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LIGHTING STRATEGIES: Exploiting a Single Light SourceSometimes all it takes to make a beautiful picture is placing one light—as long as it’s the proper light source. This still photo shows an example of one style of soft lighting that’s been in use for centuries, and for good reason: it works. There are few things more elegant than lighting a shot with a single light source. It doesn’t always work, but when it does—it’s magical. more »Basic Lighting Setups for Green Screenfrom the “Green Screen Workshop: The Setup” series There’s more to lighting your green screen than just sticking some green fabric up on a wall behind your talent and hoping for the best! Planning ahead and choosing the right setup for the shot you’re hoping to get is a key factor in determining what kind of lighting setup you’re going to require. Will it be in a studio? On-location? Indoors or outdoors? Full-length with walk-ons or just a talking head? Will your actors be making contact with the screen? These are all questions covered in this video lesson from my Green Screen Workshop series - this is a FREE video lesson, so enjoy! more »Book Review: “The DSLR Filmmaker’s Handbook: Real-World Production Techniques”By Barry Andersson and Janie L. Geyen
There’s little more popular these days than being a budding Indie filmmaker slinging a 5D MkII over your shoulder and firing off hours of footage that you can then spend months editing to make your masterpiece come alive! The biggest problem is that MOST folks entering this endeavor are totally clueless about the process or where to even start - thus making every mistake in the book in the process. The DSLR Filmmaker’s Handbook: Real World Production Techniques (Sybex ISBN 978-0-470-87660-2) aims to help you get started with not only the basics of using the gear, but also the film-making production process in a visual overview - PLUS some very cool tips & tricks. more »BOOK REVIEW: “How to Shoot Movies Without Shooting Yourself in the Foot”The best books about cinematography aren’t necessarily about the art of cinematography. They’re about getting all the other stuff out of the way so you can practice cinematography. This is the book that tells you what you didn’t know—but need to know—about becoming a cinematographer.
This book is not for everyone. If you don’t eat, breathe and live cinematography… maybe you should read something else. Seriously. This book may not be for you. (But if it is… you’d better not miss it.) more »Advertisement LIGHTING STRATEGIES: Placing the Fill Light for FacesPlacing a fill light properly is possibly more important than placing a key light… and I can prove it! In this article I wrote about classical key light placement and classical portraiture to illustrate how artists and cinematographers have traditionally gone about lighting faces. Fill light is often derided as the light that simply opens up the shadows, but it can do much more than that. It can have a shape and beauty all its own, and it can save you when your key light placement is not optimal. more »Green Screen Lighting on the Cheap!Low-voltage portable cool lights you can build yourself and save $$!
Before you go out and spend hundreds of dollars on a cheap light kit online or through a catalog, consider the option of making your own portable, durable and ultimately flexible low-voltage lighting kits. You’ll not only have more control over how much light you want to put on your background and your subject, but also how much you want to spend! more »LIGHTING STRATEGIES: What Makes Soft Lights Cast Soft Shadows?When it comes to soft light, size matters. It’s one thing to understand that soft sources make soft shadows. It’s another thing to understand why. Fortunately a friend from the insect world can help us if we will look at soft light through his eyes. more »LIGHTING STRATEGIES: Soft Light vs. Hard LightHard lights are great for textures, but soft lights are great for defining spaces. In a previous article I described how to place a hard key light. In this article I’ll look at why soft sources are a bit more realistic in color cinematography, require less precise placement, and can help define the volume of a space. more »Page 1 of 11 pages 1 2 3 > 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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