Fresh DV
Matthew Jeppsen is the founder of FreshDV and a digital video shooter and editor. By most reports he is powered entirely by coffee. Kendal Miller has over 10 years experience in the production industry. Currently he is working as Director of Photography in Chicago, IL where he resides with his wife Kendra. He works on a wide variety of projects ranging from commercial to independent film projects, working on one of the first commercial Red projects in the midwest area. When he's not shooting film or video he enjoys still photography as a hobby....
Read More
Revisiting Mac encoding options with comparative tests
By Matthew Jeppsen | August 28, 2008
After reading last week's Real World Video Compression article that compared four Mac compression tools, I suggested a more comparative test that took time to standardize encoding settings to level the playing field. In the initial shootout, default templates and encoding settings were used for the most part. That's not to say that the initial test isn't useful information...in fact, it may be more useful to the majority of users that just want a "set it and forget it" approach to encoding (apologies to Ron Popeil for borrowing his catchphrase). But for more advanced users who will immediately begin pushing knobs and digging into the encoding templates, a comparative test is invaluable for determining what kind of quality and encode times you can expect from each solution. And reviewer Andy Beach has done just that with his latest update to the article.
Read More
0 Comments
Crunching the numbers on tools that crunch pixels
By Matthew Jeppsen | August 22, 2008
Real World Video Compression has posted a Encoder Shootout between three common Mac software compression options, and one hardware assisted solution. The disparity in price between the tools tested is enormous...with VisualHub at under $25, and Episode Pro nearly $1000. Much like the pricing, the speed and quality of the results were varied.
Read More
0 Comments
Four seasoned filmmakers offer advice to indies
By Matthew Jeppsen | July 21, 2008
One of the excellent Super Sessions at NAB 2008 was a panel discussion that featured filmmakers Stu Maschwitz, Taylor Wigton, Dave Basulto, and Alex Lindsay. The panel was organized and sponsored by Redrock Micro, with Brian Valente helping moderate the discussion. Following the presentation and Q&A, the panel shot a short summary presentation and Q&A with FreshDV. We believe that this fifteen-minute discussion will be of great interest to independent and low-budget filmmakers, the professionals on the panel dispense a lot of wisdom and realistic advice that you can put to immediate use. You can watch the video embedded below and via our podcast feed.
Read More
0 Comments
Putting the new unit from Shoot35 through it's paces
By Matthew Jeppsen | July 13, 2008
Last fall FreshDV posted the results from our 2007 Follow Focus Shootout, which compared 5 different popular models for 15mm rod configurations. We intend to continue updating that review series as new models and features hit the market, and to that end we are offering this video review of Shoot35's follow focus, the SGfollow focus unit. You may know Shoot35 more commonly as the makers of the SGPro 35mm adapter. The SGfollow focus is a £199 unit that now ships with a standard accessory port...our review unit did not include the accessory port, only the 4mm connection shaft that the port attaches to. More details on this update here.You can watch the review below, or view all 6 follow focus reviews conveniently in one playlist here.
Read More
0 Comments
Reviewing Rush Hamden's DVD series for filmmakers (with video excerpts)
By Matthew Jeppsen | June 03, 2008
Digital Cinema CourseReviewed by Kendal Miller, FreshDV Contributing EditorMSRP: $439-$529Fresh Score: 4/5Fresh Points: This series provides an incredible wealth of information previously attainable only at school or on set. The price places it firmly in the reach of most independent filmmakers making it readily accessible.Stale Points:At times the presentation runs long, and I would like to see more first person presentation of the material rather than continual voice-over. I also often found myself craving more advanced, high end setups with more elaborate lighting etc.Film School on a BudgetIt has been said that when you are through learning, well, then you are through. This is especially true in an industry that is as rapidly evolving as ours. I tend to subscribe to this philosophy myself and make every attempt to set aside time routinely for professional development. Whenever I'm on set I always make a concerted effort to take aways some new trick, or tip doesn't matter if its the Assistant Director, the Gaffer, or a Production Assistant. I want to sharpen my skills and therefore my marketability.The Digital Cinema Course, produced by Rush Hamden, offers the possibility of learning a lot of information, 18 DVDs and 24hours worth to be exact. The course is divided into four parts which I will refer to as modules. The command pack consist of four modules Gear Guide (DCT-GG07), Basic Production (DCT-BP), Movie Production (DCT-MP), and Lighting Set (DCT-LS). There are several other optional courses things such as audio production, green screen, and compositing available as well. Read on as we examine the aims and goals of this course, an overview of the course and then what will you learn, what you won't.
