From Still To Motion

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant.

"Cinematic motion has long been celebrated as an emblem of change and fluidity or claimed as the source of cinema's impression of reality. But such general claims undermine the sheer variety of forms that motion can take onscreen-the sweep of a gesture, the rush of a camera movement, the slow transformations of a natural landscape. What might we learn about the moving image when we begin to account for the many ways that movements move? In The Shape of Motion: Cinema and the Aesthetics of Movement, Jordan Schonig provides a new way of theorizing cinematic motion by examining cinema's "motion forms:" structures, patterns, or shapes of movement unique to the moving image. From the wild and unpredictable motion of flickering leaves and swirling dust that captivated early spectators, to the pulsing abstractions that emerge from rapid lateral tracking shots, to the bleeding pixel-formations caused by the glitches of digital video compression, each motion form opens up the aesthetics of movement to film theoretical inquiry. By pairing close analyses of onscreen movement in narrative and experimental films with concepts from Maurice Merleau-Ponty, Henri Bergson, and Immanuel Kant, Schonig rethinks longstanding assumptions within film studies, such as indexical accounts of photographic images and analogies between the camera and the human eye. Arguing against the intuition that cinema reproduces our natural perception of motion, The Shape of Motion shows how cinema's motion forms do not merely transpose the movements of the world in front of the camera; they transform them"

Final Cut Pro X offers a whole new way to edit, with an ease of use that opens the door for millions of new users. DSLR cameras are also revolutionizing the way photographers, journalists, documentary producers, and directors bring their creative vision to life. Up until now, editing DSLR video has been anything but easy–syncing sound, transcoding footage, fixing rolling shutter–but the “look” made it all worthwhile. But shouldn’t things be easier? They can be. In this unique and targeted guide, users of all levels will learn how to edit DSLR video with Final Cut Pro X from the creative team behind the best-selling book on DSLR filmmaking–From Still to Motion: A Photographer’s Guide to Creating Video with Your DSLR. In no time you’ll learn how to transition from a real-world project to successfully editing video with this groundbreaking new version of Final Cut Pro X. • import, analyze, and organize your footage and media • set up your projects correctly for any DSLR camera • fix common problems like exposure, rolling shutter, and shaky video • implement essential and advanced editing techniques • work with synchronized sound and create compelling audio mixes • correct color and exposure problems with your clips • publish and share your productions to the web and mobile devices • download project files and videos that accompany the book

Book and accompanying video with over six hours of video training—all geared to teach you everything about shooting video with your DSLR With the arrival of high-definition video-enabled DSLR cameras, photographers are faced with an opportunity for creativity and a competitive edge in their field unlike anything they’ve experienced before. Add to that the expanding demands from a video-hungry audience and it’s no longer a matter of if you are going to add video to your repertoire of skills, it’s when. Here to guide you in a thorough exploration of the video-making process — from preproduction to post — and to ease your transition from still to motion are four veterans who speak the language of both photography and video fluently. With their clear, instructive approach, they quickly get you up to speed on everything from picking your gear, to properly lighting for motion, to using professional-level audio, color correction, and editing techniques, to media management and outputting, and much more. Here are just a few highlights from this richly illustrated, completely interactive book and video: Explores the entire spectrum of video for DSLR camera owners, with recommendations on gear, planning, lighting, lenses, audio, editing, color correcting, exporting, media management, and more. Covers a wide variety of shooting styles, including indoor, outdoor, studio, portrait, event, and available light. Addresses technical challenges associated with DSLR video, such as camera movement, multiple camera coverage, low-light videography, and synchronized sound. Explores additional creative techniques such as stop motion and timelapse photography in depth. Includes a real-world example of a music video and promo package throughout the book to demonstrate concepts in action, with additional profiles of photography experts in nature, sports, commercial, and weddings and events. The accompanying video contains over 6 hours of video training that delves deeper into each topic, as well as high-definition footage, hands-on project files, and templates to experiment with and follow along. Share your work and communicate with other readers at www.facebook.com/dslrvideo. All of Peachpit's eBooks contain the same content as the print edition. You will find a link in the last few pages of your eBook that directs you to the media files. Helpful tips: If you are able to search the book, search for "Where are the lesson files?" Go to the very last page of the book and scroll backwards. You will need a web-enabled device or computer in order to access the media files that accompany this ebook. Entering the URL supplied into a computer with web access will allow you to get to the files. Depending on your device, it is possible that your display settings will cut off part of the URL. To make sure this is not the case, try reducing your font size and turning your device to a landscape view. This should cause the full URL to appear.

"Explore the elements of composition, light, and direction that effectively create the illusion of time and motion in a digital image." The author explains how best to create these illusions and guides you through simple yet effective shooting techniques and post processing strategies.--[back cover].

Since the development of film as an artistic medium in the 1890s, there has been an inherent tension between still photographic images and moving cinematic images, from their form and function to the messages they convey and their impact on the beholder and on culture at large. This volume, one of the first book-length works to analyze, critique, and further the international debate about the meaning and use of motion and stillness in film and photography, takes these concepts out of the theoretical arena of cinematic studies and applies them to the wider and ever-changing landscape of images and media. With contributions from such acclaimed international scholars as Tom Gunning, Thomas Elsaesser, Mark B. N. Hansen, George Baker, Ina Blom, and Christa Blümlinger, these collected essays examine the strategic uses of stillness and motion in art from the mid-nineteenth century to the technologically driven present.

In Still Moving noted artists, filmmakers, art historians, and film scholars explore the boundary between cinema and photography. The interconnectedness of the two media has emerged as a critical concern for scholars in the field of cinema studies responding to new media technologies, and for those in the field of art history confronting the ubiquity of film, video, and the projected image in contemporary art practice. Engaging still, moving, and ambiguous images from a wide range of geographical spaces and historical moments, the contributors to this volume address issues of indexicality, medium specificity, and hybridity as they examine how cinema and photography have developed and defined themselves through and against one another. Foregrounding the productive tension between stasis and motion, two terms inherent to cinema and to photography, the contributors trace the shifting contours of the encounter between still and moving images across the realms of narrative and avant-garde film, photography, and installation art. Still Moving suggests that art historians and film scholars must rethink their disciplinary objects and boundaries, and that the question of medium specificity is a necessarily interdisciplinary question. From a variety of perspectives, the contributors take up that challenge, offering new ways to think about what contemporary visual practice is and what it will become. Contributors: George Baker, Rebecca Baron, Karen Beckman, Raymond Bellour, Zoe Beloff,Timothy Corrigan, Nancy Davenport, Atom Egoyan, Rita Gonzalez, Tom Gunning, Louis Kaplan, Jean Ma, Janet Sarbanes, Juan A. Suárez

Learn how to bring the power of stillness into your running practice with meditations, guidance, and inspiration from a long-time runner and Zen practitioner. Running is more than just exercise. Running is a practice, a moving meditation, that brings the power of stillness to all the activities in our lives. Vanessa Zuisei Goddard combines her experience leading running retreats with her two-decade practice of Zen to offer insight, humor, and practical guidance for grounding our running, or any physical practice, in meditation. When we see running solely as exercise and focus on improving our times, covering a certain number of miles, or losing weight, we miss the deeper implications of this art. Whether you are a new or experienced runner, you will learn how to be more embodied through thirteen running practices to help improve your focus and running form. Using mantras and visualizations, as well as a range of other exercises, Goddard offers ways to practice running as a moving meditation with an eye toward bringing the power of stillness to all the activities in your life. Ultimately, Still Running is a book about freedom, ease, and the joy of movement; it's about the power of stillness and learning how to use that power to live wholeheartedly.