gubbs and i are sittin' here in starbucks in manhattan (it's pouring rain) and we were wondering about you.
glad you are coming - don't worry about camping, gubbs and mrs g would love a third wheel in their room :uhoh
I'm not 100% yet, but thinking about blowing off work and going, but then I might really be a poor artist.
I am trying to decide if I want to drive or fly, hitch is if I fly I would like to get to LA to see my brother for a day or two. I can take some toys if I drive, but it takes more time, but I see more,,,,, decisions, decisions.
I'm not 100% yet, but thinking about blowing off work and going, but then I might really be a poor artist.
I am trying to decide if I want to drive or fly, hitch is if I fly I would like to get to LA to see my brother for a day or two. I can take some toys if I drive, but it takes more time, but I see more,,,,, decisions, decisions.
gubbs is really offended that you don't mention even one whit about the possibility bunking in with them!
I don't know what hotel policy is, not sure who I'm bunking with, but I for one wouldn't mind making room for a third in a sleeping bag or cot in our room. I don't plan on doing much more than sleeping and snoring...
Does anyone know if Yosemite can be accessed from the East via Nevada this time of year?
Patch, From my earlier discussion with the left coasters, they all suggested driving into Yosemite from the south, via the southern route out west around the Sierras in the south, rather than trying to come down I-80 through Reno or around northern Tahoe.
If anyone has a different opinion now, I'd like to hear it, as I depart in 7 days for parts west :
Humongous, I hope you have a Cherry Ripe for a Hoosier too! : 'gus, you may have to Google "Hoosier"
Patch, From my earlier discussion with the left coasters, they all suggested driving into Yosemite from the south, via the southern route out west around the Sierras in the south, rather than trying to come down I-80 through Reno or around northern Tahoe.
If anyone has a different opinion now, I'd like to hear it, as I depart in 7 days for parts west :
Humongous, I hope you have a Cherry Ripe for a Hoosier too! : 'gus, you may have to Google "Hoosier"
Here's a link to the CA Dept of Transportation. You can query most hwy's to determine if they're open etc.
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I don't know what hotel policy is, not sure who I'm bunking with, but I for one wouldn't mind making room for a third in a sleeping bag or cot in our room. I don't plan on doing much more than sleeping and snoring...
Cool, my plans are still in the works, I snore and have earplugs will travel.
If I fly I will probably look for some floorspace, if I drive I will probably camp, just for full Yosemite experience.
I am starting to get excited, so that means my phone will ring on monday and change all my plans.
a few things you may want to [pack Spirit of Yosemite: photographing "nature's grand cathedral"
Filming in the spring, from a 15 foot "ladder pod".
With his breathtaking new film Spirit of Yosemite, David Vassar has come full circle. Vassar has been making documentaries for 30 years. His first documentary was filmed at Yosemite when he was only 19. It was recorded on color positive stock with a 16mm hand-cranked Bolex camera. The film won a student contest and got Vassar a job with the National Park Service.
Vassar returned to the national park three decades later to produce Spirit of Yosemite for Greystone films. The project was two years in the making. It will be shown to visitors at Yosemite 15 to 20 times a day, in a specially designed high definition theater featuring a DLP projector and 5.1 surround sound. Leon Silverman, whose company LaserPacific performed the HD transfer from IP, calls the film "a poem about the changing of the seasons at Yosemite. It's really a lyrical, moving portrait of a national treasure. The images are stunning."
Vassar and cinematographer Chris Tufty wanted to go against the grain with the visual style of the film. "We wanted people to immediately see that this was not a television program," he says. "We didn't have any of the constraints. We sought a meditative, peaceful feeling. We wanted to show visitors what kind of connection was available to them in the park, if they had the patience to seek it out and be open to it."
Grip Dylan Shephard (far left), director David Vassar (center) and DP Christopher Tufty (right)
Park Service representative Eric Epstein required that it be shot in 35mm format. Acting partially on the advice of Silverman, Vassar decided to take the images all the way to the interpositive stage, and then transfer to HD.
"Leon convinced us that with the transfer technology evolving so quickly, in five years we might have to come back and re-edit the whole show," he says. "This way, no matter what happens, we have an archival quality version of the film that can be down-converted to any foreseeable electronic format."
He continues, "John Muir called the Sierra Nevada 'the range of light.' There are some shots in the film where you have seven or eight stops of latitude in the same frame. With a subject like this, you don't want to compromise."
