Mind Trip – Part 2 Tutorial

An After Effects Video Tutorial

by Eran Stern* (sternfx.com)

In the final piece of this 2-part video tutorial, Eran reveals the secrets found in a woman’s mind! Learn how to use radial blur, caustics, glow, and other tricks in After Effects to reveal a dream-like scene…Watch Video Tutorial Here.

Revealing the secrets found

Revealing the secrets found

Mind Trip – Part 1 Tutorial

An After Effects Video Tutorial

by Eran Stern* (sternfx.com)

Join Eran Stern as he delves into the mind of a woman. Be warned, it’s not for the faint-of-heart! Follow along as he creates a tunnel vision effect by applying a few After Effects tricks such as time…Watch Video Tutorial Here.

Eran delves into the mind of a woman.

Eran delves into the mind of a woman.

 

Motion Tracking, After Effects, and CINEMA 4D Lite

The workflow to add 3D objects into your already-shot footage.

by Chris and Trish Meyer (Crish Designs)

After Effects features a 3D Camera Tracker that examines already-shot footage and attempts to reverse-engineer where the camera was during the shot, creating a 3D camera to match. This allows you to add new objects in 3D space that match the movement and perspective of the underlying footage.

After Effects has a limited 3D implementation of its own that allows you to add text and shapes, but the real fun comes when you can add a fully rendered 3D model of an object into the scene. There are several… Read Full Tutorial here.

Clip FCL220 used in tutorial. Download for free here:

Clip FCL220 used in tutorial for download free here.

New Video Tutorial Includes Free Clip

Using an Artbeats stock footage clip and some After Effects magic, Eran Stern of SternFX creates a quick commercial by integrating type with the spinning blades of a wind turbine. Click the picture below to register for a FREE download of the clip used in this video tutorial (and yes, the tutorial is free, too).

Green Energy Video Tutorial

Kinetic Energy to Kinetic Typography

Now, follow along with Eran as he uses the spinning blades to reveal the message and then “wipe” it away.

 

Artbeats’ Top Selling Clips of 2014

This is our second annual roundup of the most popular shots sold last year. I’ll count down from number 10.

  1. Churning Storm Cloud: D001-C043B
    Shot from beneath a tornado-warned supercell, these churning clouds made me want to run for cover. This is why I love shooting supercells, the cloud rotation makes for very unusual and beautiful shots. This huge storm produced a tornado about 15 miles to the south, too far away to reach in time to get a shot.

    D001-C043B: Time-lapse supercell storm cloud

    D001-C043B: Time-lapse supercell storm cloud

  1. Aerial of NYC Financial District: NYC209
    This footage was captured in 2006 but is still incredibly popular. Shot with the Sony F950 in the Gyron gyrostabilizer gimbal.
NYC209: Looking down into Wall Street area.

NYC209: Looking down into Wall Street area.

 

  1. Colorado Supercell Storm: EST104
    Another tornado-warned storm, this footage shows impressive cloud rotation and is punctuated with a dramatic lightning strike. This clip is from the Epic Storms collection where you can find many more breathtaking storm shots.

    EST104: TIme-lapse swirling dark gray supercell cloud with lightning and rain over a prairie landscape.

    EST104: Swirling dark gray supercell cloud with lightning and rain over a prairie landscape, time lapse

 

  1. Large Container Ship Flyover: 004-C078
    In the summer of 2010, Artbeats did a helicopter shoot of the beautiful coast of Catalina Island. On the way back across the water to LA, we saw this cargo ship steaming south. It is ironic that it became more popular than all the shots we took of Catalina. At 55 seconds in length, this is the longest clip in the top 10.

    004-C078: Close flight over a container ship in open ocean.

    004-C078: Close flight over a container ship in open ocean.

     

  1. Highway Flyover: A113-C021C
    This lonely highway winding through a forest west of Providence, Rhode Island, was shot with a RED Epic in the fall of 2011. It is over 40 seconds long, which gives an editor lots of options for finding the perfect sweet spot.

    A113-C021C: Following a highway through a forest west of Providence, Rhode Island.

    A113-C021C: Following a highway through a forest west of Providence, Rhode Island.

     

  1. Washington DC Capitol and Mall: A122-C050B
    Flying south looking west over the Capitol building, this shot can represent political power, military might, an evening at the Smithsonian or traditional love of country.

