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    Love Letters To The End and Lumineux

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    A few weeks ago we came across a very interesting project that was using Lumineux in some of it’s footage. The footage looked great, but it was the idea that impressed us most. We got a chance to talk with Love Letters To The End’s Peter Dean about his project and working with Lumineux.

    Can you tells us about the Love Letters To The End project?

    Love Letters to the End is part interactive web series, part community letter-writing project with the premise that the world could end this year. People write love letters to the world and send them to our PO Box. We then scan every letter we receive, put them on our website, and pick one or two letters from those we receive to include in each episode- they can influence the plot, a character, or an event that takes place.

    Love Letters to the End
    PO Box 17693
    Los Angeles, CA
    90017
    http://loveletterstotheend.com

    What is your camera set up for the shoots?

    We are currently shooting on a Canon 7D and hope to purchase a 5D MkIII within the next few months.

    What has you excited about possibly picking up an Canon 5D MkIII?

    For Love Letters to the End, we’ve launched a Kickstarter (check it out here.) One thing we need to do is purchase equipment because our DP, who owns his own camera and sound equipment, will be leaving for Bangladesh for a while. I heard the news about the new model, and read into it. It sounds like there are a lot of improvements. I’ve heard the low-light performance is improved, which would be great for us because we shoot a lot in natural light.

    What is your workflow like?

    The 7D shoots H.264, which we transcode to ProRes before our editor cuts with Final Cut Pro X. There is a lot of talk about how FCPX is an enormous letdown and lacked the pro features that professional editors need. It’s a complete redesign and many processes need to be relearned, but we’ve learned to love it for our small production.

    I couldn’t agree with you more on FCP X, we love it over here. It’s massively improved our workflow in almost every way. What are you liking about FCP X?

    It seems like a faster workflow with the DSLR footage we are working with. I think it might be more suited to the way I edit. One thing I’m not used to yet is the media management. I, like all the editors out there, am used to managing my own media, organizing it in folders as I choose. And I’m not convinced it would be practical for a larger scale, higher profile job, but it has been working great for Love Letters to the End since we are in control of all of the post.

    What made you think about working with Lumineux? Was it always part of the plan or just something you thought might help in post?

    The director I worked with on the music video for Whatchalookin@ told me about Lumineux, and I used it on that video. I like to use the Calm and Transition filters. We thought that it would add to the filmic style of Love Letters to the End.

    How did you like working with Lumineux?

    Using Lumineux is straightforward and there are many looks that can be created using the different composite modes in FCP and using multiple layers of filters. It’s been easy and looks great.

    Do you have any specific methods to making Lumineux look so good?

    I tend to use the screen composite mode. I like to use a combination of a “Calm” filter ending on a transition over a cut. When that happens in a good rhythm, over an progression in a song for instance, it looks and feels great.

    As you mentioned earlier you worked on J*Davey’s video Whatchalooking@. That video is gorgeous! I like how the video has such a distinct feel but still uses Lumineux in different ways than Love Letters To The End. Was it the same idea to use Lumineux to make the music video more film-y?

    The original idea was to make a video that was reminiscent of the 60s or 70s combined with modern editing. The light leaks and transitions in Lumineux fit with that aesthetic perfectly.

    Thanks a bunch to Peter for taking time out to chat with us about his project. Make sure to check out their kickstarter page, they only have a few days left! Also to see more take a look at The Love Letter’s To The End Vimeo page.

    Fashion, Photoshoots and Lumineux

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    Becky White PR || Behind The Scenes from Tom Duncan on Vimeo.

    Highlighting fashion in video is quite the task. Getting the look and the music to fit the mood and the style of the clothing designs can be a difficult balance. Tom Duncan put together a beautiful behind the scenes fashion video using Lumineux. We got in touch with Tom and asked him a few questions.

    Could you explain the project for us?

