your guide to - Videomaker.com

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EXPOSING FOR THE SKY page 50
®
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO JUNE 2013
DETAIL
YOUR GUIDE TO
STUDIO PRODUCTION
• Keeping Your
Gear Safe
• Your First Job
• Writing Grants
reviewed
T:10.5”
B:10.75”
S:9.625”
Panasonic AG-AC90
Nikon 1 J2 Compact Camera
NewTek TriCaster 40
The new EOS-1D X offers the most advanced focusing, exposure and low-light
performance of any Canon DSLR. With the newly designed 18.1 megapixel
full-frame CMOS sensor and a wide ISO range, you can shoot confidently in any
light with the ability to capture low noise images even at a high ISO. And when
used with its 100,000-pixel RGB metering system and the new radio-based
wireless Speedlite 600EX-RT flash system, you will shoot with total control in
the most challenging situations.
contents
pro.usa.canon.com/detail
• Studio Gear
• Tripods and Supports
• Production Monitors
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© 2013 Canon U.S.A., Inc. All rights reserved. Canon and EOS are registered trademarks of Canon Inc.
in the United States and may also be registered trademarks or trademarks in other countries.
Let the Experts Teach You How to Shoot Great Video ... in Person!
Join Videomaker’s Editors for a one-day training conference in Sacramento, Calif. June 28.
videomaker.com/SAC2013
Contents
Volume 27 • Number 12
JUNE 2013
www.videomaker.com
Features
18 Tripods & Stabilizers Buyer’s Guide:
38 Entry-Level Jobs for Video:
Better Video From the Ground Up
The Building Blocks of Your Career
If you want your work to look more like the shots you see on TV, you
need to shoot rock-solid steady footage.
by Chuck Peters
There are many jobs in the video and film industry that require
years of on-set experience or working as an apprentice. For
aspiring videographers, the initial job search can be discouraging.
by Julie Babcock
26 Production Monitors Buyer’s Guide:
Getting the Right Image for the Work
Choosing the best production monitor for the work being done is
the best key to success.
by Marshal Rosenthal
18
38
44
2 Viewfinder
TriCaster 40
Panasonic AG-AC90
Nikon 1 J2
Overused Conventions
by Matthew York
44 Basic Training
Keeping Equipment Safe and Clean
on a Shoot
by Kyle Cassidy
47 Distribution
50 Lighting
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On Sale June 25, 2013
Cover Photo by Jennifer O'Rourke
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4 Panasonic AG-AC90
Professional Camcorder
6 Adorama Flashpoint 500
LED Light
9 TriCaster 40
Portable Production Studio
55 Editing
contents
Reviews
by Stephen Diaz
Exposing for the Sky
by Terry O'Rourke
Pro Camcorders Buyer’s Guide
Videomaker’s Best of NAB
Editing Pre-Edited footage
Working in 5.1 Surround Sound
57 Ad Index
by Mark Holder
Writing Proposals That Sell
by Morgan Paar
Next Month
4
Departments
Columns
On the Cover
47
by Brian Peterson
Editing HD for SD Output
by Russ Fairley
60 Audio
12 Manfrotto 502
Tripod System
by Chris Monlux
Hits and Impact Sound Effects
by Hal Robertson
64 Take 5
14 Nikon 1 J2
Compact Camera
by Stephen Diaz
Five Tips for Finding Free or Cheap
Video Gear
by Bree Brouwer
New rs
a
Webin
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Four New Classes Added to Videomaker's Popular Training Webinars!
Advanced Shooting • Audio • Making Money • Wedding & Events
V IDEOMAKER >>> JUNE 2013
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See page 59 for details
1
VIEWFINDER
Videomaker empowers people to make video in a way
that inspires, encourages and equips for success. We
do this by building a community of readers, web visitors,
viewers, attendees and marketers.
by Matthew Y or k
Overused Conventions
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Video conventions are an interesting lot. We find it curious that most
of them are quite good and some are
outstanding. The only problem with
is that they catch on and get overused
to the extent that videographers and
viewers become jaded. What was
once the rage is no longer acceptable.
That’s a shame because, in spite of
their overuse, a lot of video conventions are worth a second look.
When does an overused video convention become a video cliché?
Take a wedding video made during the past several years. Have you
seen the bride twirling in her regular
clothes, then magically transforming
into her wedding dress as she continues to twirl? How about black and
white segments with only the bouquet
in color? There are some transitions
that became so identified by their use
to the point that videographers could
point them out, “Say, that’s a Toaster
transition.” Some of those transitions
and effects were great. Many became
standing faves, but their overuse
ceased to generate wow after a time.
In action videos some skateboard,
snowboard and motocross moves and
associated shots are cliché conventions but that doesn’t keep the extreme sports enthusiasts from enjoying them. In creative video production
the use of shallow depth of field shots
is sometimes overused. Is this going to
become a cliché to the point that creative types avoid using this technique
at all because everybody else is?
Using a telephone conversation in a
scene, at one time, became so overused that it might be frowned upon
in today’s productions. More recently,
how about all the cat videos posted on
the Internet. Overused cliché?
Remember the Star Wars style credits disappearing into an infinity? What
are some other overused conventions
you remember? Any new ones? Do
you hate them or avoid using them
because they show up too often? Do
2
publisher/editor
associate publisher
chief operating officer
HR/office manager
content director
managing editor
associate editor
associate editor
art director/photographer
contributing editors
you avoid using something perceived
as a video convention at all costs, or
use one where it fits?
There are elements of video production that, though consistently used,
do not a cliché make. The establishing shot in your production. Overused convention? Probably not. Does
shooting a wide shot of the opening
scene show a lack of creativity or new
cutting-edge (cliché intended) thinking
to use as an establishing shot or to set
the mood? Some might consider lack
of an establishing shot to be the sign
of a freshman who has not yet realized its importance.
There’s no doubt, however, that both
old video conventions and clichés will
thrive and new ones will occur. It is our
job as video producers to come up with
the next great video convention and
guard it from becoming cliché as often
as we can. Imitation is the most sincere
form of flattery (cliché intended), so
if your next new move, treatment or
unique POV (point of view) becomes
overused, it might be because a lot of
people like it. Use your creativity now
before it winds up becoming a video
convention cliché!
