Tuesday, January 17, 2012

LIGHTING STRATEGIES: Placing the Fill Light for Faces

Art Adams | 01/17- 03:21 PM

Placing 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.

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Friday, January 13, 2012

Ginter Goes Globetrotting with ‘Orbital’

Clint Milby | 01/13- 02:00 AM

Shooter talks timelapse and travel for Citibank project

Timelapse shooter, Tyler Ginter recently had an opportunity to participate the Mill’s timelapse production entitled Orbital. As Ginter explains, Oribital isn’t your ordinary timelapse production as it was filmed in New York City, Paris and Barcelona over a 10 day period, 2 days per city plus traveling each day.

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Friday, December 30, 2011

Green Screen Lighting on the Cheap!

Jeff Foster | 12/30- 03:59 PM

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!

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Thursday, December 29, 2011

Slo-Mo with the GoPro HD Hero2

Jeff Foster | 12/29- 03:32 PM

Static Camera & Moving Objects @120fps

By now we’ve seen hundreds of really amazing videos with a GoPro strapped to someone’s helmet, snowboard, jumpsuit, surfboard or bike - but I wanted to explore the capabilities of the GoPro HD Hero2 shooting at 120fps in a stationary and tabletop setting and let the action happen around it… in Slo Mo!

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Tuesday, December 27, 2011

LIGHTING STRATEGIES: What Makes Soft Lights Cast Soft Shadows?

Art Adams | 12/27- 05:13 AM

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.

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Monday, December 26, 2011

Sony’s FS100 camera to become “WorldCam” via free firmware update

Allan Tépper | 12/26- 07:24 AM

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Sony USA has just officially announced that the (so-far) segregated 59.94Hz FS100 camera (officially known as the NEX-FS100, often followed by a regional suffix, and then sometimes by the letter “K” to indicate that it is a kit, packaged with a lens) is about to go “WorldCam” via a free firmware update sometime at the beginning of 2012. “WorldCam” is a term used to indicate that a camera has the necessary framerates to be used worldwide, similar to an unlocked quad-band GSM phone that I have used for more than a decade to travel internationally without roaming charges. Beyond using a camera worldwide, having a WorldCam camera is also helpful when a producer needs to acquire content to be broadcast primarily in another country which uses a different framerate. This article will cover the novelistic history of the FS100’s uncertain potential capacity to become WorldCam, as well as some other improvements included in the upcoming firmware update… and some other improvements that are still missing.

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Friday, December 23, 2011

For You, a Panel Discussion

Art Adams | 12/23- 02:19 PM

Take a break from reading and listen to us for a change: PVC writers speak at the 2011 Entertainment Technology Expo in Burbank.

A rabble of PVC writers (yes, that’s the collective term) spoke at this year’s Entertainment Technology Expo in Burbank. If you want to see some of the people behind the ProVideo Coalition content curtain, including myself, this is a “must see.”

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Tuesday, December 20, 2011

The Smoke and Mirrors Behind Sweden’s Brokendoll

Clint Milby | 12/20- 02:06 PM

Brett Richards Tells Why His Post Is Up In Smoke

Winner of numerous ProMax awards in 2011, Sweden-based, boutique production company Brokendoll has garnered acclaim with their self-described “visually intense” high end productions for advertising, television and web.  You might think a company with this level of initial success would also have goals of growing, but according to Brett Richards, Brokendoll is intent on keeping their footprint small to maintain the quality of their productions, “It is important to the quality of the production that we have the right team on each job, so we avoid large, in house teams to maximize our flexibility.” 

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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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