    The project was a behind-the-scenes shoot for Becky White’s Spring/Summer look book.  Becky runs a really exciting PR agency in Glasgow, Scotland which is home to lots of boutique brands and designers.  I’d been looking to diversify my portfolio and get in to more creative filmmaking.  The fashion world, even at the behind-the-scenes level, allows for a lot more experimentation than my bread-and-butter work in industry and education.  As preparation, Becky sent over some comprehensive mood-boards and I looked up the model’s previous work.  The theme for the morning shoot was ‘soft focus’ and the afternoon/evening was ‘play hard’.

    What was your camera set up for the shoot?

    I had my standard setup for anything I self-shoot indoors; a Sony EX3 on a wheeled tripod.  Since I wanted to get a bit ambitious with this one I called in a few favours and pinched a GlideTrack Hybrid Slider and Canon 60D from friends.  The 60D spent most of the shoot on the slider and the EX3 would go either handheld or on the tripod for the time-lapse shots.  In terms of setups, I was taking the lead from Euan Robertson, his stills were the priority because the look book would be going out to 200+ buyers around the UK.  Whenever he set up a shot I’d do my best to sneak in behind him and get some sort of wide shot, a close-up and a slide.  Everything was shot with available light.


    What was workflow like?

    I ran the 60D footage through MPEG Streamclip to output in ProRes.  With XDCAM Transfer, my EX3 files come straight out of the camera, onto an external hard drive and then into Final Cut.  The music by SGX came from Magnatune.com, where I’ve got a basic subscription.  I wanted the intro to feel like I shot on film so that’s where I started layering clips up.  I brought in Lumineux to add an organic feel to the transitions in the intro.  FCP transitions like ‘Dip to Colour’ are great for individual impact moments but the transitions in Lumineux offer a less rigid, very natural flicker to the cuts and you can span them over multiple clips.  I reduced the opacity a bit to let the footage underneath soak through.  I did my best to match the colouring of the video footage to Euan’s stills, which were the last thing to be brought into the edit.

    I really liked how you included photos along with the video. Its a really great exclamation point. Did you use any method to make them flow so well?

    Yeah it’s not easy combining beautiful high-res stills with improvised video footage without it jarring so I played about with them for a while to see what would work.  The first step was selecting the right in-point for each photo, I tried to match the timing with Euan’s camera flash.  For the ‘soft-focus’ sequence I put a slight grow on each still to maintain the smooth movement of the tracking shots.  For the ‘play hard’ shots I mimicked the crash zoom of the video footage by playing around with scale and screen position.  The most significant tweak was the colours.  I matched the skin tones as best I could and used Magic Bullet QL to imitate the blown-out exposures and softness.


    The film overlay at the beginning is a nice touch. How did you get that look?

    Another cheat I’m afraid.  The film stock is a digital overlay which cost me £50 or so from Shutterstock, I’d picked it up for a previous project and thought I could put it to use here.  It’s amplified by the use of an 8mm projection sound from freesound.org.  That first shot has the 8mm overlay, 2 separate shots of the bokeh and model which I dissolved together as well as a bit of Lumineux glow and some “Hot Maddy” from Magic Bullet QL.

    What made you want to use Lumineux?

    I wanted to use Lumineux because of the importance of the contrast between the ‘film’ and digital sections in the piece.  If the viewer really buys in to the film feel of the ‘soft focus’ section then the digital ‘play hard’ section hits all that bit harder.  I knew I’d be using it to soften a few of the harsher shots and liven up a few of the duller ones.  We didn’t have the budget or man-power to be creating unique flares and leaks on location so Lumineux was a great tool to have in the post-production arsenal.


    How did you like working with Lumineux?

    Well it couldn’t be simpler to use.  I’m always on the lookout for cost-effective ways to add production value to my work and Lumineux is my go-to lighting effects package because it’s quick, easy and instantly noticeable.  In fact, as a fairly new filmmaker, I’ve probably been guilty of over-using Lumineux in the past but I’m now more confident to use it sparingly and subtly for those really key moments in a sequence.


    We want to thank Tom a bunch for sitting down with us to talk about his video. To check out more of his work visit tomduncanfilm.com or his vimeo page.