Matthew York is Videomaker's Publisher/Editor.
For comments, email: [email protected],
use article #15667 in the subject line. You can
comment and rate this article by going online:
www.videomaker.com/article/15667
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REVIEWS
REVIEWS
Panasonic AG-AC90
Panasonic
AG-AC90
Full HD 3MOS
AVCCAM
Camcorder
Familiar Format,
Fabulous Results
b y M a rk H ol der
W
ith so much attention placed on
DLSRs and interchangeable lens
camcorders today, Panasonic has continued to focus a great deal of effort
on improving a design that has been
working quite well.
The Panasonic AG-AC90 full HD,
3MOS AVCCAM handheld camcorder
packs a number of very nice pro
features into an extremely well balanced, lightweight and reasonablypriced prosumer level piece of equipment. The level of improvement and
detail given to the automatic features
will appeal to the run-n-gun, singleshooter types among us, while the
Panasonic
www.panasonic.com
STRENGTHS
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• Excellent image quality
• Highly effective OIS
• Very clean gain
• Backup recording on second memory
card
WEAKNESSES
• No magnified focus assist
$2,250
4
Two XLR audio inputs
TECH SPECS
ability to switch to manual controls
will put a smile on the face of pretty
much everyone else.
Familiar Design
There are no neutral density or
video gain switches or dials on this
camera. These tasks are instead integrated into the iris ring. At one end of
the exposure spectrum, the iris is fully
closed. It begins to open at f11 and
continues to open wider until it reaches f1.5 - fully open. At settings wider
than f2.8, neutral density filtering is
automatically applied in increasing
degrees. Continue to rotate the iris ring
beyond fully open and gain is applied
in 1dB increments up to a maximum
of 30dB. The trade-off here is that as
gain is added, noise increases. The
AC90, however, has some of the cleanest gain we have seen, with increases
to 20dB being relatively noise free and
very usable. Exposure assist features
include a Zebra button on the control
panel with two zebra settings and a
marker function.
The placement of the LCD represents an interesting design change
Though not an interchangeable lens
camera, the lens it comes with is quite
capable. The fast lens (f1.5 fully open)
allows loads of light to hit the sensor,
always a good thing - particularly in
low light situations. Optical zoom is
a respectable 12x and you control it
using the middle of the three rings on
the lens barrel or one of the two zoom
rocker switches - one at the top of the
handle and the other atop the hand
grip on the right side - each near its
own thumb-accessible record button.
The rocker switches are right-now responsive, while the zoom ring is much
smoother, allowing you to ease in and
out and vary the speed of your zoom.
The focus ring allows you to achieve
manual focus while Push AF (assigned
to a User button) lets you
Left side control buttons
switch temporarily to auto
for a quick assist from the
camera. Two buttons on
the control panel affect
your focusing options:
Focus A/M switches between auto and manual
focus, while Focus Assist
outlines the areas in focus
with red. Older eyes will
welcome this feature.
Pickup Devices: 1/4.7 type 3MOS
image sensors
LCD: 3.5" wide
Viewfinder: .24" wide EVF
Lens: Auto Iris optical zoom (full range AF)
Aperture (Focal Length): f1.5 to f2.8
(2.84mm to 34.1mm)
Filter Diameter: 49mm
Zoom: 12x optical, 25x i.Zoom,
2x/5x/10x digital
Image Stabilizer: Optical (hybrid optical image stabilizer, active mode)
Microphone: 5.1 ch surround (with
zoom/focus function), stereo microphone
Recording Media: SD/SDHC/SDXC
Memory Card
to this otherwise familiar format.
Most LCD panels fold up flat against
the side of the camcorder, covering
frequently used buttons. The AC90’s
LCD panel slides out from a crosspiece at the front of the handle then
rotates vertically up to 270 degrees for
high and low angle, or self, shooting. The high-res panel is sharp, crisp
and touch sensitive. The touchscreen
controls menu and playback options,
all of which are nicely responsive
and easy to navigate. The retractable
nature of the LCD provides a high
level of protection to the screen when
safely tucked away, but care should be
used when the screen is out and while
putting it away, so that it isn’t struck
or forced at an angle.
Attention to Audio
Of course, a huge part of the success
of any video production is the quality
of its audio and the AC90 includes
numerous options to enable you to
achieve that goal. Its built-in mic is
capable of 5.1 surround sound or
two-channel stereo capture with both
focus and zoom functions.
Although this audio is certainly
usable, we know it is better to get the
Recording Format: AVCHD version 2.0
compliant, AVCHD Progressive
Motion Picture Compression: MPEG-4
AVC/H.264
Audio Compression: Dolby Digital
(5.1ch/2ch)
Still Picture Recording Format: JPEG
Video Output: AV Multi, HDMI
Audio Input/Output: Line (2ch - AV
Multi terminal), HDMI (Dolby Digital),
headphones, XLR (2)
Input/Output: USB, camera remote
Weight: Approx. 3.3lb. - main unit only;
Approx. 3.9lb - with battery and SD card
Dimensions (WxHxD):
6-5/6"x7-11/16"x13-1/16"
microphone closer to your subject
than the camera as often as possible.
To this end, the AC90 includes two
XLR inputs on the right side of the
crosspiece at the front of the handle.
Opposite the inputs, at the other side
of the crosspiece, is a hinged plastic
cover, housing line/mic and phantom
power switches. A second cover at the
rear of the control panel protects the
input source selection switches and
gain control dials. These dials can be
accessed through holes in the cover,
without having to open it first, for gain
adjustments on the fly.
Peak Performance
Three 1/4.7 type MOS, 1080p image
sensors (one for each primary color RGB) combined with highly sensitive
backside illumination (BSI) and dense
pixel shifting technology, delivers extremely sharp pictures without aliasing, excellent color reproduction and
a broad dynamic range. Shadows and
highlights are right where we like to
see them. The AVCHD format records
at a color sample ratio of 4:2:0.