    A122-C050B: Orbiting Capitol Hill at night; Washington Monument and Lincoln Memorial in rear, Library of Congress in left foreground as clip ends.

    A122-C050B: Orbiting Capitol Hill at night; Washington Monument and Lincoln Memorial in rear, Library of Congress in left foreground as clip ends.

     

  1. San Quentin Reveal: DHJT100-09
    Opened in 1952, it is the oldest prison in California, located just north of San Francisco. This Maximum-security penitentiary has a stated capacity of 3,082 inmates, yet has a population of 4,233.

    DHJT100-09: Flying over the water and across San Quentin Prison yard.

    DHJT100-09: Flying over the water and across San Quentin Prison yard.

     

  1. Sunrise From Space: RBL217
    An image from the very popular Orbital 2 Collection, and a great way to establish the start of a new day. To see more images like these, view all three Orbital Collections.

    RBL217: Sunrise over Earth as if seen from space shuttle.

    RBL217: Sunrise over Earth as if seen from space shuttle.

     

  1. Sunlit Earth Limb: RBL205
    The popularity of this clip is due to its generic nature. Beautiful and timeless, the image can represent many things, from global concepts, to time-of-day to a background plate that can be layered with a satellite.

    RBL205: Clouds over sea and islands as if viewed from space.

    RBL205: Clouds over sea and islands as if viewed from space.

     

  1. Washington DC Capitol: A123-C030
    This beautiful daytime aerial shows the capitol dome surrounded by museums and other government buildings including Library of Congress, which sits in the foreground. This view clearly displays the height limit restrictions of buildings built in DC. We were thankful as this makes shooting the capitol dome easy from anywhere in the city. To see more Washington DC aerials, click this link.

    A123-C030: Dome of the US Capitol and surroundings, Washington DC

    A123-C030: Dome of the US Capitol and surroundings, Washington DC

Amos Rafaeli Talks about Shooting Stock Footage

Q:     How long have you been shooting stock footage?

I’ve been a Cameraman/Cinematographer since 2001, but started shooting Stock Footage in 2009. I love shooting stock, because you are your own boss and it is also a combination between my hobby and profession.

Amos Rafaeli

Amos Rafaeli

 

 

 

 

 

 

 

 

 

 

 

 

 

Q:     What is your favorite subject to shoot?

The thing I like to shoot the most is nature and wildlife. Unfortunately, there is not much wildlife to shoot in Israel where I’m based. But I also love shooting time-lapse photography. Two years ago I added a time-lapse slider and motorized head to my gear.

Hobbled camel on a hilltop in Israel

AR-FH101-29 – Tethered camel on a hilltop

I like two major things in time-lapse photography: 1) that it forces you to have quiet time with yourself and 2) today in the digital age it remain almost the last ability that like in film you don’t really know the result until you process the shot.

I’m also a scuba diver, and recently got a new housing to my camera, and hopefully will shoot new great underwater footage.

Parrotfish

AR-FH103-20 – Parrotfish swimming through coral

 

Q:     Which camera(s) do you prefer for shooting stock footage?

Since DSLR has video I prefer them as my camera. I know that in a technical matter they don’t have the best video, but they are lightweight, and have great optics. I use Panasonic and have had GH2 and GH3 but now GH4, which also provides me with 4K capabilities.

When I shoot time-lapse, I also use the Panasonic GH but shoot raw stills and then render them out as high quality 4K 4:2:2 10 bit video.

 

Q:         What’s your favorite clip that you currently have represented in the Artbeats FootageHub?

Sea of Galilee sunrise

AR-FH101-90 – Sunrise: Sea of Galilee, Capernaum, Israel

This is one of my first time-lapse. It is a sunrise, and I had a great combination of sun and clouds, which combined into a great sunrise shot.

 

Q:         What advice can you give to shooters who are just getting started in the stock footage industry?

The best advice is to create new footage, not more of the same. You, as a stock shooter, can try but never really predict what will be a success. Try to create new stuff; show new faces.

Time-lapse clouds passing over snowy Golan Heights

AR-FH107-09 – Clouds over snow, Golan Heights, Israel

 

Q:         What’s the best or worst thing that happened to you on a shoot?

The worst thing was not such a big deal. I once went and set up a time-lapse shot with the slider and then when the time to start came, I discovered I’d forgotten all my SD cards at home.

I’ve had a lot of great things happen to me while shooting. I had the chance to watch wild animals in nature.

