Friday, September 30, 2011

Shane Hurlbut, ASC and Letus Announce New Line of Gear

Clint Milby | 09/30- 04:06 PM

Groundbreaking DP Tries His Hand At Manufacturing HDSLR Support Products

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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. 

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Wednesday, September 28, 2011

The Templatorization of “Creativity”

Terence Curren | 09/28- 05:05 AM

Is there any room left for new ideas, or are we doomed to work on repeats of previous projects forever?

The trend toward basing creative endeavors on templates has been with us for many years, culminating in Hollywood’s use of its history as templates for its current production.

Whether this is a good or bad thing depends on whether you value your personal creativity, or you’re pushing a budget to get a project finished.

Click on the link below to play the latest Terence & Philip Show as we confront the good, the bad and the ugly of formulaic content creation.

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Tuesday, September 27, 2011

Fill Light: The Underdog of Lighting

Art Adams | 09/27- 08:00 AM

Fill light isn’t just for controlling contrast; its quality and placement can make or break your shot.

The day I stop learning about lighting will be the day my EKG goes flatline. There’s an extraordinary amount to learn and absorb, and I doubt I’ll ever learn all of it. That’s okay, because it means I’ll never run out of new things to learn. My most recent fixation is on the one light many think about the least: the fill light.

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Monday, September 19, 2011

Blue Nile Shines Thanks to the Canon 5D and Apple Color

Art Adams | 09/19- 03:23 PM

One more chapter in my “It’s not the camera, it’s the creativity behind the camera” series.

One of the best things about this business is that greatness lurks around every corner. If you are resourceful and creative you’ll find it well enough.

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Thursday, September 15, 2011

Redrock Micro Brings Order To Unruly Cables

Clint Milby | 09/15- 04:49 PM

Innovative microTies Promise To Tie Up Loose Ends

Your cat may like them.  If you have a touch of OCD you might enjoy unraveling a nice ball of wires to calm your nerves.   However, disconnect a power cable on a light or your HDMI cable during a shoot and it could cost you a shot, which could cost you a job. Especially for the HDSLR shooters, the myriad of wired accessories continues to grow, and so do the chances of you getting tied up knots. Electric tape or grip tape work, but they aren’t very dependable, and they make your cables and rig sticky. There’s the velcro ties, but they’re like socks that some how vanish without a trace. So what’s the solution? Enter Redrock Micro’s microTies.

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Tuesday, August 23, 2011

Magic Bullet Suite’s MisFire and Adobe CS5.5 Production Premium

Clint Milby | 08/23- 08:47 PM

How To Make Your Video Look Old…But Not Tired

The Unsung Hero of Magic Bullet

I say unsung, because there’s not any mention of it being part of the Magic Bullet Suite. Once I loaded the Suite and opened it up for the first time in Premiere Pro CS5.5—there it was. I went back to the RedGiant website and searched and found just a small amount of information on their blog.

more »

Friday, August 19, 2011

Less Jello, Please

The Sony Tech Guy | 08/19- 01:41 PM

Reducing CMOS Jello-cam.

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Stop that train!  Right-to-left subject motion causes the train’s verticals to tilt, while the foreground fence is unaffected.

With much respect to the fine people at Kraft Foods, purveyors of Jello® brand gelatin desert, there is another Jello that we’re not fond of: the Jello-cam of some CMOS cameras.  An artifact typically visible in moving subjects with strong vertical lines, Jello-cam can make uprights appear slanted and table legs look wobbly.  A powerful Sony technology addresses this image distortion.

more »

Monday, August 08, 2011

Gear In 60: SmallHD Monitor Case

Matt Jeppsen | 08/08- 07:00 AM

A fantastic hard case for the DP6 and accessories

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Here’s another video in our FreshDV Gear In 60 Seconds series that quickly shows how I store and travel with the SmallHD DP6 field monitor and it’s associated accessories. Watch below.

more »

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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

How to get the “24p” look for your live-switched multicam shoot
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2D Footage with a Stereo 3D Rig in After Effects CS5.5

Jeff Foster | 02/10- 06:09 PM

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.

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How to get the “24p” look for your live-switched multicam shoot

Allan Tépper | 02/10- 04:23 PM

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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