Read More
0 Comments
A first look at Cinevate's camera dolly solution
By Matthew Jeppsen | May 01, 2008
We recently had the opportunity to check out Cinevate's Ballare dolly solution. The Ballare is almost entirely constructed of aluminum, and as such is quite rigid. It breaks down into a relatively small size for transport, and weighs around 45 lbs. It can run on schedule 40 PVC pipe, or any other 1" or 1 1/4" track. This was a pre-production model, and it is my understanding that since our test Cinevate has integrated a few of our suggestions into the production model, like a more robust pushbar design. For a detailed look at the dolly system, watch the video below.
Read More
0 Comments
Tools that cut and convert video without breaking the bank
By Matthew Jeppsen | April 09, 2008
I was looking for some lightweight NLE/cutting software solutions recently. Obviously Windows users have Windows Movie Maker, and Mac users have iMovie. Neither are particularly lightweight, and both have a number of feature restrictions. So in the interests of sharing info, here are a few other NLE options. Note that I haven't had time, resources, or the inclination to thoroughly test all these software packages. Please report back in the comments if a particular solution was helpful or if you experienced any issues.
Read More
0 Comments
The basics of using Sony's SxS camcorder
By Matthew Jeppsen | January 04, 2008
This article is part of a series of tests FreshDV conducted with the Sony XDCAM PMW-EX1. Thanks to Miami rental house and Sony dealer Midtown Video for providing a XDCAM EX camera. And thanks to DSC Labs for providing test chart patterns. You can read more about ours and others experiences with this camera here.For our testing Midtown Video provided FreshDV with a EX1 camcorder with the 8GB SxS media card. Before the camera arrived, I downloaded the latest XDCAM Transfer software and SxS drivers. I also had to ensure that I was at the latest FCP version, 6.0.2, and I also brought my Tiger OS and Quicktime versions up date using Software Update (I've been a bit behind, these things make me nervous). I should note that I am using Final Cut Studio on a PPC G5 2.7 Dual. I did not have a computer with ExpressCard slot available for these tests, so the USB connection on the camcorder was used. It simply uses a standard USB cable with mini connector on the camcorder end. Footage shot was a mixed bag...most of the time the card ended up with a mix of SP, HQ, and overcranked 60p footage on it. But regardless of the format, the import procedure into FCP is the same. I wanted to note my experiences with that process.
Read More
1 Comments
Limitations to know and avoid when shooting with the Red One
By Matthew Jeppsen | December 13, 2007
The Red Digital Cinema camera uses a CMOS sensor with a rolling shutter. One of the criticisms of the camera is the fact it is subject to rolling shutter artifacts in some situations. Now, I should note that I am not bashing Red...to be clear, every camera has limitations. Even film cameras can exhibit shutter-related artifacts. The important thing is to arm yourself with knowledge, so you know how to avoid situations which will stress the equipment you are using. To that end, here is a little background info on Red's rolling shutter: Understanding Rolling Shutter Artifacts. That link talks about the design of the shutter and how it operates. It also offers a few suggestions for minimizing the effect. And if you've never seen the effect, here's a video that shows the split-screen-strobe issue pretty clearly. More discussion at Reduser.