 

Q:     What is the one thing you wished you’d been able to capture?

A whale during an underwater shoot.

 

About Amos Rafaeli:

Amos Rafaeli on location

Amos Rafaeli on location

Amos Rafaeli is 40 years old and lives in Kibbutz Hulda in Israel. He works as a Freelance Cameraman, mostly in Israel. He has worked on a few TV series, the most famous is “Arab Labor”
http://en.wikipedia.org/wiki/Arab_Labor
https://www.linktv.org/series/arab-labor
And he has shot a lot of TV and corporate work.

 

Last Flight of Miss Prissy

Following is the historical record of the LAST FLIGHT OF MISS PRISSY written by Ralph F. Bates, which appeared in the Nov/Dec 1994 issue of the PATRIOT, the March, 1995 issue of ARMY magazine, and in the Feb 1999 issue of AEROPLANE magazine in Poland. Pictures of Miss Prissy also appeared in The B-17 in COLOR, 1986, Squadron/Signal Publishers.

Ralph2

Lt. Ralph Bates

March 22 1945, 3:45 am
Four young flying officers lay cocoon-like in their sleeping bags. A clerk arrived in the tent, clipboard in hand, shaking my shoulder and asking me to sign. I, Lt Ralph Bates, was now responsible to see that my officers, Lt Don Kallock, copilot, Lt Don Fischer, navigator, and Lt Irving Jacobs, bombardier–got up out of the sack. The enlisted were doing likewise in their tent. On the way to briefing a familiar anxiety came over me: How was the weather? What will our target be? Would the flak be heavy? What about enemy fighters? Will our fighter escort protect us? Will we make it back?

“Our target is the oil depot in Ruhland, a city 75 miles south of Berlin, one of the last operational refineries left in Germany,” said the operations officer, his wand pointing to the top of the map, “it is our longest mission to date, so watch fuel consumption. Fighters are expected, ME 262 jets, but they can only send up a few because of lack of fuel and spare parts. P-51 fighters will be your escort, but heavy flak is expected over the target. Set your watches.”

Now it was time to hop into the four-bys, take the bumpy ride over to the supply shed and pick up our gear. After a visual check outside the plane, we tossed our flight bags into the belly hatch, then swung ourselves up into Miss Prissy [named after her former commander Capt. Godby’s recently born baby daughter, Priscilla.]

Checklists completed, we were now at the end of the steel-matting runway waiting for the go-ahead. At 71,000 pounds and carrying a light bomb load, we were still way over the 65,000 maximum specified weight, which gave us pause since we would be taking off uphill. Our runway was higher at one end than the other and had a drop-off; thus it was not unusual to have the B-17 that had just taken off ahead of us sink down and disappear off the steppe and disappear. We were near panic until at last it rose into view. During the previous year, a couple of them didn’t make it. Now it was our turn. Knowing the dangers that lay ahead of us this day, I noticed it took longer for the butterflies in my stomach to let up. But as soon as I began the takeoff run, the only thought I had was to keep a tight reign on that rather ponderous B-17 machine. Flight Engineer, Sgt. Howard K, Brewer, stood over my right shoulder calling off the speed: “50…60…70…75…80… come on, Baby!” It was pins and needles until at last Miss Prissy lifted proudly off the runway and we felt the lift under her wings.

MissPrissy

Miss Prissy

Thus Twenty-eight B-17 Flying Fortress bombers of the 483rd Bombardment Group took off from Sterparone Italy to drop 280 five hundred pound bombs on a fuel depot at Ruhland, Germany, a city south of Berlin. Three other groups of seven bombers were part of the same formation. Each of our four squadrons were in tight formation, and Miss Prissy, which I piloted, was flying to the rear of our squadron. What an awesome sight when we rendezvoused, a giant attack force of up to 1,000 B-17 and B-24 bombers. On the long ride to Ruhland, we took time to check out our equipment and grab frozen peanut butter and jelly sandwiches (liquids were out because of the sub-zero air wafting around us, even though our plane ostensibly had heaters). We now approached the target area. Late in the war, the Germans concentrated more flak units around the few remaining targets and were using improved techniques. Those black puffs of smoke drifting by our windows proved that the flak guns below had our altitude figured out perfectly. The attack stiffened as we passed the initial point. This was when the bombardiers began calibrating their bombsights–all B-17 now must fly straight and level, which on this mission took seven gut-wrenching minutes. It was brutal. Many in our Group saw Lt Deveroux Bush’s plane get a direct flak hit. It was engulfed in explosions and all ten aboard died. At the same time was terrifying to hear flak ricocheting against us–the force of the explosions lifting and buffeting our plane. One shell blasted a large hole next to radioman McCauley. Smoke was filling the interior. Miss Prissy was trembling from nose to tail. God help us. Nevertheless, all bombardiers glued their eyes on the lead B-17, for when the bombs dropped from her, it was time for our man to toggle. It was always a relief to drop the bombs because then our group could make some turns and change altitude in an attempt to evade flak. But the flak continued, and enemy fighters were spotted. After we dropped our ten 500 pound bombs, several of the new Me-262 jet fighters swooped up behind us in tandem right through their own flak. [The closing speed of a frontal attack would have been much too great so they had to attack from the rear, which made us in the lower echelon more vulnerable.] They fired 30mm canon, which were armed to explode on contact, which caused extensive damage and fires in both wings, especially to the right one.