The Intelligent Auto Mode and
Hybrid Optical Image Stabilizer (OIS)
will likely appeal to run-n-gunners
VI D EO MA K ER >>> J UN E 20 13
in particular. The auto mode automatically detects shooting conditions
and adjusts every parameter accordingly. Of course, we like our manual
controls, but for those times when
it’s shoot it or lose it, Intelligent Auto
Mode does an excellent job. Hybrid
OIS combines the best of both optical
and electronic approaches to image
stabilization, analyzing motion along
five axes for excellent results - some
of the best we’ve seen in fact.
In addition to awesome video images,
the AC90 also takes very nice 3MP still
photos, recording everything to SD
cards. With dual memory card slots,
your recording time can be extended by
automatically switching to the second
memory card when the first becomes
full. For more paranoid shooters, backup recording records the same material
to both cards simultaneously for safety.
If at any time one card fails, recording
continues on the second card so you
don’t lose the shot.
With excellent image results,
reasonable pricing, all these features
and too many more to mention, the
Panasonic AG-AC90 has a lot to offer
enthusiasts and prosumers alike.
SUMMARY
With loads of professional features, excellent image quality and
an affordable price, the Panasonic
AG-AC90 is a great value.
Contributing Editor Mark Holder is a video producer and
trainer.
5
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REVIEWS
Adorama
Flashpoint 500
LED Light
Dialing in LEDs
b y S t e p h e n D i az
I
t’s surprising how much light shines
out of the relatively small Flashpoint
500 LED light. With a simple twist of
a dial, one can easily fine-tune the
amount of tungsten or daylight illumination desired for any video situation.
“Lights, Camera, Action!”
Before rolling the cameras, it’s no
wonder lights is the first word out
of the director’s mouth. Lighting is
everything from setting the mood to
giving that professional touch needed
for your videos. For video producers
everywhere it’s easy to think about the
Flashpoint [Adorama]
www.adorama.com
STRENGTHS
• Small and lightweight
Separate dials for individual or combined
tungsten and daylight
Portable with purchase of additional battery pack
WEAKNESSES
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• No quick release on barn doors
No carrying case
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$200
6
camera and the action but even easier
to neglect the lighting of scene. Even if
you consider yourself a master of using natural light, sometimes you just
need that extra boost. That’s where
the Adorama Flashpoint 500 LED light
comes in.
Maybe you’re adding yet another
light to your arsenal of studio equipment, or maybe this is the first light
purchase you’ve considered. Either
way, the Flashpoint 500 LED is a
highly capable yet affordable option.
There are many lights on the market
today that range from small oncamera lights to studio setups that
cost thousands of dollars. Adorama’s
Flashpoint 500 LED combines the best
of both worlds, all while keeping the
price tag at $200.
It’s a little too large to mount on
a camera, but the perfect size for a
home studio or for packing and traveling. Plug the Flashpoint 500 LED into
an outlet with the included 13-foot
power cord, or pop on an optional
lithium-ion battery to take the light
beyond the reach of your household
extension cords.
No Instructions Needed
Available directly from Adorama, the
V IDEOMAKER >>> APRIL 2013
Flashpoint 500 LED arrived wellpacked in a package. Everything
inside was snuggly wrapped in plastic
and secured by fitted Styrofoam. A
light stand is not included with the
Flashpoint 500 LED but one can
THE FLASHPOINT 500 LED
IS A HIGHLY CAPABLE YET
AFFORDABLE OPTION.
be purchased separately from any
video related equipment retailer. The
included mounting adapter attaches
easily to any side of the light, allowing for vertical or horizontal configurations. On the other side of the
angle-adjustable adapter is a hole that
will fit around any standard 5/8-inch
top-studded light stand.
The Flashpoint 500 LED comes
with no instructions and frankly, it
doesn’t need any. This light is dead
simple and easy to use. We grabbed
a light stand and had it ready to light
an interview in less than two minutes.
On the backside of the Flashpoint 500
LED light are two simple dials, one for
The new DaVinci Resolve is now
even faster and easier to use!
With over 25 years’ experience in color correction, DaVinci Resolve is the
world’s most loved high end color grading system! Only DaVinci Resolve
is designed to be real time all the time, so it keeps up with you when
you’re working on demanding client jobs. With the most creative toolset
and highest image quality, it’s easy to see why DaVinci Resolve is used
on more Hollywood feature films, syndicated network television series,
music videos and high end television commercials than any other system.
Greater Creativity
Automated for Speed
DaVinci Resolve includes more automatic tools such
as the 99 point 3D window tracker so you’ll rarely
need to manually track windows! You get automatic
3D eye matching, auto-grade, auto stabilization,
auto 3D color matching, automatic XML, AAF and EDL conforming, real
time proxies, auto scene detection and much more!
World’s Best Compatibility
With a massive toolset designed by colorists for
colorists! The innovative YRGB primaries and node
based design allow more creative grading and better
looking images. Combined with PowerWindows™,
RGB mixing, curve grading, blur, sharpen, mist, keying, noise reduction
and 32 bit float quality, you get more with DaVinci Resolve.
No system supports more file formats in real time. Grade
from mixed format clips on the same timeline including
bayer format CinemaDNG, RED™, ARRI™ and F65™ raw,
ProRes™, DNxHD™, H.264, uncompressed and more.
Get full multi layer timeline XML, AAF and EDL round trip with editing
built right into DaVinci Resolve! If your edit changes, Resolve will
automatically relink grades!
Super Computer Processing
DaVinci Resolve uses a cluster of GPUs for real time super
computer performance. Simply plug in an extra common
graphics card (GPU) to get more performance. Add up
to 3 GPUs on Mac OS X or a massive 16 GPUs on Linux.
The freedom is yours, and there are no extra software costs! Simply plug
in GPUs when you need more power!
DaVinci Resolve Lite
Free
Free download with unlimited nodes. Supports 1 GPU.
DaVinci Resolve Software
995
$29,995
Full Resolve with unlimited nodes and multiple GPUs. Use 3rd party control panels.
DaVinci Resolve
Full Resolve with colorist control surface for the most advanced facilities.