    Healthly Effects: Calmness and Tranquility with CrumplePop

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    Exploring Joy Promo from Exploring Joy on Vimeo.

    With the hustle and bustle of the holiday season upon us, it’s easy to get lost in busyness. Often it’s great to be able to simply sit down and watch something calming and reflective. Simon Rogers’ Exploring Joy promo embodies that feeling of tranquility and self-inspection. Simon worked with CrumplePop Lumineux and ShinkRay to help achieve the flowing calm found in the promo. He uses both effects in such a subtle and precise way – it really works. We got in touch with Simon to talk a bit about the video and how he captured such a great look.

    Could you explain the project for us?

    Exploring Joy is a concept for a TV show developed by Joy Rigel, the host, about her search for a better understanding of wellness. After being plagued with a myriad of health problems that seemed incurable by traditional western medicine, she turned to alternative methods through which she finally found solutions. This show is designed to expose the average american viewer to a different definition of wellness – one that doesn’t rely on pills and hospital visits to treat problems, but prevent them with healthy (and cheap) alternatives before they start. The official mission statement reads: Exploring Joy is a show designed to paint wellness in a new and refreshing light, to explore a more global definition of wellness, to encourage active participation in the exploration process, and to offer the tools and guidance for making a positive lifestyle change. (All other text and explanation can be found on www.exploringjoy.tv)

    This piece is a promo designed to both help Joy pitch the idea to any interested parties, and demonstrate the desired aesthetic of the actual show.

    The design and aesthetic of the piece are very refreshing. What we’re your goals in creating this style of the promo?

    Joy has been through a lot in her (on-going) search for wellness, and brings a refreshing alternative perspective to lifestyle, habits, and helping others learn what she’s discovered. After spending a few days with her, it became clear that the show would need to reflect her mindset, and the only way to do that would be to develop a “Joy-filter” – a way to paint the world as she sees it. The goal was simple: make everything beautiful.

    What was your workflow like?

    While I usually begin a project by selecting a soundtrack (or composing something original), I began this project by spending a lot of time just listening to her and following her around with a camera. Eventually, as the concept formed, I shot specific scenes (opening meditation sequence, medical imagery). Once all the footage was captured, I sequenced everything together in FCPX, did some basic color grading, and then slapped a series of CrumplePop’s “calm” light leaks over the entire edit (yes, the entire thing). I used different blending modes and levels of opacity to add variation throughout the promo, but there’s some form of light leak on every clip. Then came accent textures (quick cutaways, shapes, and grids). Once the promo was sequenced and edited to satisfaction, I layered on several motion elements (YanoBox Nodes) and, of course, text. The last step will be to finalize the voiceover, add in accent FX, and mix down the whole sequence.

    What made you want to work with our Lumineux light leak effects?

    I find subtle light leaks (not JJ Abrams style lens flares) to be quite beautiful, and CrumplePop has the best I’ve seen. I knew we’d have some very calm sequences that could benefit from variation in lighting, and I couldn’t be happier with the results. The “Calm” selection is especially great for overlaying a subtle vintage color cast with the added benefit of lighting variation and motion. A great tool!

    It looks like you seamlessly transition from footage with light leaks overlayed to regular footage, did you use any techniques to achieve that?

    As explained above, the light leaks are overlaid across the entire sequence – I keyframed different blending modes and opacity to help them move in and out of perception. Some have said I might be a little too obsessed with light leaks.

    How was working with ShinkRay?

    I love ShrinkRay. I didn’t use it to change the perceived DOF or to simulate macro on large objects; instead, I used it to selectively blur out sections of the video and help attract focus on key elements. I love the ability to keyframe several blur “spots” independently – very useful!

    Thanks so much to Simon for taking some time to talk to us. To see more of Simon’s work check out his vimeo page here.

    Bodyboarding and Lumineux

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    UNITE TV EP. 1 WINSTON McCALL from Unite Clothing Company on Vimeo.