At first it was hard for the gunners to identify the jets because they as they flew by through our contrails a strange refraction of light occurred, hindering them. They even thought they were friendly aircraft at first. Then, switching to intercom, I heard the boys shouting, “Fighters six o’clock!” Our ball, tail and top-turret 50 caliber guns started rattling just before a frightening explosion rocked the ship. Then another explosion occurred. After the Me 262 jets had paused behind us for the attack, we could see them swinging swiftly up and away. But the jets hit their targets as wave after wave flew by. The battle turned into one mighty convulsive frenzy as additional explosions rocked Miss Prissy. In all, there were oil fires, hydraulic fluid fires and fires fed by high-octane gasoline from our wing tanks.

“Feather number four engine!” Feathered. “Full turbo on number one and two!” The port engines were running, but on the starboard, number three was almost useless with most of its sparkplugs damaged, and number four was out. Engineer Sgt. Brewer started pumping gas from the right wing into the left wing because the starboard engines were practically nil. The shredded, dangling parts of our wings were literally burning away.

The engineer, navigator and bombardier were wounded, though not seriously. Amid the chaos, however, our gunners helped bag one ME 262 and possibly another. Despite all our efforts we couldn’t keep the right wing from tipping uncontrollably down; thus we gradually left the protection of the formation. I gave the crew the option of staying or bailing out. That’s when Charlie, our radioman, severely wounded in the chest, and four aerial gunners in the rear of our bomber bailed out and became prisoners of the Germans. The rest of us were left to keep a badly damaged B-17 heavy bomber airborne until we could pass over hostile German territory.

Only seconds had passed and we were going down. Stu Oberg, right wing gunner of Thomas Cobb’s crew, later told me that he saw our airplane just as we were hit by the jets. He thought we were finished. Bam! At that very second his plane was also badly hit! We were in a flat, clockwise spin, large fires spewing out from both wings. Miss Prissy shook so severely that it took the copilot, engineer and myself to handle her.

To bail out was our immediate reaction. In fact, the copilot rose from his seat a couple times, ready to bail out, though changed his mind. But we remembered that Hitler had recently told his troops not to take any more POWs. And if we did bail out, we would be at the mercy of enemy fighters as we parachuted down, who took delight in firing at the men under those parachutes, and of even more violence from the enemy on the ground. Torn between the two deadly options, we decided to stay with the plane.

At least two of those who bailed out were attacked by fighters on the way down. Those who bailed out didn’t see the five of us–the engineer, navigator, bombardier, co-pilot and myself–again. They only saw the plane going down in flames, even looked for us in vain in the POW camps. Conclusion: we must have died in a fiery crash. We had now descended from 22,000 and were holding steady at 5,000 feet and the fires were abating. When we saw enemy aircraft in the vicinity and we bolted upright thinking we were dead meat, but they ignored us instead of finishing us off. They must have taken one good look at us and decided that we were finished anyway.

Our problems were far from over. Unfortunately, our bomb run took us on a northeast direction further into Germany, but the nearest friendly territory, Poland, lay in the opposite direction. Simple–just turn right and head toward friendly territory. But the stubborn wreck of a plane refused to turn! If we tried to turn right the right wing would start dipping down out of control. If we turned left, that would have taken us even deeper into enemy territory, so we manipulated the trim tabs which enabled us to turn very gradually right, which took us in a big circle north of Berlin. Another major problem reared its ugly head, if we went above 112 miles an hour, Miss Prissy would shake and shudder dangerously, but If we went under 102 miles an hour, the right wing would start to dip again, and we would start to lose control.

