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Clint Milby
When Clint's father gave him a video camera as a graduation present, he immediately started producing short films, something he still does today. After graduating from Baylor University, Milby moved to Los Angeles working for such industry respected companies as Live Entertainment and The Academy of Television Arts and Sciences. He worked six years for Warner Bros. where he served as executive assistant to writer/producers and development executives. After writing several screenplays and producing one award winning short film, Clint broadened his writing and producing talents to include marketing and promotion for ikan corp. There he conceptualized and produced print insertions and videos, as well as creating a short film contest and launching an entire social media campaign. In 2009, Milby became fascinated with HDSLRs and got a 7D of his own to join the revolution. Beyond making several shorts and commercials using his 7D, he became a careful student of how to get the best video possible from these remarkable cameras. In 2010, Clint started a news website, HDSLRShooter.com and has extended this blog to Pro Video Coalition. 
Redrock Micro’s ultraCage for the C300Marshall Debuts the Orchid, OR-2410DP Alex Buono Talks C300 At SF SuperMeetThe 11th Annual San Francisco FCPUG SuperMeetGinter Goes Globetrotting with ‘Orbital’The Smoke and Mirrors Behind Sweden’s BrokendollUnboxing: FloLight MicroBeam 128Shane Hurlbut, ASC and Letus Announce New Line of GearCanon’s Big NewsRedrock Micro Brings Order To Unruly CablesShooting Through Space and TimeThe Fourth Annual Amsterdam FCPUG SuperMeetDSLRcinema’s ‘One Shot One Kill’ Film ContestUnboxing: FloLight’s MicroBeam 256Magic Bullet Suite’s MisFire and Adobe CS5.5 Production PremiumThe Great Camera Shootout 2011A Sound Solution to HDSLR AudioThe Cure for Rolling Shutter?Unboxing: The GoPro LCD BacPacIt’s All About the Lenses…BABY!The New MicroFollowFocus BlueUnboxing the GoPro 3D Hero SystemUsing Twixtor in Premiere ProNAB 2011: Teradek Revolutionizes Live BroadcastNAB 2011: Marshall Electronics Debuts HDMI Loop Through Monitors
February 2012January 2012December 2011October 2011September 2011August 2011July 2011June 2011May 2011April 2011February 2011December 2010November 2010October 2010September 2010August 2010July 2010Complete Archives |
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Redrock Micro’s ultraCage for the C300New Cage Fits New Camera Like A Glove
At the 11th Annual San Francisco SuperMeet, I was able to actually lay hands on the Canon EOS C300 which was a thrill considering it’s all anyone has talked about since November. more »Marshall Debuts the Orchid, OR-2410Grade 1 Monitor Delivers Extreme Color Accuracy On Set
Due to changes in camera technology, it’s now become possible to colorgrade on set instead of having to transfer it to another facility. Many DIT’s are using systems that empower cinematographers to apply the 3D color space on set. more »DP Alex Buono Talks C300 At SF SuperMeetSNL Veteran, Talks About Using the C300 For Network Television…
Recently I attended the 11th annual San Francisco Supermeet. Beyond some great lectures by some great speakers, there were a variety of different hardware manufacturers and software companies to show off their latest innovations to a very engaged crowd. more »
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The 11th Annual San Francisco FCPUG SuperMeetThis Friday 1/27/2012—See, Get Seen and Win Big Prizes!
If you’re planning to be in the San Francisco/Bay Area this Friday, then you have a great opportunity to attend the most renowned user group meetups in the world, the FCPUG SuperMeet! more »
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Advertisement Ginter Goes Globetrotting with ‘Orbital’Shooter talks timelapse and travel for Citibank project
Timelapse shooter, Tyler Ginter recently had an opportunity to participate the Mill’s timelapse production entitled Orbital. As Ginter explains, Oribital isn’t your ordinary timelapse production as it was filmed in New York City, Paris and Barcelona over a 10 day period, 2 days per city plus traveling each day. more »
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The Smoke and Mirrors Behind Sweden’s BrokendollBrett Richards Tells Why His Post Is Up In Smoke
Winner of numerous ProMax awards in 2011, Sweden-based, boutique production company Brokendoll has garnered acclaim with their self-described “visually intense” high end productions for advertising, television and web. You might think a company with this level of initial success would also have goals of growing, but according to Brett Richards, Brokendoll is intent on keeping their footprint small to maintain the quality of their productions, “It is important to the quality of the production that we have the right team on each job, so we avoid large, in house teams to maximize our flexibility.” more »
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Unboxing: FloLight MicroBeam 128Compact, Lightweight Light Proves That Good Things Do Come In Small Packages…
I’m currently doing some social media consulting for a great company you may have seen me cover in the past, FloLight. To familiarize me with their products, they were good enough to send me their MicroBeam 128, camera top, LED light. This is a great little light that is the perfect solution for HDSLR “Run & Gun” setups. more »
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Shane Hurlbut, ASC and Letus Announce New Line of GearGroundbreaking DP Tries His Hand At Manufacturing HDSLR Support Products
Shane Hurlbut, ASC announced today that he, along with Letus, will be releasing a new line of HDSLR support gear they are calling the Master Cinema Series. more »
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2D Footage with a Stereo 3D Rig in After Effects CS5.5
Edit and Optimize 2D Stereo Pairs from a 3D Video Camera or Twin Cameras with a Modified Stereo 3D Rig in After Effects CS5.5
Adobe included a 1-step option to create a 3D Stereo Camera Rig in After Effects CS5.5, to everyone’s enthusiasm for a simpler workflow in 3D space. Great if you are working in 3D space in After Effects, but what about an easy option for 3D Stereo pairs captured by a 3D camera or twin cameras on a rig? In this tutorial I’ll show you how to quickly modify the Stereo 3D Rig in After Effects to quickly mux your L&R video files and adjust the convergence for anaglyph, interlaced or stereo pairs output.
How to get the “24p” look for your live-switched multicam shoot
A contracted article, sponsored by Datavideo Corporation.
Our friends at Datavideo recently asked me to write an article called How to get the “24p” look for your live-switched multicam shoot. The article covers many factors involved in accomplishing that goal, including framerate, aperture, shutter speed, depth of field, and menu settings in Datavideo’s digital HD video mixers (“switchers”) and recorders, and also the menu settings in several pro cameras from Canon, Panasonic, and Sony. The included chart explains which of the cameras have a direct HD-SDI output, and which require an optional converter to go from HDMI to HD-SDI to connect to the Datavideo digital HD video mixer. As you’ll see in the article, the approach is quite different from the workflows I normally cover, which are more appropriate when programs are to be edited, as opposed to when they are shot —and potentially broadcast— live. The graphics for this article were done by Victory Elliot of Datavideo Corporation.
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