    In the past few weeks in Minneapolis the temperature has slowly dropped and the days have become shorter and shorter. Winter is slowly creeping in on us here at CrumplePop. That’s why I was extra excited to see a gorgeous bodyboarding video by Caleb Graham find it’s way to my inbox. His beautiful footage of waves, bodyboarders and beaches worked really well with our Lumineux effects. Caleb took a some time to chat with us about the project.

    Could you explain the project for us?

    This is a clip I made for Australian based clothing brand Unite. It was to launch a new TV section of their website, where there will be short action based clips profiling their team riders. The rider in this case, Winston McCall, is actually much better known as vocalist for international metal band ‘Parkway Drive’. Before the band took off, he was more or less on track to becoming a professional bodyboarder. This is the first surfing footage to emerge of him in years, and I’m sure most of the bands fans had no idea he still surfed this well! I met Winston last year, when I worked with Parkway Drive – producing, directing and editing their music video for the track ‘Karma’. It was obvious he still had a solid passion for chasing waves, so when winter(our best season for waves) came around, we where both amping to chase waves up and down the coast whenever we where both free! Then when the opportunity came up to use this footage for a Unite podcast, we chased some more waves and it came together perfectly.

    Where did you shoot this? It’s beautiful.

    This clip is shot on the East Coast of Australia. Both Winston and myself are from the north coast, just below the QLD border. So a lot of the footage is from around this region, but we also did two trips to the NSW South Coast to get a bit of variety! It was a great year for waves, and the elements definitely aligned


    What camera (or cameras) did you use to shoot this?

    The clip is shot predominantly on the Canon 5d and 7d. There are a few cutaway shots in there shot with the GoPro HD, to give it a bit more of a personal feel. For low budget clips like this, you can’t beat the above cameras for the price. They have their limitations to work around, but no other camera’s in this price range come close to delivering the same results!

    I see you have a few shots that look like the camera is right inside the wave. How exactly did you end up capturing those? Do you have any tricks for capturing close up action shots like that?

    I try and use GoPro’s whenever I can to get an extra angle to make things more dynamic. The 720p/60 mode in particular lends itself greatly to water based shots! It has been used to create two of the angles in the clip. The first, is for some of the rider based POV shots, where the GoPro is actually mounted on his leg whilst surfing. The second is for some of the water based shots, where the rider is coming towards the camera. I was actually shooting a land angle this day, and had a photographer friend who was shooting stills from the water. I decided to attach the Go Pro to the top of his waterhousing, and asked him to stop and start recording whenever he was able. I wasn’t sure how it would come out, but thought at minimum it might give me a couple of cutaways. As it turned out, the footage from this angle actually ended up coming out great! All of the fisheye water shots you see in this clip are from that angle. When I dumped the footage and saw how it came out I was stoked! One of my friends I shoot regularly with has nailed some of the better POV footage I have seen. He has made a custom pole mount that goes at the rear of his bodyboard, and it is definitely some of the better POV surfing footage ive seen!


    What was your workflow like?

    It all seems pretty second nature to me know, dealing with the files from these cameras. My basic workflow, is to transcode all the footage into ProRes LT 1080p25 using Mpegstreamclip, and then to conform any clips shot at a lower framerate using Cinema Tools. Both the 7d and the Gopro HD shoot 720p/60, so ill generally just scale them to 1080p, and conform them back to 25 frames. Keep everything the same format for when it hits the timeline. From there, the edit was done in Final Cut, the grading in Color, and the quick animation at the end in After Effects.

    Why did you want to use Lumineux? Did you plan to use it before shooting?

    I heard about Lumineux from one of my good mates – Mitch Payne. I have always collected light leaks and burns from 8mm and 16mm clips, but the idea of light effects designed for digital HD is something that appealed to me, so I didn’t hesitate to purchase the Lumineux package! This is the first clip I’ve used it on, and I loved the results! I think it compliments the 5d lifestyle footage nicely, and it is something I kept in mind whilst shooting the clip

    How was working with Lumineux? Did you use any specific methods to get leaks to look so natural?