We figured that by now we must have crossed over the German and Russian front lines, but must have been protected by the angels from the ground fire that low-flying aircraft always attracted when flying over the front lines. Just then we spied a double-track railroad, which we followed, thinking it would lead us to an airfield. To get there we had to descend through some puffy clouds, which caused the plane shake and shudder, and the weakened wings to flex dangerously. We soon spotted an airfield where a number of small planes were parked and fired a green flare, the designated color of the day. When we saw a green flare appear on the ground immediately, we knew we were with friends. But a major problem loomed ahead. We still had to land! Yet another bad situation had to be dealt with: Though we were fortunate to be heading in the right direction, we had to approach a strange airfield with a short runway while flying at 102 mph, which was much too fast. Now we had no choice. Miss Prissy was threatening to stall at any second, but we managed to barely clear the airport fence. The right wheel, damaged by flak, wasn’t yet in locked position. (We had no idea if indeed the tire was still inflated). Coming into the airstrip. The airplane was now actually a missile waiting to explode: Hydraulic fluid leaked everywhere, oxygen was leaking out of dangling masks just waiting to cause more fires, and it was doubtful that we still had enough hydraulic fluid to stop.

MissPrissyBW

Miss Prissy

I waited until just before we landed to let down the wing flaps, I let them down–that was a no-no–because just then what was left of the right wing flap broke off! Not good, because the right wheel would not go down and engineer Sgt Brewer was all the while trying to lower it by the slow process of manually cranking it. However, we were almost on the ground; in fact, the right wing was almost scraping the runway. But with Co-pilot Kallock and Brewer’s help, I managed to land hard on the right wheel that Sgt. Brewer had just cranked down. We discovered later that the right landing gear was made inoperable by a large piece of flak, which had also embedded itself deep into the right tire, but the tire held up, thank God. After losing so much hydraulic fluid, would we have enough pressure left to stop? Yes, and what a relief when we finally stopped at the end of the runway!

We were completely limp. Suddenly we realized that we no longer needed the loving protection of Miss Prissy, so we were ecstatic to hop out and put our feet once again on solid ground. At that time we still had no idea how much we owed the airmen who had so lovingly maintained Miss Prissy, nor how much we had depended on each other, nor how much the Lord had cared for us. Russian soldiers were approaching. One of them appeared to be a general. Looking at the damage, we couldn’t believe our craft could have flown. Amazingly, all five of us could stand in the place that was once a part of the left wing. And that hole wasn’t half as big as the one in the right wing! But what stunned me most was when I stuck several fingers past the protective lining and fully into one of the large fuel tanks in the right wing where fire had burned through! Further inspection revealed evidence of 13 fires in the right wing and two in the left. All main spars in the right wing were riddled with shrapnel. Only the incredibly strong wing construction saved us. We were surprised to find several unexploded 30-mm shells there. Both magnetos were shot out on number four engine. On number three, one magneto was shot out, and all but four of 12 spark plugs were hit. (Later measurements showed that about 266 square feet, or nearly 20 percent, of our total wing surface had been destroyed, not counting some significant shredded area tears and many smaller holes).

It took awhile for it all to sink in, but we shuddered to think how close we came to giving it all for our country. Miss Prissy, B-17 #46538did give her all–well almost–as we shall see below.

Lt. Ralph Bates receiving his flying wings.

Lt. Ralph Bates receiving his flying wings.

November 3rd, 1942, Binghamton NY
I signed up for duty in the Air Force Reserve as a pilot. In February, 1943 I was in a train on my way to basic training in Atlantic City, then to preflight training at Montgomery Army Air Base, Alabama, next, three months of college remedial training at the University of Vermont, three stages of pilot training in Arkansas, after which I received my wings in March of 1944. I was soon at aircraft commander training  [B-17] at Lockbourne Army Air Base, Ohio, and finally sent to overseas combat training at Sioux City Army Air Base, Iowa. I had already been shaken up by a wheels-up landing in an advanced trainer in Arkansas, frightened during a giant roller-coaster ride in a severe thunderstorm near Dayton Ohio, and horrified when we flew through the wreckage of two B-17s that had collided directly in front of us during a mock enemy attack near Sioux City. But nothing was going to stop the buildup of America’s giant air armada in training. Shortly, I joined my fledgling crew at Lincoln Army Air Base, Nebraska . There, B-17 bombers often took off over the city of Lincoln at about 5 am. But the citizens were unhappy with the racket, so the Base Commander then ordered all bombers to take off over Lincoln!