$
Learn more today at www.blackmagicdesign.com/davinciresolve
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REVIEWS
REVIEWS
Adorama Flashpoint 500
NewTek
TriCaster 40h
TECH SPECS
Bulb Type: Ultra Bright LED
Bulb Size: .2" (5mm)
Light Temperature: 3200-5900K
Light Dimensions: 14" x 7½" x 2 ¾"
(35cm x 19cm x 7cm)
Watts: 42w
Fuse: 5A
Power Cord Length: 13'
Battery: AC, V-lock lithium-ion battery
pack sold separately
Carrying Case: No
Accessory Mount: Yes
Handles on Lamps: Yes
Spot/Flood Adjustable: No
Barndoors: Yes
Total Weight of Kit: 6lb.
tungsten and one for daylight. Each
dial lights up half of the LED grid,
shining either specific palette onto
your subject. The Flashpoint 500 LED
consists of a 16x32 grid of LED lights,
which actually totals 512 LED lights.
Turning both dials allows the user to
combine the two styles of LED to find
the perfect color temperature for any
video shoot.
As well as the two individual
temperature dials, the light has an
Back of Flashpoint 500 showing dimmer dials
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8
From the Studio to the Streets
While setting up the Flashpoint 500
LED in a basic three-point lighting
configuration, we discovered that it
worked great as the key, fill or the
backlight. Even with a single-light
setup, the Flashpoint 500 LED worked
flawlessly for a variety of applications.
Having the temperature dials to fade
the perfect color and brightness in or
out was key to achieving a perfect shot
every time.
Ranging from 3200-5900K, the
tungsten and daylight knobs help
attain perfect skin tone and white balance. Tungsten gives off a warmer orange-yellow tone
while daylight is a
cooler blue tone.
No matter where
you’re shooting,
it’s always helpful to have this
range of options
to counterbalance
any other light
source that may
negatively affect
your color temperature balance.
For instance,
V IDEOMAKER >>> APRIL 2013
Affordable HD Switching
when shooting indoors under combined fluorescent and tungsten lights,
video footage turns out orange and
green in color. With the Flashpoint
500 LED light, it’s simple to counterbalance the conflicting light sources
by matching the natural color temperature. Similarly, when shooting outside
with tungsten lights, often your subject comes out a little red with everything else looking blue, especially in
the shade or on an overcast day. Using
the daylight setting on the Flashpoint
500 LED will help brighten and balance the colors of any scene. This not
only makes your footage look better
than ever, it saves you precious color
correction editing time! Many budget
LED lights on the market only have a
daylight setting with a tungsten filter
that slides over the light to warm it up.
The Flashpoint 500 LED stands out
from the crowd with the capabilities
to combine both color temperatures to
find the perfect mix of each.
b y B r i a n P e t e r so n
N
ewTek’s TriCaster 40 is designed
to give small facilities, schools,
churches or independent producers live production capacity without
breaking the bank. For $4,995 you
get the TriCaster 40, and an LED
backlit keyboard and a mouse. This
powerhouse can switch between
14 channels that include four live
mixed resolution video sources up
to HD, two network, two internal
graphics, one digital disc recorder,
one black and four virtual sources.
And it is also among the first budget
switchers that can compress a live
stream for the Internet.
Brighten Up Your Day
Overall, we were highly impressed
with the performance of Adorama’s
Flashpoint 500 LED Light. At the attractive price point of $200, this light
is affordable and compares to other
lights priced at twice or even three
times as much. From solid build quality to the surprising amount of light
it throws into a scene, the Flashpoint
500 LED is a great piece of gear to add
to any video producer’s collection.
SUMMARY
Whether you need daylight or tungsten light, the Adorama Flashpoint
500 LED light packs a lot of power in
an attractively affordable package.
Stephen Diaz is an independent filmmaker and professional blogger.
Photos by Jennifer O'Rourke
contents
XLR input for the included power
cord and a mount for a Flashpoint
V-Lock mount lithium-ion battery. An
installed 5A fuse helps power the 42watt light, plus a backup fuse in the
box for future use. Included barndoors
on the Flashpoint 500 LED help with
directional lighting and come attached
to the frame. They are removable with
a screwdriver and small wrench, yet
they simply fold out of the way so removal is not generally necessary. The
only downside of the Flashpoint 500
LED is it does not come with a carrying case. Although, with such an affordable price and small size the light
can fit in a padded gear bag purchased
with the money you saved.
Simply Powerful
Setup is about as easy as it gets. In
fact, unless you're completely new
to video, you'll have no problem
hooking up cameras, starting the
system, creating a new session and
beginning live switching without
ever glancing at the user guide. From
taking the unit out of the box to
switching between two cameras took
us just less than 10 minutes without
a peek at the guide. But should you
need to, the TriCaster 40's well-written 70+ page manual keeps things
brief and clear. It is also one of the
first user guides that uses a QR code
on the switcher screen for ready
access on your tablet or
Tricaster 40 face showing a multitude of inputs and outputs
smartphone.
The TriCaster 40 is a
compact black box that
easily fits on a small
desk. The front panel
houses all of the A/V
inputs and outputs that
keeps you from fishing around the back to
change configuration.
Video inputs use professional locking BNC connectors but if you don’t
have the right cables,
the TriCaster 40 includes
BNC to RCA converters. There are a
pair of stereo RCA ins and outs and
one mono balanced 1/4-inch input
for a microphone and one stereo
1/4-inch output for headphones.
Four USB connections and the power
button complete the front panel. The
rear panel offers standard computer
system connections plus one HDMI
and two eSATA ports for external
storage.
Newtek sent us the optional control
surface for this review so, of course,
we had to check it out. Like the main
NewTek, Inc.
www.newtek.com
STRENGTHS
• Easy to use
• Flexible source and output types
• Low cost
WEAKNESSES
• Minimal audio inputs
• Fan noise
• Limited graphics customization
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$4,995 TCXD40
$1,995 Control surface
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9
REVIEWS
REVIEWS
NewTek TriCaster 40
NewTek TriCaster 40
Ready, Set, Switch
TECH SPECS
Switcher Channels: 14 – 6 external, 4
internal, 4 virtual inputs
Video Input: 4 simultaneous mixed live
video sources, including HD, Component,
SD Component, Y/C or Composite.