John Muir (played by Ben Goger) overlooks Yosemite.
Vassar explains, "We had to carry this gear to some very remote locations, in backpacks. To get it to the base camp, we used mules. If something goes wrong, you lose three days. We knew we could rely on the mechanics of the film cameras at 12,500 feet."
Vassar wanted a slow, hypnotic editing pace for the film, so the shots are mostly long and lingering. He estimates that there are 170 shots in the 23-minute film and only 25 cuts. The calm pace is enhanced by very long dissolves, achieved at Foto-Kem on a printer that allows "clutching" between gear ratios. Some dissolves last as long as 288 frames, or 12 seconds.
One particularly memorable shot depicts the changing of the seasons at Yosemite. On the screen, spring becomes summer, summer becomes autumn, autumn becomes winter, and the camera tracks to the right. The shot was accomplished using in-camera techniques. The crew laid dolly track along a bicycle path that crosses the Superintendent's Meadow and then captured a moving shot. The crew spray painted marks along the tracks, allowing them to re-lay the same tracks on three separate occasions over a 14-month period. Tufty took a frame of the previous shot and put it in the gate to line up the image, and made the same shot. The length and speed of the shot were calculated using a stopwatch for a guide. The three shots were optically dissolved together on an Oxberry® optical printer at Howard Anderson Company. The finished shot runs 90-feet, or about 60- seconds.
"I love the fact that we are using traditional in-camera techniques on this film as well as the latest high definition transfer and DLP projection technology," says Vassar. "It's the best of both worlds. The DLP projection means that the show can be projected perfectly thousands of times. By using film we captured the mystery and grandeur of Yosemite."
Spirit of Yosemite: photographing "nature's grand cathedral"
I've seen it in the theatre at the visitor's center. It's excelent. Something definately worth seeing. It was copyrighted in 2002. They sell it on DVD there as well. The DVD also has three other films: "Yosemite Valley & Waterfalls", "Yosemite High Country", and "Big Trees". I have a copy sitting on my shelf. Great post, jwear.
Big Light...
I have a big light. Anybody have any ideas what we could do with a 100w Phillips H4 bulb putting out @ 10Million candlepower?
Wonder what that would do in the valley at night?
I also got ahold of 3 bags of Cherry Ripes....to keep the addiction fed
Comments
I'm not 100% yet, but thinking about blowing off work and going, but then I might really be a poor artist.
I am trying to decide if I want to drive or fly, hitch is if I fly I would like to get to LA to see my brother for a day or two. I can take some toys if I drive, but it takes more time, but I see more,,,,, decisions, decisions.
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You replied to fast, I forgot to mention that I do not snore too loudly. :snore
That is unless you come over 80, down 5/99 to the park.
Ian
I don't know what hotel policy is, not sure who I'm bunking with, but I for one wouldn't mind making room for a third in a sleeping bag or cot in our room. I don't plan on doing much more than sleeping and snoring...
Dgrin FAQ | Me | Workshops
.
Patch, From my earlier discussion with the left coasters, they all suggested driving into Yosemite from the south, via the southern route out west around the Sierras in the south, rather than trying to come down I-80 through Reno or around northern Tahoe.
If anyone has a different opinion now, I'd like to hear it, as I depart in 7 days for parts west
Humongous, I hope you have a Cherry Ripe for a Hoosier too!
Moderator of the Technique Forum and Finishing School on Dgrin
Gus, we love you!
Ian
http://www.fhwa.dot.gov/trafficinfo/ca.htm
http://www.SplendorousSojourns.com
Canon 1D Mk II N - Canon 5D - Canon EF 17-40 f/4L USM - Canon EF 24-105 f/4L IS USM - Canon EF 85 f/1.8 USM - Canon EF 100 f/2.8 macro - Canon EF 100-400 f/4.5-5.6L IS USM
Cool, my plans are still in the works, I snore and have earplugs will travel.
If I fly I will probably look for some floorspace, if I drive I will probably camp, just for full Yosemite experience.
I am starting to get excited, so that means my phone will ring on monday and change all my plans.
Don't you go chickening out of us
Michiel de Brieder
http://www.digital-eye.nl
My conscience is telling me to say and work.
I hope it does not win out. I am on the road most of this week which is making it a little tougher.
I hope I can pull it off, if the weatherman
got to do it. We know you want to.
Ian
Can't we just push this off until July? I have time then.
My conscience
May is always nice.
Ian
I know I am fighting it, but I could drive in from Mono Lake.
