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1969 New York Public Library and Empire State Building

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Empire State Building

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New York Public Library

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Times Square

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Statue of Liberty

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Central Park

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Wall Street

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Brooklyn Bridge

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Ellis Island

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Rockefeller Center

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The Chrysler Building

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MoMA

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Metropolitan Museum

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Time lapse video of life in New York city

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Time lapse video of life in New York city

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A must see !

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We made a mixtape for her. Shot by Thom and Vin.
facebook.com/seventhmovement

Music - Jamie N Commons - Rumble And Sway (Monsieur Adi Remix)
facebook.com/jamiencommons
facebook.com/monsieuradi

This video is a mixtape of the 321 different shots we made over the two week period in NYC for the 2013 US Open broadcast on ESPN. One of our consistent gigs the past couple of years has been shooting and editing timelapse for broadcast. Now I'm not talking about live timelapse transmitting or anything impossible like that. We shoot scenics around the city, stylized shots of the stadiums, moving people and whatnot. In terms of this project, we also focused on elements like trophies, racket stringing, hyperlapses through the crowd, stadiums filling up, draw boards going up. Then we render these individual shots, deliver them the next day and feed them into the broadcast unit who in turn uses them to create daily teases, athlete features, and bumpers for the matchups. We give them these clip reels on a silver platter ready to go.

As far as gear goes, we shoot on 6 x Canon 5DIII's and 2 x Red Epics. Might seem like a bit much but with a tight turnaround, there's only so many places we can be at once since there are only two of us. We set those cameras up at different vantage points around the city at secure spots and once those cameras are ripping, we take our motion control rigs out and go have some fun. We shoot with a Kessler Crane CineDrive system and a few Dynamic Perception Stage Zero systems. Our glass selection is pretty specific. For most of the wide shots, we use the Canon 17mm TS-E or the Zeiss 15mm. Those two pieces of glass give you an ultra flat and ultra wide image. The other lens we use all the time is the Canon 8-15mm fisheye lens. We shoot these wide timelapses at 8mm and run them through an application called panolapse to flatten the circular image out and add a pan or tilt. The results are stunning. Other items in our kit include the entire Zeiss kit ( 15, 21, 35, 50, 85, 100 ) and the Canon TS-E kit ( 17, 24, 45, 90 ).

For a more detailed glimpse into our process, check out the post over at KesslerU!
kessleru.com/2013/09/working-with-tight-deadlines-a-conversation-with-the-seventh-movement/

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We made a mixtape for her. Shot by Thom and Vin. facebook.com/seventhmovement Music - Jamie N Commons - Rumble And Sway (Monsieur Adi Remix) facebook.com/jamiencommons facebook.com/monsieuradi This video is a mixtape of the 321 different shots we made over the two week period in NYC for the 2013 US Open broadcast on ESPN.

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Featureless people glide with dim motion through a quivering blue silver;
Boats merge with the bronze-gold welters about their keels.
The trees float upward in gray and green flames.
Clouds, swans, boats, trees, all gliding up a hillside
After some gray old women who lift their gaunt forms
From falling shrouds of leaves.

Thin fingered twigs clutch darkly at nothing.
Crackling skeletons shine.
Along the smutted horizon of Fifth Avenue
The hooded houses watch heavily
With oily gold eyes.

By Evelyn Scott

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All of you should recognize this famous coffee house !

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The Dawn! The Dawn! The crimson-tinted comes
Out of the low still skies, over the hills,
Manhattan's roofs and spires and cheerless domes!
The Dawn! My spirit to its spirit thrills.
Almost the mighty city is asleep,
No pushing crowd, no tramping, tramping feet.
But here and there a few cars groaning creep
Along, above, and underneath the street,
Bearing their strangely-ghostly burdens by,
The women and the men of garish nights,
Their eyes wine-weakened and their clothes awry,
Grotesques beneath the strong electric lights.
The shadows wane. The Dawn comes to New York.
And I go darkly-rebel to my work.

By Claude McKay