 

But we were ecstatic when we took possession of a brand new B-17G. We were on our way to the Mediterranean Theater of Operations. What should we name her, we thought? After stops in New Hampshire, Newfoundland, the Azores, Morocco and Algeria, we landed at Sterparone Air Base in Southern Italy. There we became part of the 817th Squadron of the 483rd Bombardment Group of the Fifteenth Air Force. Immediately our prized B-17 was assigned to a more seasoned crew and we were given a tired B-17 patched together from three wrecked planes!

Ralph F. Bates, wife Ruth, son Phil (circa 1954).

Ralph F. Bates, wife Ruth, son Phil.

Ralph Bates, son Phil and daughter-in-law Debi (circa 2014).

Ralph Bates, son Phil and daughter-in-law Debi (circa 2014).

Meet Ole Sturm, creator of Orbital 3 and Marble Earth

Q. When did you begin animating? (Or how long have you been animating stock footage?).

I started in computer graphics and animation back in 1990 when I completed a computer graphics course in Munich. Initially it was just desktop publishing but I soon got drawn into the animation side of things and in 1995 started animating for playback graphics on Mission: Impossible. More films soon followed and in 2000 I took part in a recce on the USS Stennis aircraft carrier in San Diego, where we were researching screen interfaces for Behind Enemy Lines. This research led to my first contact with Artbeats with the idea to produce the Control Panels 2 product, back in 2004.

 

Q. What is your favorite subject to animate?

I love the Orbital 2 and Starfields 2 series. I’ve always been a sci-fi fan so anything that gets me into space, even if it’s just on a screen, is sure to get my attention.

RBL212 - Space satellite above thick clouds of Earth's atmosphere

RBL212 (from Orbital 2)- Space satellite above thick clouds.

STA203

STA203 (from Starfields 2)- A red planet shadows three glowing hexagons.

 

Q. Which computer and software do you prefer for animating stock footage?

Currently I work on a late 2013 MacPro (the trashcan model) with the highest specs available, including 64GB of RAM. The software I primarily rely on consists of After Effects for the compositing and 2d animation side of things and Cinema 4D for the 3d side of things. On the periphery I use Photoshop and Illustrator and a host of plugins such as Trapcode’s Particular.

 

Q. What’s your favorite clip that you currently have represented in the Artbeats FootageHub?

I think that would have to be RBL114 or STA216  I just love the serenity of those two shots. I listened to a lot of Vangelis (yes, including Blade Runner) whilst working on these two compilations.

RBL114 (from Orbital 1) - Sunrise over Earth's horizon as if viewed from space

RBL114 (from Orbital 1) – Sunrise over Earth’s horizon as if viewed from space

STA216 (from Starfields 2) - Drifting through a star field toward a glowing band of golden clouds

STA216 (from Starfields 2) – Drifting through a star field toward a glowing band of golden clouds

 

Q. What advice can you give to animators who are just getting started in the stock footage industry?

Find a subject that inspires you and the rest is easy. Working on Orbital I found that 8 hours would pass and it felt like 2 or 3 hours. It was just Zen-like.

 

Q. What is the one thing you wished you’d been able to animate?

I wish I’d had my new computer when I was animating the Starfields product – playing around with that many particles was really tough on my old MacPro (late 2008 model) and there were times when I just wanted to give up – it… was… that… slow……. I’m thinking of getting Phil interested in a second batch of starfields and have got my eye on X Particles for Cinema 4D.

 

Bonus Questions:

1. What’s the last movie you saw in a theater?

I don’t make it to the cinema very often unless it’s with my 8 year-old son – I think the last one was Turbo. My wife and I are booked to go see Gone Girl though

2.  What’s your guilty pleasure TV?

The Walking Dead and documentaries – the other night it was Stonehenge Empire.

 3. What’s your favorite gadget/app?

Hmmm, after being a complete app addict when the first iPhone came out I’ve now settled down to mostly using my phone and iPad for reading news to which end I rely on Zite, Flipboard and Feedly. Oh, and Plex, I love watching movies on my iPad.

