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Art Adams
A native of Northern California, Art Adams has been in the film industry for 22 years--including the last 17 as a director of photography. After spending ten years in Hollywood, Art is now based in the San Francisco Bay Area.
He has been published in HD Video Pro, American Cinematographer, Camera Operator Magazine, Film/Tape World and CineSource.
Art is a member of the International Cinematographers Guild (IATSE 600), the Society of Camera Operators (SOC), and is a trustee of the National Writers Union (UAW 1981).
His web site is at www.artadams.net.
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Thursday, November 17, 2011
Years in the making, this technique works in almost every situation and makes almost everyone look great. That’s about the best you can hope for when shooting talking heads on a tight schedule.
For a long time my primary source of employment was shooting corporate marketing communications videos. As these consist primarily of “talking head” interviews, I tried every lighting setup I could think of to make people look their best quickly, as many of these shoots have tight schedules and not much turnaround time between interviews. This setup is the result of years of experimentation.
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Allan Tépper
Like a bridge over troubled waters, ClipWrap will now be the cure-all for AVCHD’s multiple weaknesses for many Mac video editors, at least in the short term.
Jeff Foster
...and you’ll never find them at Home Depot!
The Sony Tech Guy
Next-generation cameras need a new generation of media.
Rich Young
LED lights, 3D shapes, linking objects with lines, users’ choice plug-ins, and more.
Rich Young
A collection of a few resources
Allan Tépper
How to deal with 25PsF and 29.97PsF with Adobe Premiere Pro CS5.5.x
Jeff Foster
Part One: Video Editing & Animation with Photoshop CS4/CS5 Extended Series
Chris and Trish Meyer
Some tips on what to look for when setting up a track in After Effects.
Todd_Kopriva
a few articles that give information on which to base a buying decision
Chris and Trish Meyer
If you don’t have access to a dedicated 3D program or plug-in, here’s a way to use Photoshop Extended to create extruded logos and text.
Rich Young
With news on wiggles, organization, color, CUDA + more
Scott Simmons
The rewritten application is now 64 bit, all new and yet very familiar at the same time.
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Allan Tépper | 11/30- 03:08 PM
Like a bridge over troubled waters, ClipWrap will now be the cure-all for AVCHD’s multiple weaknesses for many Mac video editors, at least in the short term.
In parts 1-3 of the PsF’s missing workflow series, we introduced the terms benign PsF & malignant PsF, and revealed the PsF status of several professional AVCHD cameras from 3 manufacturers (Canon, Panasonic, and Sony). In #4, we did the same with several HD video recorders from 6 different manufacturers. In #5, we revealed how one recorder manufacturer is offering its own “Band-Aid” software to counteract the inappropriate signals offered over HDMI by many camera manufacturers. In #6, I published an open letter to all pro AVCHD manufacturers. In #7, I covered how to deal with PsF on a progressive sequence in Premiere Pro CS5.5. Now in #8, I’ll reveal how the US$49.99 middleware known as ClipWrap will be the cure-all for all of AVCHD’s multiple weaknesses, including both types of PsF, at least in the short term.
Jeff Foster | 11/30- 02:43 PM
...and you’ll never find them at Home Depot!
Okay, you’ve seen the green screen “Kits” that come with some cheap lights, stands and a green screen cloth backdrop… or someone tells you to just go down to Home Depot and get a couple gallons of their “greenest” paint - a couple hundred bucks and you’re good to go, right? WRONG! A setup like that will be of little use if you’re seriously trying to get a decent matte. Without the right green screen materials, even the best lighting and camera won’t help you.
The entire green screen process is a careful balance of color & light - a very narrow spectrum of colored light that reflects back through the lens and is easily matted (or “keyed”) out with sophisticated software.
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