon EOS 5D Mark III, Canon EOS 6D, Canon EOS 7D.
Eye of the Beholder
Featuring an array of scenes from the North American landscape, EYE OF THE BEHOLDER is a short film that encourages the viewer to shed previous conceptions and ideas about the world, and to return to a place of wonderment and awe.
The west coast sequences in Eye of the Beholder were the result of a recent vacation to visit my fathers side of the family in Ashland, OR for a family reunion. My wife, Karen, and I spent some time exploring the rugged Big Sur coastline, the Sierra Nevada and southern Cascades during our visit.
At the time, Magic Lantern raw video was freshly loaded on my 5D3 and I found myself skipping time-lapse set-ups to shoot video instead. I ended up with nearly 2TB of raw data by the time we returned home to Atlanta.
Although I was able to document a majority of our travels in video form, I ended up abandoning our yearly vacation oriented video to focus on something more diverse and time-lapse centric. The result, EYE OF THE BEHOLDER.
Shooting the “Eye of the Beholder”
In an attempt to shave weight for back country shooting in California, I machined my Dynamic Perception Stage One cart with a cheese plate pattern and some additional cut outs on the top platform. In addition to these small weight savings, I switched to the new Carbon Fiber rails from DP for the biggest reduction in weight.
Coming from the southeast, we don't require the use of bear canisters in the back country, only lightweight bear bags are recommended. However, bear canisters are standard practice and typically required, legally, in the High Sierra. The additional space and weight of the bear canister made packing all the other back country necessities plus a motion control TL kit and 2 D-SLRs logistically challenging. I was able to offset the extra bear canister weight with the machined platform and CF rails. Fitting it all into a 85L pack wasn't as easily remedied.
The long-term seasonal change sequences were captured using the units I custom built for Mountains in Motion in 2011. Unfortunately, the southern humidity eventually took its toll and caused some detrimental problems that prevented capturing the spring foliage return. Located over 2 hours from my house, both units ran for nearly a full year.
However, after leaving them unattended for the final two months, I returned to find them both malfunctioning. Anyone who has watched the frustration of James Balog in the documentary, CHASING ICE, knows how I felt upon finding the cameras out of commission. Both units were shooting from 2012 – 2013.
Photos on location
These are from MWP during the initial music creative. Featuring musicians, Michael Wynne and Matthew Smith.
(cover photo credit: snap from the video)