 

About Ole Sturm:

Ole and his son Per at the British Museum during their June/July holiday

Ole and his son Per at the British Museum during their June/July holiday

 

With a background in fine arts (majoring in sculpture) Ole has been working in film and various computer graphics related industries since 1987. His career path began in London working in visual effects and then moved to film production, props and set-dressing in South Africa. Moving to computer graphics and animation was a natural progression once the tools reached the mainstream.

In 1996 he co-founded Bionic Productions – based at Pinewood Studios, Bionic provided interfaces and playback graphics for feature films including Mission: Impossible, The Saint, Daylight, The Jackal, Lost in Space, M:i-2 and Behind Enemy Lines.

In 2001, he and his wife moved to Melbourne where he create video content for a large variety of clients and applications as well as working as a freelance designer, animator, editor and compositor.

 

Review Ole Sturm’s footage here

Mark Adams discusses Rocketclips beginning

Artbeats’ customers and subscribers have evinced a lot of interest in learning more about our footage producers: e.g., how they started in the business, what challenges they met, what cameras are their favorites, what advice they would give when shooting stock footage, and so forth. What would be a better way to start off a series of producer interviews than to feature Mark Adams of Rocketclips?

rocketclips

Q: When did Rocketclips begin shooting?

A: I started as an assignment still photographer in 1978 and began shooting stock stills in 1984, by the mid-90’s shooting stock stills was my full-time living. I founded Rocketclips and picked up my first video camera in 1999, by 2001 the change-over to motion was complete.

 

Q: Your library is full of great shots of people doing various activities. What is your favorite setting for capturing this “lifestyle” footage?

A: I’ve been working a lot with a set we built. We can dress it for business and medical. Sometimes it’s a living room or a bedroom. We’ve even turned it into a clothing store and a spa.

Family connecting to social media

RC-FH183-024. – African American family using cellphone and tablets

 

Q: What are some of the challenges you face with doing studio shoots vs on location?

A: I prefer to shoot indoors. It’s easier to control the environment. Being on location allows the talent to interact with the real world, things can feel more natural but the trade off is just what you would expect; weather, dirt, sand, less than interesting backgrounds, police. Among the biggest challenges we face wherever we shoot are the logistics of managing props and wardrobe. Also camera movement is a huge challenge, especially on a budget. After years as a still stock shooter, working with talent comes very naturally. It’s all the gear necessary for shooting motion that makes us crazy.

Happy friends laughing and dancing

RC-FH234-083 – Happy business colleagues dancing

 

Q: What’s your favorite clip that you currently have represented in the Artbeats FootageHub?

A: I don’t have favorite clips. I have favorite shoots. Those are the shoots when I’m at my best and I’ve got terrific talent. I bring it, they bring it and the footage looks great.

RC-FH232-134 - Young couple making faces

RC-FH232-134 – Young couple making faces

 

Q: What¹s the best or worst thing that happened to you on a shoot?

A: The best was shooting childbirth. The worst, getting arrested for shooting with out permits.

Man being arrested

RC-FH177-2009 – Man with handcuffs

 

Q: What is the one thing you wished you¹d been able to capture?

A: One time I splurged and rented a helicopter to shoot the Las Vegas strip at twilight. I didn’t have the money for a stabilized camera mount, so they took the doors off for me and I hung out hand held, totally useless footage. I envy Phil; he does wonderful aerials.

RC-FH097-001 -  Las Vegas Boulevard at night

RC-FH097-001 – Las Vegas Boulevard at night

 

Q: Which camera(s) do you prefer for shooting stock footage?

A: Right now I’m shooting with a Red Epic and I love it. Shooting raw is like a dream come true.

 

Q: What advice can you give to shooters who are just getting started in the stock footage industry?

A: Anyone being honest will tell you that shooting stock has taken a hit from lowering prices. It’s tough to make a living solely from stock. My advice? Anyone with the skill to use a tool, whether it’s a law book, a wrench or a camera can make a living with that tool, if they are talented, committed and passionate.

Young woman doing homework and talking on smart phone

RC-FH208-104 – Young woman on cellphone and studying.

 

About Rocketclips:

Mark Adams, Rocketclips

Mark Adams, Rocketclips

Rocketclips, Inc was founded by Mark Adams in 1999.
Mark is an experienced professional photographer and videographer who lives with his family in Long Beach, CA.
He graduated in 1978 from the commercial photography program at Art Center College of Design in Pasadena, California.
He began shooting stock stills in 1984 and migrated into motion with video in 1999.
Rocketclips always uses professional talent and specializes in lifestyle, business and nature imagery.

