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NAB Video - LightingLED fresnels, dedolight innards, active diffusion, and a wet HMI.
LitePanels LED fresnels (yes, that’s Rodney Charters fiddling with the Sola6); why dedolights make light the way they do; zylight’s Active Diffusion panels, and K5600’s very damp HMI. 900x506 QuickTime movie, 1 Mbit/sec h.264. more »Everyone Looks Sexy at 1000fpsI recently shot high speed tests on the RED and Phantom cameras. Come see which one makes me look most like a bionic dancer. One of my favorite clients recently pitched a project that requires shooting high-speed footage at 1000fps. To help them sell the concept I shot some tests comparing the RED ONE at 120 and 100fps to the Phantom HD Gold at 1000fps. more »The Tiger Lillies Finally Set SailThe Tiger Lillies video you read about on my blog is finally here. And it’s a mind-blower.
Back in November 2009 I spent three days with director Mark Holthusen, producer Jason Santos, camera assistant Adam Wilt and a cast of dozens on the Meets the Eye stage in San Carlos, CA. There we set sail with the Tiger Lillies for their interpretation of “The Rime of the Ancient Mariner,” and then we waited months for Mark to work his pictorial magic. He didn’t let us down. Here it is: more »The Making of an Epic Media ProjectA RED ONE, a small but agile crew, and a 2k 60’-wide screening in an Omnimax theater. This, truly, is a modern day epic.
Rambus is a company of big ideas, and they wanted their 20th anniversary celebration to include a theatrical production that accurately reflected who they are and where they came from. The resulting short film—shown in an Omnimax dome at the San Jose Tech Museum—moved Rambus founders and employees to tears. more »Advertisement Low-Budget PSA’s, Shot on RED, Prove that Budget is Not a Barrier to ExcellenceFast, cheap and good—normally you can pick any two. For these PSA’s we got all three.
“Dad has a barn and mom can sew—let’s put on a show!” Production budgets aren’t what they used to be, but that doesn’t excuse sloppiness. There’s almost always a way to do good work as long as your creativity extends beyond lighting and framing into the realm of “making do.” more »A Tale of Forbidden Love, Shot on RED“Independent film” implies independence from money, but not from quality
A short schedule, minimal crew, no budget, a RED with an untried software build, and a trained dog in nearly every shot. What could go wrong? more »Anatomy of a Spot: Commonwealth ClubRED brings a quality boost to a low-budget quickly-shot spot.
In this economy one has to stretch every production dollar as far as it can go. This doesn’t mean compromising on quality, though: keeping things simple can yield huge dividends. This includes knowing when it’s okay to shoot with available light, and when natural light needs a little help. more »World’s Only “Death Oompah” Band Gets Virtual Reality Music VideoThe Tiger Lillies sail to a virtual arctic wasteland for their new album “Rime of the Ancient Mariner”
An accordion-playing lead singer; a drummer who occasionally uses a doll instead of drumsticks; and a song based on the “Rime of the Ancient Mariner.” Just another day on set with one of the most macabre bands in existence: the Tiger Lillies. more »Page 6 of 11 pages « First < 4 5 6 7 8 > 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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