Network Sources: 2 via Gigabit connection.
Virtual Inputs: 4 independent, mix/
effect-style channels.
Downstream Key: 2 with independent
DVE, transition controls, positioning and
scaling.
Video Layers: 5 simultaneous layers.
Virtual Sets: 24 HD live virtual sets.
Video Output: Analog BNC configurable
for Component (2) or Y/C + Composite
(Program and SD-only AUX). Network output for live streaming.
Recording: Resolutions up to 1080i
Encoded as QuickTime or Web-quality
H.264
Recording Capacity: Approximately 20
unit, the control surface is very well
built. The buttons feel solid and the
T-bar for dissolves and fades has the
same silky smooth motion found in
expensive switchers. We also used the
mouse control included in the base
model.
Test Configuration
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For our tests we hooked up two 720p
JVC GY-HD110Us and a Canon EOS
5D Mark II with the HDMI output
converted to component video. Your
camcorders need to output a composite or component analog signal. If they
only output digital data you'll need to
use an external signal converter.
We then manually configured the
types of camera signals by selecting
the input settings icon at the upper
right of each input screen within the
10
hours of 1080i or 120 hours of 480i via
internal drive in QuickTime format.
Live Streaming: HD live streaming
via Adobe Flash or Microsoft Windows
Media Push/Pull.
Audio Inputs: 1/4" Mono (Mic) Stereo
RCA, L/R (Line)
Audio Outputs: Stereo RCA, Stereo L/R
1/4" Stereo (phones)
Supported Formats: NTSC model:
1080i, 720p, 480i (16:9), 480i (4:3)
Playback Media Formats: AVI, DV,
DVCPro, DVCProHD, FLV, F4V, H.263,
H.264, MOV, MKV, MJPEG, MPEG, MP4,
WMV, WebM, PSD, PNG, TGA, BMP, JPEG,
EXR, RAW, TIF, AIFF, MP3, WAV, and more.
Processing: Video: 4:4:4:4, 32-bit
Floating Point.
Audio: 2 channels, 96 kHz, 32-bit Floating Point.
System Physical: 10.4 x 8.5 x 17.5 in.
19lb.
Live Desktop. Here there is also a processing amplifier (proc amp) to adjust
brightness, contrast, color or saturation, a chromakeyer and crop tool for
making simple garbage mattes. What
we did not have to do was perhaps
most amazing; each camera input was
automatically in sync. Unlike many
switchers, you don't need expensive
external time base correctors or genlocks to sync cameras.
For audio we connected the output
of a 12-channel mixer to the TriCaster
40’s unbalanced RCA inputs and also
plugged in a lavalier microphone
to the balanced 1/4-inch input. The
last part of our system configuration
included setting up our main Live
Desktop screen on a 24-inch LCD and
connected the Program Out component signal to an LCD TV.
We started the system and created a
new 720p HD session. At this point
you can either go directly to a live
show or manage digital assets such
as video clips, stills, titles or audio.
We imported some sample media and
started our session, letting the TriCaster 40 go through its initialization
which can take about two minutes the
first time you use it. The Live Desktop
screen appeared and we were ready to
start our test show.
We performed a sample two minute
live show with open graphics, talking
head, lower thirds title, pre-produced
video segments, externally networked
PowerPoint, chromakey, a live music
mix and closing graphics. Starting
from black, the fade up to our open
revealed the fades are incredibly
smooth with no banding or rapid
fall-off near the end of the transition
that some budget switchers display.
The cut to our talking head had no
perceptible lag. We used the downstream keyer to dissolve in our lower
third identifier graphic stored in the
GFX 1 channel. Like the fade up from
black, the dissolve of the overlay is
very smooth with no visible banding
throughout the transition that can
plague low-cost switchers.
We then transitioned to our first
pre-produced video clip. When playing back video clips a nice feature is
a red bar that alerts you to the last
five seconds of playback so you are
ready for the next take. But even if you
forget, the TriCaster 40 can automatically switch back to your last source.
Autoplay is another very welcomed
feature. With it, all you have to do
is click Auto Take and your preview
media automatically starts rolling (if
a video clip) in perfect sync with dissolves or special effects. In addition
to cuts and dissolves, the TriCaster 40
keeps 20 other transition types at the
ready in the two downstream keyer
banks, but there are dozens of others
you can load into this reserve.
Tricaster 40 optional switcher board
Using the TriCaster 40's iVGA client
software loaded on a separate networked computer, we cut to a PowerPoint presentation and advanced
through slides. We did notice some
loss of fine detail and color shifting
when accessing the desktop of another computer. We adjusted some of
the color and contrast problem using
the TriCaster's proc amp but there is
no compensation for the slight loss
of detail.
For our chromakey test we used
the TriCaster 40's LiveMatte. You get
basic matte and spill suppression controls that produce a very good chromakey quickly and with minimal fuss.
We were impressed at how good our
key was, even with basic lighting. To
really have fun, we browsed the many
virtual sets included with the system
and picked one to use with our keyed
host shot and a pre-produced video
clip to create a picturein-picture effect. For an
added touch of realism,
you can even zoom into
virtual sets with keyed
subjects locked into
place. Lighting your subject to match the virtual
set is the most important
part of making the composite look believable,
but even with a simple lighting setup,
our test looked very good.
The TriCaster 40 is designed for
use with an external audio mixer if
you have more than one microphone
or external sources, but the internal
audio mixing gives you all the basic
controls. Levels adjust in real-time
smoothly and quietly. We liked the
separate Stream and master output
level controls as the demands for
these can be different.
The TriCaster 40 excels at output
options. You can send both HD and SD
signals at the same time to a recorded
file or composite or component devices such as TVs, monitors or projectors, but perhaps the most intriguing
is its ability to encode a compressed
Windows Media Video or Flash video
on the fly for live streaming to the
Web while recording your archive at
the same time.
Back of Tricaster 40 showing USB, internet and peripheral ports
Conclusion
To keep costs and
complexity to a minimum, there are some
design limitations built
into the TriCaster 40.
