All the rest are 100% shot on the D3: O-At-Ka, A Day in the Open, One in a Million, Superstitious, Inline and Nikki Blue: This was my first experiment with stillmotion. Other videos on the Stillmotion vimeo page: Parkour – All footage and ambient sound are from the D2X save for the first few seconds where he is breathing and voiceovers, which was on a Sony EX1 video camera. The Beta – Brutus from Andrew Kornylak on Vimeo. The Beta – Six Feet Under from Andrew Kornylak on Vimeo.īrutus – All the climbing footage was shot on the D3. Six Feet Under – All the climbing/sitting in cave footage was shot on the D3. The Beta – Controller from Andrew Kornylak on Vimeo. Everything else including the interviews were on the D5000 video mode: I can make 11×14 prints from a frame grab, which sweetens the pot for a client looking to do a still and motion shoot without an outrageous production. And the videos:Ĭontroller – the second part of the climbing footage was shot on the D3. I can shoot with strobes (like in the Nikki Blue commercial), and the color depth of even a cropped jpeg is better than the best HD video frame. It is pretty close to a video look, but a little different. The color correction, or grading is done in Adobe Camera Raw, and then everything is edited in Final Cut. Being careful with the clips, you can shoot short videos like this, and convert them to 24 or 30fps, depending on your original frame rates. The D3 in particular shoots at up to 11fps of course, and with different settings you can get different buffer depths, up to about 12 seconds shooting in cropped jpeg mode. I’ve been doing this over the last couple years with an off-the-shelf D3 and D2X.
Here is the explanation from Andrew Kornylak ( blog): I wanted to publish this post before the Nikon D3s is released next week. Stop motion video that is and the results are worth seeing.