Encounter with a Tornado

eNews Headline Image June 2014wAuthor

I am not superstitious but I find it interesting that my first encounter with a tornado happened on Friday, June 13th near Devil’s Tower, Wyoming.

My storm chasing trip started June 9th when I flew to Minneapolis to meet up with partners, Skip Talbot, forecaster and professional chaser (http://www.skip.cc/), and Jennifer Brindley, also a chaser and professional photographer (http://jenniferbrindleyphotography.com/storms/). This was to be an amazing eight-day adventure where we would see no fewer than six tornados.

Jennifer Brindley and Skip Talbot in front of Devil’s Tower (the site of the Close Encounter’s close encounter)

Jennifer Brindley and Skip Talbot in front of Devil’s Tower (the site of the Close Encounter’s close encounter)

On this day, the storm we would chase was expected to initiate in the late afternoon, so we took some time to hike and take a sightseeing trip to Devil’s Tower. Sure enough, by 4pm, a large storm sprang to life just west of Hulett, Wyoming and the chase was on.

Tornados typically form under the updraft base of a supercell thunderstorm. This is typically seen as a cloud lowering on the southern portion of the storm. As the base begins to rotate, a “hook” shape often forms on radar. This is a radar image of the storm taken from my phone as we made our approach (Yes, there’s an app for that!).

Tornados form under the updraft base of a supercell thunderstorm. This is typically seen as a cloud lowering on the southern portion of the storm. As the base begins to rotate, a “hook” shape often forms on radar. This is a radar image of the storm taken from my phone as we made our approach (Yes, there’s an app for that!).

Normally, when chasing storms in the Plain States, we are in open country, but this storm was maturing in the hilly country of the Bear Lodge Mountains. Very few highways intersect this area but we found a spot on Highway 24 about 15 miles southeast of Hulett. Our vantage point gave us a view to the northwest where the storm had just become Severe-Warned. The track of the storm was eastward, so it would likely make a close pass to our north.

Here I am filming the storm as it approached from the northwest. Skip Talbot is standing next to me. Photo by Jennifer Brindley.

Here I am filming the storm as it approached from the northwest. Skip Talbot is standing next to me. Photo by Jennifer Brindley.

The sky became dark and ominous, and the storm, which was now officially Tornado-Warned, showed obvious rotation at its base. Wind started gusting around us, and as the updraft base came closer  it became hidden by the foreground hills to our north. Little did we know that a strong tornado was at the heart of this rotating cloud. Soon it became obvious that the storm was becoming increasingly violent. White clouds were whipping across the ridge to our north. We felt a blast of hot air, then heard an unearthly crackling roar, both being signs that a tornado is very close. Strong winds forced me to move my camera to the shelter of the van.

Jennifer Brindley catches me moving the camera out of the wind.

Jennifer Brindley catches me moving the camera out of the wind.

 

This clip shows the rotating cloud to our north at its closest point.

Rotating Cloud (720p version)

We continued to be battered by winds that were as strong as any I have felt in my life, winds at our back that were attempting to draw us toward the storm. We felt another blast of hot air. Skip assured us that we were perfectly safe in this location.

Can you see the dark funnel shape in the center of this contrast-enhanced image?

Can you see the dark funnel shape in the center of this contrast-enhanced image?

This composite image shows our location southeast of Hulett, and the radar signature of the tornado at its beginning and at its end, with the white line connecting the two showing a possible path.

This composite image shows our location southeast of Hulett, and the radar signature of the tornado at its beginning and at its end, with the white line connecting the two showing a possible path.

Soon the winds died down as the storm passed to our northeast. As we drove away, Skip commented that we didn’t see a tornado, we experienced it. That sums it up nicely.  It was later classified as a strong EF-2 with winds of up to 120mph and a track of 18 miles. Fortunately it passed over sparsely populated country so there was no loss of life and only one injury. It did destroy a mobile home, several outbuildings, and mowed down a significant number of large ponderosa pine trees.

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

Damage photos from the Crook County Tornado

This was to be the first tornado encounter in an amazing storm chasing trip and was an experience I will never forget. Over the next few months, we’ll be doing the post work on the footage shot on the Epic, and we’ll make it available as soon as possible. There is so much I want to share, plus more tornado stories will be coming in future Artbeats eNewsletters, so stay tuned!