You can only reallocate so much screen
space in the Live
Desktop for sources,
preview and program.
The graphic overlays
are limited to the included templates and
there is no internal
live character generator, just pre-designed
title templates that are editable on
the fly. So if you need more customization you'll need the optional $995
LiveText. Other options left out of the
THE TRICASTER 40 IS WELL
DESIGNED AND HAS JUST
ENOUGH FLEXIBILITY TO UNLEASH YOUR CREATIVITY,
base model include a $1,995 control
surface and $1,495 Virtual Set Editor
that lets you create and modify your
own virtual sets. The audio inputs are
minimal so multiple external audio
sources needs to be premixed. We
would like to see at least balanced
line inputs in a future design. About
the only thing we found objectionable was the fan noise. But if you
are producing your show in a large
space, this shouldn’t be a problem.
For such a potentially complicated piece of equipment, the TriCaster
40 makes it uniquely easy and affordable to create professional looking HD multi-cam, multi-source live
productions that can be broadcast,
projected, recorded or streamed. The
TriCaster 40 is well designed and
built, portable and has just enough
flexibility to unleash your creativity, and simple enough to be nearly
foolproof. If you are thinking about
a switcher, you must check out the
TriCaster 40.
SUMMARY
The TriCaster 40 is the classic magic
“black box;” a powerful multi-cam
HD switcher that is well-designed,
flexible, easy to use and affordable.
Brian Peterson is a commercial video producer, consultant and certified Steadicam owner/operator.
11
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REVIEWS
REVIEWS
Manfrotto 502
Manfrotto 502
Tripod System
TECH SPECS
Load Capacity: 8.82lbs (4kg)
Pan/Tilt Drag : 0- 100%
Pan/Tilt Lock : Yes
Bubble Level: Yes
Bowl size: 60mm
Leg Style : Telescope with mid-level
spreader
Tripod/pedestal fitting: 60mm
Pan Bar(s): EX Pan bar, LANC optional
Leg Sections: 2
Minimum Height: 24.8" (63cm)
Maximum Height: 61.8" (157cm)
Folded Length: 29.7" (75.7cm)
Weight: 8.4lbs (4kg)
Get a Leg A-Head
b y Ch ris M onl ux
F
or those who want to take their
video production to the next
level, a quality tripod system is a
necessity. Manfrotto began producing tripods that were innovative, light
and versatile in the early 1970s. The
Manfrotto 502 system is no different. Manfrotto offers a wide range of
video production tools, from pocket
systems to clamps, pan heads and
tripods. The Manfrotto 502 tripod
system consists of the MVT502AM
leg system, MVH502A fluid head and
Manfrotto tote bag. The capacity of
the MVH502A fluid head is 8.82lb.,
supporting small 3-chip cameras to
DSLRs and small camcorders.
Manfrotto 502 Tripod System
www.manfrotto.us
STRENGTHS
• Lightweight
• Rugged design
• Easy transport
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WEAKNESSES
• Quick plate too long for some cameras
• Legs lack stability when fully extended
$518
12
Setting aside a budget for a nice
tripod system isn’t always easy and
typically isn’t on the top of the priority list. If you’ve ever purchased a
A QUALITY FLUID HEAD IS
ESSENTIAL TO ACHIEVING A
SEAMLESS SHOT.
tripod before, and went for the cheap
option, you might have realized that
you are only as strong as your weakest
link, meaning if you have a budget for
a nice camera, you ought to set aside
some of that budget for a quality, durable and long lasting set of sticks.
It looks pretty - but how well
does it perform?
system is the quality of the head. You
will experience the quality through
its ease of use and robust build quality. The spirit level or bubble level,
Fluid Drag System tilt dial
is in the perfect location, and the
MVH502A has very easy access to set
its level.
One of the first tips I received as a
young producer was don’t go with the
most typical angle: eye level. A great
shot is always your goal. Get in there
and view the scene from an unseen
angle. Lower the tripod from eye
level to offer your viewers an angle
they weren’t born with. This is why
shooting with the legs fully extended
isn’t something we opt to do, when
we have the option. When not fully
extended, the Manfrotto MVK502AM
leg system offers quality stability.
However when fully extended, the
legs are a bit lightweight, and might
require using a sandbag to achieve
optimum performance. The legs are
made of lightweight aluminum, making it the perfect option for pack and
carry shooting needs. Adding to its
portability is its size when collapsed
completely at 24.8-inches. The quick
release legs are made of a hard plastic
that tighten securely and offer a full
range through their extension.
Testing and Results
Through testing, we used both a
Panasonic AG-HVX200A and Canon
EOS 7D. The head fit both cameras,
and performed well with both. The
mounting plate was a bit large for the
7D, getting in the way of some operation, but fit the HVX200A perfectly.
The difference in weight between the
Quick-release leg locks
Spirit level is easy to use
scored big with this lightweight system, offering a reasonably priced fluid
head and legs that will get your next
work a leg ahead.
Let’s sum it up folks!
Save up: buy a system that will ensure
your next project will be worth the
time you put into it. Although this
system is a bit unstable when fully ex-
TAKE YOUR BUDGET TO THE
NEXT LEVEL AND INVEST IN
YOUR WORK.
tended, the smooth operation of the
head and lightweight design are well
worth the cost. Don’t get caught going
cheap, rather, take your budget to the
next level and invest in your work.
SUMMARY
Fluid Drag pan head dial
The best shots are always those that
keep you in the scene. A rickety or
unstable tilt can take the viewer out
of the story; therefore a quality fluid
head is essential to achieving a seamless shot. The MVH502A fluid head
is smooth, easy to pan and tilt and
has infinite drag from 0 – 100 percent for both true “fluid” pan and tilt
operation. By far the best value in this
two cameras didn’t change the performance of the head; the biggest difference was the stability of the legs. The
HVX200A’s extra weight allowed less
skipping of the legs when panning
with the drag set to high. The system
is very affordable and we found it
performed well for its cost. Manfrotto
The Manfrotto MVK502AM tripod
system is a great bang for your buck,
offering smooth fluid head operation
and can be used on a wide range of
cameras.
