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Speedflying Video: Speed riding a cross between freestyle skiing and paragliding
Non-Stop Camera Movement on ‘Need for Speed’
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Wingsuit Video: Indivíduo loucos com uma Wingsuit voando acima dos esquiadores
Speedflying Video: Robson Richers Speedflying Rio de Janeiro
More Than A Feeling
Government approves medical marijuana research
Wingsuit Video: Ils effectuent un wingsuit à ras des skieurs
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Speedflying Video: Speed riding: a cross between freestyle skiing and paragliding
double bridge jump from the early days

Speedflying Video: Speed riding a cross between freestyle skiing and paragliding

Posted: 16 Mar 2014 05:04 AM PDT

Speed riding a cross between freestyle skiing and paragliding

by Youtube Speed Flying

Non-Stop Camera Movement on ‘Need for Speed’

Posted: 16 Mar 2014 03:13 AM PDT

Non-Stop Camera Movement on 'Need for Speed'

By JAY ANKENEY, DIGITAL VIDEO on March 12, 2014 1:58 pm

Aaron Paul stars as Tobey Marshall in 'Need for Speed.'

The first studio feature film shot with Canon's EOS C500 camera, DreamWorks Pictures' Need for Speed is sure to be a smash-and-crash car chase spectacular when it hits theaters on March 14, 2014. The movie is inspired by the Need for Speed video game series launched by Electronic Arts in 1994. Now controlled by Criterion Games, Need for Speed is heralded as one of the most successful video game franchises of all time.

In a return to the great car culture films of the 1960s and '70s that tap into what makes the American myth of the open road so enticing, Need for Speed chronicles a near-impossible cross-country race against time—one that begins as a mission for revenge, but proves to be one of redemption.

Need for Speed the movie is the tale of a street racer, Tobey Marshall (played by Aaron Paul), who was framed for manslaughter by wealthy, arrogant ex-NASCAR driver Dino Brewster (Dominic Cooper). Tobey is set on revenge, with plans to take Dino down in the high-stakes De Leon race, the pinnacle of underground racing. To get there in time, Tobey must run a high-octane, action-packed gauntlet, dodging cops coast-to-coast and dealing with fallout from the bounty Dino put on his car.

The movie is directed by Scott Waugh (Act of Valor).

The film's cinematographer, Shane Hurlbut, ASC (Act of Valor, Terminator Salvation), says perhaps the most spectacular aspect of the film is that there's very little CG work in it, apart from wire removal. When you see those million-dollar cars flip, spin, tumble and smash, it's all real steel and glass with some pretty gutsy stunt drivers inside.

"We wanted it to look like Bullitt meets The Road Warrior," Hurlbut says. "Scott Waugh, the director, wanted a visceral and progressive modern mood and tone mixed with a classic style of action."

According to Waugh, "Need For Speed is accurate and authentic to car racing culture. My job as a director is, I am going to allow you that thrill and put you in that seat and let you drive 230 mph."

Hurlbut's camera package included ARRI Alexas, Canon EOS C500s, Canon EOS-1D Cs and more than a dozen GoPro HERO3s. The veteran cinematographer selected the cameras in order to maximize image quality and flexibility in a variety of challenging conditions. Photo by Derek Johnson/Hurlbut Visuals.

Need for Speed is the first studio feature on which the Canon EOS C500 served as the main shooting platform.

"We did a series of tests with nine cameras, including all the major digital cinema models and even a film camera, before production started," Hurlbut explains. The team staged a blind test at Technicolor, where material was projected without identifying which footage came from which camera. "Scotty immediately picked out camera number six, and that was the Canon C500, so that became our A-, B- and C-cameras."

Hurlbut estimated that he would need at least 40 digital cinema cameras to shoot the film he envisioned. In addition to the Canon C500s, his camera package included ARRI Alexas with Canon CN-E 14.5-60mm Cinema Zoom lenses (mounted on a Russian Arm gyro-stabilized mobile camera crane for car tracking shots) and several Canon EOS-1D Cs with Carl Zeiss 15mm lenses (deployed in helmet cams and squeezed between the engine cowling and the car's body to get over-the-shoulder shots).

For camera mounts with an even smaller footprint, the production turned to an assortment of disposable GoPro HERO3s. The rugged miniature cameras all received firmware updates, giving them raw output and 13 stops of latitude. Hurlbut could tuck the HERO cameras almost anywhere in a shot without worrying about the footage when stunts got rough.

Director Scott Waugh with one of the film's ARRI Alexa cameras. Photo by Melinda Sue Gordon.

"I knew I could put six HEROs into a flaming car, and when the car started flipping over, the output from all of them would be useable," Hurlbut says. "We tested them for two weeks, driving cars over the cameras at 180 mph, and they gave us the footage we needed."

With the GoPro firmware update, Hurlbut found he could intercut the GoPro footage with shots from the Canon and ARRI cameras.