    I found Lumineux really easy to work with. All the compositing was simply done using some basic tools in Final cut – Blending modes and Opacity. It was more or less just a matter of just finding a particular effect that suited the clip, and finding the best way to blend it with the original! Couldn’t of been easier.

    Thanks a bunch to Caleb for talking with us. Check out more of his work over at his page.

    Off Road Biking with Lumineux

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    Whiskey Off-Road Teaser from Litteer Films on Vimeo.

    If you follow our blog and watch our product videos, one thing my become very clear: here at CrumplePop we like biking. After seeing Lumineux in Scot Litteer’s teaser for an off road bike race (Whiskey Off Road,) we knew we wanted to do an interview. Lucky for us Scot took some time to answer a few of our questions on his video.

    Could you explain the project for us?

    I was approached by Todd Sadow of Epic Rides in Tucson, AZ to produce a promo piece for a mountain bike race held in Prescott, AZ called the Whiskey Off Road. It is a three day event featuring a Pro fat tire criterium in downtown Prescott, a day of armature racing and a final day of pro racing (men and women). It is a 50 mile course and most of it, as the name implies is off road. His goal going in to the project was to promote next year’s (2012) event for riders and to get more and larger sponsors. My job was to show that this is a major cycling event and if you are in the mountain bike world and you are not here, you are missing out.

    The first piece is the 2:00 promo currently running. The second component is a 5-6 minute piece featuring more in depth interviews with pro racers, armatures, sponsors and vendors plus Prescott businesses and how they all really get behind this event. That piece is in post right now and hope to be finished by end of July.

    What camera (or cameras) did you use to shoot this? What was your workflow like?

    The shooting budget was microscopic. I could only afford to bring one other shooter (the brilliant Ashley Maddox). Between the two of us, we had two 7D’s, a 5D and a 60D…plus a bunch of lenses…some super speedy canon primes and two zooms, Canon 70-200 IS and the 17-55 IS. We also shot some Super 8mm, just to give us that look and vibe sprinkled in with the clean look of the digital image.

    Also had a shotgun mic and a ZOOM H4.

    We would start the day by making sure all cards are cleared and batts charged then shoot some event/race set up or time lapse of sun rises, get the race action then shoot until the parties ended. Our last things to shoot would be the night life. At The Raven for example, after getting the last shots, we’d order some food…maybe sample a fine local IPA, open up the MACBOOK and download all cards to drive #1, double check all downloads were correct and accounted for, then once we get back to the room for the night, copy drive #1 to drive #2….just to be safe. Clear all cards, charge all batts and be ready for the next day.

    How was working with 8mm? Did you have use any tricks to get the footage into FCP?

    I love shooting super 8mm when I can or when the project allows. There is nothing like exposing celluloid. There was a TV commercial for Jamaica that ran back in the mid-90s that used super 8mm. It was right around the time I was gearing up to shoot some 35mm for a tourism piece for Tucson, AZ. I remembered reading about a company in Burbank, Pro8mm (pro8mm.com) that had been trying to revive super 8 and I think Michael Bay used them for Pearl Harbor around the same time. I found them and decided to shoot some super 8 to mix with the 35 for that project. It was great.

    Now, I call the good folks at Pro8mm, simply pick the stock, the amount and the format for editing. I usually buy one of the packages they offer. On this last project, I bought the 8 roll package (about 20 minutes of footage-shot at 24 & 18fps) and it includes transfer to ProRes. I send the exposed film and a hard drive to them and I get ProRes files I can drop right in to the time line. Easy…you just have to plan for it because there is time and expense involved. Oh…and I do have a camera. A Nikon R10. One other thing about shooting with older cameras, you do need to allow for wide screen transferring since the framing of older cameras is not wide screen. I tend to allow for a bit more head room so transfer framing is not cutting heads off.

    It seems like you we’re shooting some secluded areas. How was shooting in the wilderness? Did you encounter any problems?