Chris Monlux is the Commercial Production Director for
a broadcast television station.
13
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REVIEWS
REVIEWS
Nikon 1 J2
Nikon 1 J2
Compact
Camera
Easy as Pie
b y S t e p h e n D i az
W
ith ever increasing video capabilities, many point-and-shoot
digital cameras are starting to appeal to
the video crowd as well. For a beginner
photographer with an added curiosity
for video, the Nikon 1 J2 is an enjoyable and easily-operated device.
No need to be confused over the
complicated features of a full-fledged
DSLR, the Nikon 1 J2 automatically shoots high quality photo and
video with the touch of a button.
Many people love these mirrorless
interchangeable-lens cameras for a
Nikon Inc.
www.nikon.com
STRENGTHS
• Exceptionally easy to use
• Small and light, great for travel
• Capable of fun super slow-motion
WEAKNESSES
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• Video-specific features are lacking
• Slow-motion frame sizes are
extremely small
• Poor performance in low light
situations
$550 (with a kit lens)
14
number of reasons. They are small,
lightweight, and let the user easily
switch out lenses for a variety of looks
and zooming capabilities.
Out of the Box, Ready to Rock
the box and start taking quality photos
and videos within seconds.
Included in the white Nikon box
are a battery charger, USB cable and
matching strap to secure the camera
to a wrist or bag. Alongside those
accessories, there’s a multiple language user manual and some editing
software included to assist with movie
creating and managing images.
to record HD video. The Nikon 1 J2
can shoot in full high definition (HD)
1920x1080 at 30p (progressive) frames
per second (fps) or at 60i (interlaced)
with a widescreen aspect ratio of 16:9.
The camera can also record 60 fps
at 720p. This mode is perfect for fast
moving action shots or for editing a
video into smooth slow-motion. The
user manual has detailed explanations
of the varied modes and will help in
determining which frame rate to use.
While capturing video, sound
recorded through the onboard stereo
microphone has surprisingly good
audio quality. What’s great for beginners is that the Nikon 1 J2’s user
manual gives little notes to aid in the
learning process. In addition, most
of the features in the video mode
default to auto so there is no need to
worry about controlling exposure,
white balance or shutter speed when
you first get going.
One of the Nikon 1 J2 features
attracting a lot of attention is the
extreme slow-motion video capture
mode. Pressing the “F” button on
the camera brings up an option to
change from HD Movie to Slow Motion mode. In the slow-motion mode,
the camera can capture two different speeds: 400 and 1,200fps. These
frame rates are incredibly fast, the
only downside is the resulting frame
size is very small. During the slowmotion mode, the Nikon 1 J2 can
record up to five seconds. To give you
an idea of how slow this actually is,
when played back at normal speed
five seconds at 400fps turns into a
little over one minute, and 1200fps
transforms into almost three and a
half minutes. The frame size captured
Nikon 1 J2 with 1 NIKKOR VR 10-100mm lens
during these modes is so small it is
distorted quite a bit when enlarged to
basic YouTube size. Nevertheless, it is
an absolute blast to play around with
this special slow-motion feature of
the Nikon 1 J2.
The beautifully designed Nikon 1
J2 camera body and matching 1030mm standard zoom lens caught
our attention immediately. After
powering the camera, a welcome
screen appeared followed by clear
Let's Talk Video
instructions how to unlock the
While the Nikon 1 J2 is a camera
lens and start using the camera.
primarily focused on photography,
The Nikon 1 J2 is a favorite camera
we at Videomaker are going to focus
among beginners for that very realargely on the video capabilities of
son: it is simply easy to use.
this camera. Switching the dial to
With each dial turn or button press,
the dedicated video mode, the video
the Nikon 1 J2’s LCD screen displays
record button now enables the camera
explanations of the asBack of Nikon 1 J2
sorted modes to provide
a fast and laid-back
learning curve. Without
even picking up the user
manual, the layout and
settings of the camera
seem very intuitive and
have a second nature
feel about them. With
no prior instruction or
experience with the
Nikon 1 J2, we were able
to pull it straight out of
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15
REVIEWS
Nikon 1 J2
TECH SPECS
Lens Mount: Nikon 1
Picture Angle: Appx. 2.7x lens focal
length
Effective Pixels: 10.1MP (12MP total)
Sensor Size: 13.2mm x 8.8mm
Image Sensor: CMOS CX
Dust-reduction system: Optical antidust mechanism
Storage Media: SD, SDHC, SDXC
Viewfinder: LCD 3" 921,000 dots
Lens Aperture: electronically controlled
Shutter Type: Electronic Shutter
Shutter Speed Range: 1/16,000 sec.
- 30 sec.
Frame Advance Rate: Electronic [Hi]:
Approx. 10, 30 or 60 fps
Top Continuous Shooting Speed at
full resolution: 5 frames per second 10,
30 or 60 fps using Electronic (Hi) shutter
Remote Control Modes: Delayed
remote (2 sec), Quick-response remote
Exposure Modes: Programmed Auto
with flexible Program (P), Shutter-Priority
Auto (S), Aperture-Priority Auto (A),
Aperture-Priority (A), Manual (M), Scene
Auto Selector
Scene Modes: Portrait, Landscape,
Night Portrait, Close-up, Auto
Shooting Modes: Still Image (3:2),
Smart Photo Selector (3:2), Movie (HD
16:9), Movie, Slow Motion (8:3), Motion
Snapshot (16:9)
Exposure Compensation: ±3 EV in
increments of 1/3EV
An Easy Transition
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For the beginning photographer looking to explore the world of video, the
Nikon 1 J2 offers a seamless transition
… it also is capable of doing both photos and video at the same time! While
shooting in video mode, press the
shutter button at any time to snap a
16
Exposure Lock: Luminosity locked at
detected value with AE-L/AF-L button
ISO Sensitivity: 100-3200, 6400
Active D-Lighting: On, Off
Built-in Flash: Yes
Guide Number: 5/16 (m/ft. ISO 100,
20°C/68°F) Approx.
