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PVC NAB 2011: Camlight Focusing LED Studio LampA Clever Design Gives Some Focus To A Flat-Front LED Lamp PVC NAB 2011: Camlight Focusing LED Studio Lamp from ProVideo Coalition on Vimeo. You find some of the most interesting things at the smaller booths at NAB. Here’s a new take on focusing an LED lamp from Camlight. more »PVC NAB 2011: Arri L7T LED Fresnel LightBig, Bright And Cool To The Touch PVC Arri L7 LED light v2 from ProVideo Coalition on Vimeo. Arri has been a leading name in production gear for almost 100 years. Now they are taking the next leap into LED fresnel lighting with the L7 series. more »PVC NAB 2011: Litepanels Sola ENG LightA Lotta Light for 30 Watts PVC: Litepanels Sola ENG Light from ProVideo Coalition on Vimeo. Sunguns have come a long way in the last five years. Here’s Litepanels latest - with an actual Fresnel lens, focusing and a dimmer to boot. more »iPhone Apps: The Short List for the Average CinematographerOf all the apps I’ve found, these are the most helpful. It seems everyone and their sister’s friend’s cousin has made a list of indispensable cinematography iPhone apps. Now it’s my turn. Let’s see how original I am. more »Advertisement And Then The Camera Spun Around And Bit Me On The Ass.An embarrassing admission from a seasoned shooter
Meet the Sony HDW-790, a 2/3” high-def ENG/EFP camera that records to HDCam (read: Beta-shell) cassettes. This camera - and its two brothers - are the day-to-day field-shooting workhorses for Wisconsin Public Television, where I have worked for the last 23 years. Lately (as in the last 9 years or so) my career path has taken me a bit away from the daily shooting grind, but I still fill in the photography gaps now and again, Keeps you young, dontcha know. Except when it tries to kill you. more » Courage Under LightingA case study in set lighting for a music video. We deconstruct a set and examine the lighting approach.
Recently I had the opportunity to direct a music video for a local Chicago band called Flatfoot 56. On this particular project, the narrative would be completely shot on a sound stage and the performance piece of the band would be shot at one other location. Lighting the performance location wound up taking roughly eight hours to rig, utilizing around 22 heads and drawing about 23,000 watts. So where did we end up and how did we get there? Come and take a ride along with us; our first stop is in Gary Indiana. Read on… more »What $300 Buys These DaysOne of those “I sure hope this is true” stories…
OK, folks, have a look at “Lazy Teenage Superheroes,” a funny, really watchable (and slightly NSFW for language) 13-minute riff on science fiction: more »The LED Camera Light Shootout…...that I wish I had gotten to first!
A guy named Frank Glencairn, whom I think is in England somewhere, has gone and done what we’ve all thought about: A shootout between five inexpensive LED sunguns. (OK, so maybe the term “inexpensive” doesn’t quite stretch to cover the Litepanels LP Micro, but I digress.) more »Page 4 of 11 pages « First < 2 3 4 5 6 > Last » Advertisement |
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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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