Ian
Car, kayak and mountain bike won't fit on anything less.
http://www.desertshadowphoto.com
http://aero-nut.smugmug.com
After seeing those winter kayak pix from Mono Lake, I could be convinced
to give that a whirl.
ian
Spirit of Yosemite: photographing "nature's grand cathedral"
With his breathtaking new film Spirit of Yosemite, David Vassar has come full circle. Vassar has been making documentaries for 30 years. His first documentary was filmed at Yosemite when he was only 19. It was recorded on color positive stock with a 16mm hand-cranked Bolex camera. The film won a student contest and got Vassar a job with the National Park Service.
Vassar returned to the national park three decades later to produce Spirit of Yosemite for Greystone films. The project was two years in the making. It will be shown to visitors at Yosemite 15 to 20 times a day, in a specially designed high definition theater featuring a DLP projector and 5.1 surround sound. Leon Silverman, whose company LaserPacific performed the HD transfer from IP, calls the film "a poem about the changing of the seasons at Yosemite. It's really a lyrical, moving portrait of a national treasure. The images are stunning."
Vassar and cinematographer Chris Tufty wanted to go against the grain with the visual style of the film. "We wanted people to immediately see that this was not a television program," he says. "We didn't have any of the constraints. We sought a meditative, peaceful feeling. We wanted to show visitors what kind of connection was available to them in the park, if they had the patience to seek it out and be open to it."
Park Service representative Eric Epstein required that it be shot in 35mm format. Acting partially on the advice of Silverman, Vassar decided to take the images all the way to the interpositive stage, and then transfer to HD.
"Leon convinced us that with the transfer technology evolving so quickly, in five years we might have to come back and re-edit the whole show," he says. "This way, no matter what happens, we have an archival quality version of the film that can be down-converted to any foreseeable electronic format."
He continues, "John Muir called the Sierra Nevada 'the range of light.' There are some shots in the film where you have seven or eight stops of latitude in the same frame. With a subject like this, you don't want to compromise."
Vassar explains, "We had to carry this gear to some very remote locations, in backpacks. To get it to the base camp, we used mules. If something goes wrong, you lose three days. We knew we could rely on the mechanics of the film cameras at 12,500 feet."
Vassar wanted a slow, hypnotic editing pace for the film, so the shots are mostly long and lingering. He estimates that there are 170 shots in the 23-minute film and only 25 cuts. The calm pace is enhanced by very long dissolves, achieved at Foto-Kem on a printer that allows "clutching" between gear ratios. Some dissolves last as long as 288 frames, or 12 seconds.
One particularly memorable shot depicts the changing of the seasons at Yosemite. On the screen, spring becomes summer, summer becomes autumn, autumn becomes winter, and the camera tracks to the right. The shot was accomplished using in-camera techniques. The crew laid dolly track along a bicycle path that crosses the Superintendent's Meadow and then captured a moving shot. The crew spray painted marks along the tracks, allowing them to re-lay the same tracks on three separate occasions over a 14-month period. Tufty took a frame of the previous shot and put it in the gate to line up the image, and made the same shot. The length and speed of the shot were calculated using a stopwatch for a guide. The three shots were optically dissolved together on an Oxberry® optical printer at Howard Anderson Company. The finished shot runs 90-feet, or about 60- seconds.
"I love the fact that we are using traditional in-camera techniques on this film as well as the latest high definition transfer and DLP projection technology," says Vassar. "It's the best of both worlds. The DLP projection means that the show can be projected perfectly thousands of times. By using film we captured the mystery and grandeur of Yosemite."
“PHOTOGRAPHY IS THE ‘JAZZ’ FOR THE EYES…”
http://jwear.smugmug.com/
Catapultam habeo. Nisi pecuniam omnem mihi dabis, ad caput tuum saxum immane mittam
http://www.mcneel.com/users/jb/foghorn/ill_shut_up.au
Dgrin FAQ | Me | Workshops
http://www.desertshadowphoto.com
http://aero-nut.smugmug.com
“PHOTOGRAPHY IS THE ‘JAZZ’ FOR THE EYES…”
http://jwear.smugmug.com/
I thought you and me are sharing the room at Wawona...
I have a big light. Anybody have any ideas what we could do with a 100w Phillips H4 bulb putting out @ 10Million candlepower?
Wonder what that would do in the valley at night?
I also got ahold of 3 bags of Cherry Ripes....to keep the addiction fed
Wonder what else is going to pop up?