    Planning is the key to any shoot. The city of Prescott and the forest service is very welcoming of all outdoor enthusiasts. Chris Hosking is in charge of the area trails and he was extraordinarily crucial in helping transport us to the key areas for wilderness coverage. He is also part of a group called Prescott Mountain Bike Alliance. He knew the course and suggested access points to some really cool areas. We scouted the day before the first race by riding around and getting ideas of what is important to cover. Since we only had two shooters, we had to be very efficient with where we needed to be at various points of the race.

    The high point on the trail has a great look in to Skull Valley and a great view of the 14 mile climb out. There is also a great transition area at that same spot with a food/water station, transition from a really steep climb to a big down hill and easy access for spectators.

    There was a bit of climbing up rough areas and running to get from one spot to another….climbing up some rocks and into crevices, but that is where the cool shots are. Chris would drop me off and say “There is a little water fall crossing up that hill. Should be a good shot…you have 30 minutes until we have to move to the next spot to see the leaders come by.” So I’d shoot the riders go by one spot, say a climb up a switch back, then I’d go straight up to meet them at the top to cross the waterfall or a technical rock outcrop. Then I run back down the hill and meet Chris and we’d go to another pre-determined spot. In the mean time, Ashley is back at the start finish line setting up cameras for the finish, getting sound bites from finishers and spectators…the kids race, stuff like that.

    Ashley and I have shot in some funky places so we know how to travel light. We have some carbon fiber Manfrotto tripods with these tiny little fluid heads so weight is not much of an issue. In town, we used bigger tripods for bigger lenses and important interviews. We also had a Kessler pocket dolly.

    I think we avoided any serious problems because we planned well and made sure to have extra batts and cards with us always. It helps to be in shape too because we did get a work out everyday and the elevation of Prescott is about 5,500 ft.

    You have a few different tracking shots with the bikers. We’re you riding along with them?

    There is one segment of the trail that is parallel with a fire road. I shot out the side of a jeep to get those pictures. Again, following our plan, we knew that area was the end of the race. It is the last segment of single track before the riders get back on the pavement and head to the finish line. The riders would be very spread out there and we’d have several opportunities to get a shot. It is only about a half mile segment so we shot about five chunks there.

    What made you want to use Lumineux and how did it effect your production?

    The email promoting Lumineux arrived on a day when I was going though footage and getting my super 8 ready to send over to Pro8mm. I thought immediately Lumineux would be working on this project. I do have some old film chunks from when I used to shoot more film and have scraps of leader and such transferred, but nothing HD. I also have the old Art Beats Film Clutter, but not HD and the SD stuff just looks bad if I try to drop it in a HD timeline. Lumineux looked like a great solution and the price is terrific. I downloaded it right away, picked a couple of random shots from the Whiskey and in less than five minutes, had a clip I uploaded to show Ashley (//vimeo.com/23239759). He responded “I downloaded it already.”

    I ended up using a clip for the end graphic since it just seemed to work, especially with the music and coming out of the rider winning, the sun setting and the flare. It made building of the end graphic much easier. I layered a couple of clips so a flash would be right where I wanted it for a type transition or piece of the music.

    I could tell the look of this product would work very well with the gritty, guerrilla film feel of a mountain bike promo. Just seemed obvious to me. You guys have some great products.

    Thanks to Scot for answering our questions. Check out some of Scot’s videos over at Litteer Film’s Vimeo Page

    Using CrumplePop Lumineux in FCP X

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    When we first released CrumplePop Lumineux, we annouced it would be compatible with the new Final Cut Pro X. If you’re wondering exactly how it works, look no further. Lumineux is just as easy to use within the new final cut. Much like Final Cut 6 and 7, it only takes a few steps:

    1. Import Lumineux
    2. Find where you want to place the light leak
    3. Drag the clip down
    4. Double click on the clip
    5. Scroll down in the inspector window until you see to composting
    6. Choose your ideal blend mode (we suggest overlay or add)
    7. Find how much opacity you want

    That’s all it takes. Check out the video for a more in depth view.