Read More
0 Comments
We take a detailed look at 5 popular matte box systems
By Matthew Jeppsen | November 06, 2007
About two years ago, FreshDV published a full review of several popular Matte Box units in the November 2007 print issue of DV Magazine. While we were working with the matte boxes we captured some hands-on video footage that show how the units match up in features and performance. We tested mattebox systems from Chrosziel, Petroff, and Cinetech. Since then, we've also reviewed the Genus mattebox system. The Genus is an affordable 4x4 mattebox that is at home with HD camcorders and HDSLR rigs. In the following video series, we cover the major features of each mattebox system, mount the units to our fully-loaded test rigs, and highlight the strengths and weaknesses of each solution. We encourage you to view each of these videos and determine which system may meet your unique requirements and needs. You can view all the mattebox reviews in the following video playlist. Still images of each unit can also be found embedded below.
Read More
0 Comments
Configuring a 35mm lens adapter with the HVX200
By Matthew Jeppsen | October 09, 2007
The advent of affordable 35mm Lens Adapter systems have brought a new level of creative control to digital filmmakers. With that comes a new level of complexity...lens adapters can be confusing and sometimes downright difficult to configure with your camera. The crew here at FreshDV tends to be visual learners, so we thought we'd help shed a little light on the subject with a 35mm adapter video tutorial series. To that end, here is an 11 minute video that covers the basic setup and configuration of a Cinevate Brevis 35mm Adapter.
Read More
0 Comments
By Matthew Jeppsen | October 08, 2007
Depth-of-Field. In simple terms DOF can be defined as "the distance in front of and beyond the subject that appears to be in focus." Seems simple, right? But the myriad factors that contribute to a composition's Depth of Field are often misunderstood (and frequently overly-simplified), leaving many filmmakers and photographers with a false understanding of the physics at play. And it goes without saying that when you educate yourself on the factors that contribute to DOF, you gain a greater level of control over your images, whether you are a cinematographer or photographer, professional or novice. A grasp of the basics of DOF become even more essential when shooting with a 35mm lens adapter system for video cameras.That is why I am pleased to present the following 20 minute primer on the subject of Depth of Field, filled with practical illustrations and explanations of the physics at work in a lens, and simple examples that will help elevate your understanding of the subject. It thoroughly covers the topics of aperture size, focal length, camera-to-subject distance, circle of confusion (CoC), hyperfocal distance, and infinity focus. I believe that you'll find it a very informative and approachable explanation of a somewhat arcane and confusing topic.
Read More
0 Comments
A detailed look at 10 popular follow focus units
By Matthew Jeppsen | October 01, 2007
FreshDV's full review of five popular follow focus units was first printed in the October 2007 issue of DV Magazine. It included reviews of the Chrosziel, Cinetech, Redrock Micro, Petroff, and Indifocus units. Shortly thereafter we published detailed video reviews. Since then, we've continued the series with reviews of the Shoot35 SGFollow Focus, ARRI's MFF-1 and MFF-4 units, Zacuto's Z-Focus Flippable, and Cinevate's Durus unit. We've also reviewed the Bartech BFD remote wireless follow focus system. And as manufacturers release new products and updates we will continue to keep this video review resource current.In these video clips, we walk the viewer through the major features of each follow focus system, mount the units to our test rigs, measure gear lash, and finally use them to drive a lens. There is no silver bullet...each unit we tested has unique strengths and weaknesses, and we encourage you to view each of these videos and look for a system that meets your unique needs and requirements. You can view the video reviews in the following playlist. You may also be interested in our informative three-part series on the role of a First AC and Focus Puller, also embedded in the playlist linked below.
Read More
0 Comments
Sorting out the roles and responsibilities on a production set
By Matthew Jeppsen | September 22, 2007
After a recent conversation with some fellow filmmakers I was reminded of how mysterious in some ways our industry is, and how many people may not even be clear of their job titles, and what responsibilities those jobs entail. There also exist a hierarchy of authority on a set and a certain level of professionalism is expected of the departments. In the professional realm with a full staffed crew there exist a level of professionalism and mutual respect for each others jobs and responsibilities, or at least their usually is. Sure sometimes you wind up on a bad crew getting chewed out for nothing. The independent world could learn some valuable lessons about team management and establishing departments, and establishing a creative chain of command. Even among friends there should be a degree of departmentalization and a chain of command for decision making. This will ensure that your production flows smoother and everyone can concentrate on their job responsibilities, which has hopefully been staffed to that persons strengths and abilities. Read on for some guidelines and roles that will help you accomplish a smooth running production crew...
