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Redrock Micro Unveils Redrock|ops HDSLR SupportMuch More Than Meets The Eye…
One of the highlights of attending Hurlbut Visuals HDSLR Bootcamp was getting a sneak peek at some new and exciting camera support gear by the sponsors. One such treat was Redrock Micro’s new line of camera support gear, Redrock|ops. more »The Best of Stunning Good LooksA directory of my best articles, sorted by topic. This entry is a guide to my best articles, sorted by topic. Enjoy! more »Canon 5D: How much dynamic range does it have, really?The DSC 102db chart doesn’t lie: This is what it tells us about how the 5D sees the world. The Canon 5D does a remarkable job of making HD images, considering that it was originally never intended to do so. So how much dynamic range can it really capture? Thanks to the DSC 102db (17-stop) latitude chart, we now have an objective answer. more »Shane Hurlbut’s HDSLR RevolutionLegendary ASC discusses how the HDSLR changed his life, and how it will change yours… When I called Shane Hurlbut, he was just returning from a shoot with the US Marine Corps in North Carolina. Shane is one of the most visible and vocal proponents of using the HDSLR for cinematic applications. From the first time Shane held the 5D Mark II, he instinctively knew the technology would not only change the film industry, but the world as well. more »Advertisement Sony’s Full Frontal Assault On the HDSLR Market Continues…Two new cameras with truly innovative features
If there is a war between manufacturers for the greatest share of the HDSLR market, then Sony is launching a shock and awe campaign with no end in sight. Their latest assault, the second in a month, is the announcement of two new DSLRs, the α55 and α33. These two cameras seem to aggressively target the Canon T2i and 7D head on. more »My Love Affair with AlexaWhen the camera sees more than my light meter does, it’s time to acknowledge that the game has truly changed.
My dream HD camera records footage with log-encoded gamma to ProRes for a fast, easy and accessible post workflow and cost-effective color grading. It has the simplest control interface ever. It sees in the dark. And it’s built by a company whose gear I learned to trust early in my career when I started out as a camera assistant. The company is ARRI, and the camera is Alexa. more »Bill Warner, Walter Murch multi-part stories, links galoreA few great time-sucks from around the web There’s a couple of really good multi-part interviews that have been airing incrementally around the Internet that I wanted to point to. If you haven’t been following them then you’re in for a real treat as you catch up. Hollywood Reinvented is currently in part 5 of an interview with Bill Warner, the man who created Avid. Flickering Myth is taking an extended look at the career of Walter Murch. more »The Terence & Philip ShowPhilip Hodgetts and I bring our not-politically-correct opinions on Avid, Adobe, Apple, post production, production, distribution and pretty much anything we want to talk about. I have been nagged to create and maintain a blog for years, but lets face it, I’m too lazy for that. So when Philip Hodgetts suggested we do a weekly show where we can talk about anything, I realized this was a great way to actually blog. And do it with someone who is smarter than I am. 4 episodes in and counting… check out The Terence & Philip Show. more »Page 22 of 57 pages « First < 20 21 22 23 24 > 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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