    If you’re interested in taking a look at more of Lumineux’s features, check out our preview page.

    Introducing Magic Bullet + CrumplePop’s MagicPop Bundle

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    MagicPop Bundle Promo from CrumplePop on Vimeo.

    Check out our latest release: The MagicPop Bundle.

    We’ve joined together with Red Giant Software to offer an exceptional deal on FCP effects that work incredibly well together. The MagicPop bundle features Magic Bullet Denoiser, Magic Bullet Quick Looks, CrumplePop Lumineux and CrumplePop LowerThirds.

    Until the end of the month you can get this package for $199, saving $137.

    To see more info on each of the products, check out our MagicPop Bundle page.

    Check out these stills to see what footage looked like before and after using the MagicPop Bundle.
     

     

     

    The MagicPop Bundle is available here for $199.
     

    Waves and Lumineux

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    Dan Bennington from Mitch Payne on Vimeo.




    Over here at CrumplePop, we’re big fans of extreme sport videos. Often when we’re looking through Vimeo videos, we’re taken aback at the current state of extreme sport cinematography. Many videos are pushing the limits of innovation and creating gorgeous scenes of skateparks, streets and waves. A couple of days ago we received an email about a beautiful video by Mitch Payne that used Lumineux. Lucky for us Mitch was able to have a quick conversation about his video.

    Can you explain the video to us?

    Dan (the rider) broke his knee cap a few months ago so has been out of the water, I had some footage from a trip over seas we did together combined with some go-pro stuff he sent me sitting on a drive not going anywhere, so I thought I’d put it together to get him amped on getting back in the water.

    What camera (or cameras) did you use to shoot this? What was your workflow like?

    Its 50/50 GoPro and Sony V1P footage. The HDV stuff from the Sony was fine, the GoPro footage always needs some tweaks. A lot of the time riders that send through footage from their GoPro are playing around with formats in the water so you’re going to get a mixed bag of cinema tools and MPEG stream clip fun at the end of the day. 9 times out of 10 the wave you wished they shot in 60fps wasn’t .


    You’re shooting in pretty rough waves. How did you keep your camera safe in the waves?

    The GoPro’s are a tough little beast, I haven’t heard of anyone having a leakage problem yet, in fact I’ve seen a clip of a go pro falling from the stratosphere floating around on Vimeo I think is a testament to their sturdiness. My V1 was in a custom fibre glass housing made by Dave Kelly.

    Why did you choose to use Lumineux and how did it effect your production?

    I first brought shrink ray from your site and was really happy with the results since then I’ve always checked back on your site and read your blog to see what was coming next. I think that light leak look can be really effective, though to buy the stock footage or similar looking effects coast an arm and a leg. When I read about Lumineux and watched the demo clips I had it downloading within 5 seconds I think haha.

    I also chose Lumineux as they are I guess they ‘proper’ light leaks recorded on digital so they would sit nicely with my HDV footage. Stock footage for similar effects is all from 16, 8 or 35mm and from what I’ve seen you get film grain in your transitions. Overlaying a digitally recorded clip over another just looked a lot more aesthetically pleasing to me.

    Thanks a bunch to Mitch for taking some time to speak with us!

    Introducing Lumineux

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    We have released our newest product CrumplePop Lumineux.

    Lumineux features easy to use light leaks for Final Cut Pro 6, 7 and the upcoming Final Cut Pro X. CrumplePop Lumineux works quickly and easily to add light leaks to any FCP project by simply dragging and dropping right inside of Final Cut Pro. You simply choose a clip, drag it to your time line, click overlay, render and you’re done – you’ve created your very own Holga-style light leak.

    You can choose from among 7GB of 57 different light leaks and transitions or mix and match to create your own. Each light leak is extremely high-quality, offered in both ProResLT and h.264. They are completely customizable also, allowing you change the colors and add additional effects.

    Check out screen shots of two different effects:
    Screen Shot 1
    Screen Shot 2

    CrumplePop Lumineux can be purchased from here for $69 (USD).