Read More
1 Comments
How to quickly and easily set up a light meter for use with digital video cameras
By Matthew Jeppsen | July 26, 2007
A light meter can prove to be an invaluable tool on any set, allowing you to quickly and efficiently set lights and know the correct exposure values of those lights. Light meters were initially designed for still photographers and cinematographers can easily calibrate them to a given film stock speed for shooting film. But what about today's digital cinematographer? I'm glad you asked. With a light meter in hand, today's digital DP can more efficiently set lights and spot check problem areas on a set without pulling up a camera frame. An experienced Gaffer can use a meter to dial in contrast ratios in advance sans camera/monitor, so when the DP or Director arrives at a location, most of the lighting plan is already in place.In this tutorial I'll show you how you can use a light meter to quickly and efficiently light a scene, and gain better control over your camcorder's exposure.
Read More
2 Comments
Converting from Film-speak to Digital and back again
By Matthew Jeppsen | July 11, 2007
Have you ever wondered what the difference is between the way a video camera calculates shutter (fractions of a second) and the way a film camera calculates shutter (in degrees)? If so, then this article is just for you. Here's what you need to know...
Read More
0 Comments
Comparative lens testing for 35mm adapters
By Matthew Jeppsen | June 07, 2007
Matt Garrett and Bruce Allen recently conducted a series of Nikon lens tests with a SGPro 35mm adapter mounted to a Panasonic HVX-200. They tested the 17-35mm f/2.8, 35mm f/1.4, 85mm f/1.8, 105mm f/2.0, 135mm f/2.0, and 180mm f/2.8 Nikon lenses. That's quite a lineup of glass! My first impression is that the footage is quite sharp, and exhibits a minimal amount of vignetting, both which are potential problem areas for 35mm adapter systems. We've arranged with Bruce and Matt to host the files here so all you video-hungry FreshDV hordes don't drive up their bandwidth bill. You can view the test results for yourself below, using either the 640x360 22MB small version, or the full-res 1280x720 version which weighs in at 367MB. Thanks guys, for taking the time to do the lens testing and sharing your results with the community.
Read More
0 Comments
An early comparison of 35mm lens adapter options
By Matthew Jeppsen | February 08, 2007
Accomplished shooter Phillip Bloom has shared a lengthy shootout review comparing three popular 35mm adapters; the Cinevate Brevis, SG PRO, and Redrock M2. Note that shootout isn't entirely definitive, as time constraints limited tweaking each adapter's configuration. Phillip is careful to note this, and he appears to have approached the whole test as objectively as possible. Consider the shootout a comparative analysis to be taken with a grain of salt and some common sense. So which adapter won? Unfortunately, it's not that simple. Each has strengths and weaknesses. Here are a few highlights...
Read More
0 Comments
Free tools for flash video conversion
By Matthew Jeppsen | January 25, 2007
Another great post over at Jake Ludington's blog, how to use freely available ffmpegX to convert video files into Flash video for web use. He's even got instructions on how to embed the videos in a web page using Joroen Wijering's flash player. Did I mention that the ffmpegX software is free?Windows fmpeg users should check out SUPER, a gui frontend to ffmpeg, mencoder, and various other command-line tools.
Read More
3 Comments
Two popular 35mm lens adapters go mano-a-mano
By Matthew Jeppsen | December 13, 2006
35mm camcorder lens adapters are a strange breed. Part science, part art, they allow a shooter to utilize SLR still image and high-end 35mm cinema lenses on a video camera. DVXuser has an active DIY community that continually churns out home-built adapters, and a few of the more successful creations have launched companies. One of the reasons the DIY community is so active in this genre is price...commercially available adapter kits tend to be priced just north of $1000, and then you have to go lens shopping. But I personally believe that a major reason for the custom DIY creations is the "art" aspect. Each design offers unique tradeoffs, each has it's own image signature. But I digress...
Read More
0 Comments
DBA Createasphere