The shoot lasted 10 months and wrapped last July. Hurlbut says one of the most challenging scenes was shot in Mendocino, Calif., where they shut down 12 to 15 miles of fog-shrouded coastal highways.

"I remember our first big stunt involved a McLaren getting taken out by a Lamborghini Sesto Elemento," he says. "We had all our land cameras set and helo's in the air, but Scotty and I wanted to mount two cameras on the car when it went for its flip-over. We put several GoPros on the McLaren, but what we really wanted was a couple of C500s on the rear quarter panel of the Elemento, looking forward at it. It was a radical stunt that sent the McLaren full-on airborne. The stunt man hit with such force that it embedded the C500 into a hillside."

Director of photography Shane Hurlbut (left) and director Scott Waugh on the set of Need for Speed. Photo by Melinda Sue Gordon.

The goal of the production was to deliver a film that harkened back to the car culture films of the 1960s and '70s, when authenticity brought a new level of intensity to the action. Seeing the quarter panel shot, Hurlbut and Waugh knew they were on the right track. These real-world images would have far greater impact than any computer-generated cars could provide.

How did the cinematographer monitor the 18 to 28 cameras regularly rolling on each stunt? Hurlbut credits James Allen Sheppard from Ocean Video for rigging up a laptop that could display four cameras at a time. "That gave us the four key camera shots that Scotty and I wanted to see," Hurlbut explains, "and we had Benton Ward from RF Film do all the wireless HD for us, which meant their transponders and receivers became my eyes from even two miles away."

When the crew got to Atlanta, Hurlbut's team mounted RF antennas on a squad of minivans capable of traveling at 110 mph and keeping up with the movie's featured muscle cars.

"I had all my monitors and waveform scopes inside as we roared down the road," Hurlbut recalls. "It was a totally different style for making a movie. When you are just shooting actors against a greenscreen, they are not actually seeing the action as it unfolds. If the actor is really in the car, you get a lot of serendipity moments that could never happen in a studio."

Photo by Melinda Sue Gordon.

Or another way to put it, as Hurlbut says, "It has all the can of whoop-ass that will take you out when Mother Nature bites down hard."

Hurlbut worked with a crew that he describes as "trailblazers." Led by Darin Necessary, the team of Derek Edwards, Marc Margulies, Chris Moseley, Michael Svitak and Jody Miller collectively built a whole new camera system around the Canon C500. They were supported by an electric and grip team led by Dan Cornwall and Alan Rawlins.

"There were no camera support systems in existence for the C500 that were suited for high-end feature film work," he says. "We needed camera supports, power distribution, a way to turn the camera on and off remotely, and methods to energize all the monitors, follow focus and other doodads that are necessary to make a movie. Element Technica and Revolution Cinema Rentals created a power base [the Revolution C500 Power Base Riser] that was the exact size of the C500's base and gave us, among other things, hot-swap capability, P-Tap power ports, Lemo connectors and four video feeds. It created a sort of cage around the whole camera that could hold electronic viewfinders and even our own remote on/off switch."

"To immerse the audience in this intense, visceral energy of Need for Speed, putting cameras in harm's way was a primary requirement," Hurlbut says. "Using all these different cameras on an action production is going to give the viewers an experience that other car chase movies have not been able to achieve."

- See more at: Non-Stop Camera Movement on 'Need for Speed' | c2meworld.com

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Posted: 16 Mar 2014 01:50 AM PDT

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Wingsuit Video: Indivíduo loucos com uma Wingsuit voando acima dos esquiadores

Posted: 15 Mar 2014 11:29 PM PDT

Indivíduo loucos com uma Wingsuit voando acima dos esquiadores

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Posted: 16 March 2014
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Speedflying Video: Robson Richers Speedflying Rio de Janeiro

Posted: 15 Mar 2014 06:30 PM PDT

Robson Richers Speedflying Rio de Janeiro

by Youtube Speed Flying

More Than A Feeling

Posted: 15 Mar 2014 06:26 PM PDT

Government approves medical marijuana research

Posted: 15 Mar 2014 06:03 PM PDT

Government approves medical marijuana research

A University of Arizona study, which still requires DEA approval, would examine whether pot can help veterans cope with post-traumatic stress. The green light may clear the way for broader studies.

Mississippi marijuana farm

Under existing federal rules, studies on the effects of marijuana can use pot only from this government-run farm in Mississippi. Researchers say that the agency that oversees the farm, the National Institute on Drug Abuse, has long been hostile to proposals aimed at examining possible benefits of the drug. (Kevin Bain / University of Mississippi / August 19, 2008)

By Evan Halper and Cindy Carcamo

March 14, 2014, 5:00 p.m.

WASHINGTON — The Obama administration handed backers of medical marijuana a significant victory Friday, opening the way for a University of Arizona researcher to examine whether pot can help veterans cope with post-traumatic stress, a move that could lead to broader studies into potential benefits of the drug.

For years, scientists who have wanted to study how marijuana might be used to treat illness say they have been stymied by resistance from federal drug officials.

The Arizona study had long ago been sanctioned by the Food and Drug Administration, but under federal rules, such experiments can use marijuana only from a single, government-run farm in Mississippi. Researchers say the agency that oversees the farm, the National Institute on Drug Abuse, has long been hostile to proposals aimed at examining possible benefits of the drug.

"This is a great day," said the Arizona researcher, Suzanne A. Sisley, clinical assistant professor of psychology at the university's medical school, who has been trying to get the green light for her study for three years. "The merits of a rigorous scientific trial have finally trumped politics.

"We never relented," Sisley said. "But most other scientists have chosen not to even apply. The process is so onerous. With the implementation of this study and the data generated, this could lead to other crucial research projects."

Backers of medical marijuana hailed the news as an indication that the government had started coming to terms with one of the more striking paradoxes of federal drug policy: Even as about 1 million Americans are using marijuana legally to treat ailments, scientists have had difficulty getting approval to study how the drug might be employed more effectively.

"The political dynamics are shifting," said Rick Doblin, executive director of the Multidisciplinary Assn. for Psychedelic Studies, or MAPS, a group based in Santa Cruz that is raising money to help fund studies such as Sisley's. The group counts several prominent philanthropists among its backers, including two Pritzkers and a Rockefeller.

Government officials said the approval did not represent a change in underlying policy — just a recognition that Sisley's proposal meets official standards for research using illegal drugs. The research still requires approval of one more agency, the Drug Enforcement Administration, but Sisley and Doblin expressed confidence that that would prove a lesser hurdle.

In its letter approving the application, a government review panel noted what it called "significant changes" in the study that justified approving it now. Doblin said the changes did not affect the "core design" of the study.

Federal restrictions on pot research have been a source of tension for years. Researchers, marijuana advocates and some members of Congress have accused the National Institute on Drug Abuse of hoarding the nation's only sanctioned research pot for studies aimed at highlighting the drug's ill effects. They had pointed to Sisley's experience as a prime example of what they called an irrational and disjointed federal policy.

"You have impossible burdens," said Rep. Earl Blumenauer (D-Ore.), who has enlisted other members of Congress to lobby the administration to give researchers more access to the drug.

"These are not people who are going to be involved with some clandestine production of the drug or do something nefarious. They are trying to do scientific research that will add to the body of knowledge and safety," he said.

Blumenauer likes to recount the story of a doctor who works with children who have violent epileptic seizures. The children's parents "have found that the use of marijuana has reduced the frequency and intensity of these horrific episodes. But because of our stupid research policies, it is easier for the parent to get medical marijuana than for a researcher," he said.

Scientists say more research could help determine more precisely which ailments the drug can treat and could eventually lead to regulation by the FDA as a prescription drug. That would allow patients to know what they are consuming. Currently, users of medical marijuana often have little information about the potency and purity of the pot they buy. Physicians who prescribe the drug do so on the basis of evidence that is largely anecdotal.

At the core of the debate is an issue that has implications for both research and the movement to legalize marijuana for recreational use, as Colorado and Washington have done. Currently, federal law classifies pot as more dangerous than cocaine and methamphetamine. As a "Schedule 1" drug, marijuana is designated as having "no currently accepted medical use and a high potential for abuse," as well as being a drug that puts users at risk of "severe psychological or physical dependence."

Researchers say that classification needs to change for science to proceed uninhibited. Making the change, though, would be a retreat in the war on drugs. The Obama administration could reschedule the drug without congressional action, but has shown no inclination to wade into that fight.

In the last 10 years, the government had approved just one U.S. research center to conduct clinical trials involving marijuana use for medical purposes — a UC San Diego facility created by the California Legislature.

The scientist who runs that center, Igor Grant, said his success in getting Washington's sign-off was due in large part to something other scientists do not have: the full force of the state. Blocking his work would have been a direct affront to lawmakers in Sacramento, he noted.

Grant's studies looked at such questions as whether pot could help ease the nausea and vomiting associated with cancer treatment or the severe appetite suppression experienced by those with HIV, which causes AIDS.

"Every one of those studies showed, in the short term, a beneficial effect," Grant said. "There is very good evidence cannabis is helpful."

Wingsuit Video: Ils effectuent un wingsuit à ras des skieurs

Posted: 15 Mar 2014 05:51 PM PDT

Ils effectuent un wingsuit à ras des skieurs

Voici un extrait du film "Nuit de la Glisse 2013" dans lequel Mathias Wyss and Ludovic Woerth effectuent un vol en wingsuit en passant a proximité de skieurs et snowborders. Des scènes incroyables à découvrir en DVD dans le film de 95 min réalisé par Thierry Donard qui nous invite à partir à l'aventure en compagnie de ces sportifs extrêmes.
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