White Balance: Auto, Incandescent,
Fluorescent, Direct Sunlight, Flash, Cloudy,
Shade, Preset Manual, All except preset
manual with fine tuning
Movie File Format: MOV
Movie Video Compression: H.264/
MPEG-4 Advanced Video Coding
Movie Audio recording format: AAC
Movie Audio recording: Built-in stereo
microphone; sensitivity adjustable
Movie HD: 1920x1080/60i
HD: 1920x1080/30p, HD: 1280x720/60p,
Slow-motion: 640x240/400fps, Slowmotion: 320x120/1200fps
Motion Snapshot: 1920x1080/60p
(plays at 24p)
Interface: Hi-speed USB, Mini HDMI
(Type C)
Battery: EN-EL20 Lithium-ion
Tripod Socket: 1/4"
Approx. Dimensions (WxHxD): 4.2"
(106mm) x 2.4" (61mm) x 1.2" (29.8mm)
Excluding projections
Approx. Weight (Body only): 8.4oz.
Operating Environment: 32 to 104°F (0
to 40°C) <85% humidity (no condensation)
full quality photo without interrupting
the video recording. Nikon takes this
a step further with the new Motion
Snapshot Mode, a feature that allows
the user to record movie highlights of
their photographs.
For someone looking to get into
video without the hassle of editing
software, the Motion Snapshot Mode
offers a simple solution. Using this
mode is simple: holding the shutter button halfway down the camera
begins to buffer. Once pressed fully,
the Nikon 1 J2 will capture a moment
of video before and after the button
press. It will then add background
music of your choice and play back
the short movie clip in slow-motion.
In the setting menu, the user can
choose from four different themes,
which result in four different background songs of varying moods. What
is great about this mode is not only
do you get a great snapshot of your
special memory; you also get a short
10-second video to remember the
moment without any editing work at
all. Nothing helps retell a story better
than a video.
Photos First, Video Second
Overall we had quite a bit of fun
with the Nikon 1 J2. It is lightweight,
has a great looking design, and with
the mirrorless interchangeable-lens
system it opens up a multitude of options for future progression. Although
when it comes down to it, this is a
photography-focused camera. The
video addition is nice, but is lacking because it is not the primary
focus of the camera. The Nikon 1 J2
boasts powerful photo features from
creative filters to face recognition,
and is an excellent transition for any
beginning photographer who wants
a simple and easy route to capturing
video in addition to their photos.
RUN-AND-GUN
IN A BETTER LIGHT
MAKE ANY HOUR GOLDEN.
IMAGES ARE MOMENTS CAPTURED IN LIGHT. ON-CAMERA FIXTURES LIKE
SUMMARY
THE CROMA AND LUMA PROVIDE THE VERSATILITY YOU NEED IN ORDER
The photography-focused Nikon 1
J2 is an excellent transition for any
beginning creative who wants a
simple and easy way to capture video
in addition to their photos.
TO CREATE STRIKING IMAGES IN EVERY ENVIRONMENT. DIAL IN THE CROMA
TO MATCH ANY AMBIENT COLOR, OR GRAB THE LUMA FOR A HIGH-POWERED
PUNCH OF DAYLIGHT. OWN THE MOMENT.
Stephen Diaz is an independent filmmaker and professional blogger.
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CRO MA BALANCED FOR ANY ENVIR ONMENT
Litepanels
A Vitec Group brand
print
®
www.litepanels.com/croma
Tripods & Stabilizers
If you want your
work to look more
like the shots you
see on TV, you
need to shoot
rock-solid steady
footage.
Sachtler
www.sachtler.com
Camtrol
www.camtrol.com
Matthews Studio Equipment, Inc.
www.msegrip.com
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Manfrotto
www.manfrotto.us
Edelkrone
www.edelkrone.com
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Better
Video
From
the
Ground
Up
Zacuto
www.zacuto.com
indiSYSTEM
www.indisystem.com
BY CHUCK PETERS
T
here’s no place for unintentionally shaky shots or sticky pans
in professional productions. When
you think about shooting rock-solid
shots you may be reminded of that
famous wise man who built his house
on a rock and his foolish friend who
built upon the sand. When the storms
came, the house built on the foundation of the rock stood strong, but the
pad on the beach ... not so much.
print
18
buyer’s guide
19
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Feet
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In order to anchor your shots, it’s
important that your tripod’s feet grip
the ground without slipping around.
There are a few different types of
feet that you’ll commonly see, and
it is worthwhile to know what your
options are as you shop for the right
set of sticks. In general, watch out
for cheap feet made of hard rubber
or plastic. These hard feet may slide
around too easily on smooth flooring
20
www.atlascamerasupport.com
•
AZGRIP.com LLC
www.danadolly.com
BarberTech Video Products
www.barbertvp.com/index.html
•
BARSKA
www.barska.com
•
Basson Steady System
www.bassonsteady.com.ar
Berkey System LLC.
www.berkeysystem.com
Berlebach
www.berlebach.de
•
Bescor Video Accessories
www.bescor.com
•
Black Bear Studio Systems
www.blackbearstudiosystems.com
BushHawk
www.bushhawk.com/
•
Cam Caddie
camcaddie.com/
•
Camadeus Film Technologies
www.camadeus.com
Cambo
www.cambo.com
Camera Control
www.cameracontrol.com
Camera Dynamics Ltd (Vinten)
www.vinten.com
Camera Motion Research LLC
www.camotionllc.com
Camera Support Industries
www.cineped.com
Camera Turret Technologies, INC
www.cameraturret.com
Camtrol
www.camtrol.com
Carbon XL LLC
www.carbon-xl.com/
Cartoni (USA)
www.cartoni.com
Cavision Enterprises Ltd
www.cavision.com
Celestron, LLC.
www.celestron.com
Chrosziel GmBH
www.ditogear.com
Dolica
www.dolica.com
•
Dracast
www.dracast.com
•
DVTEC
www.dvtec.tv
Dynamic Perception LLC
www.dynamicperception.com
Eagle Beaming International Co., LTD
www.acebil.com/
Edelkrone
www.edelkrone.com
•
Endzone Video Systems
www.endzonevideo.com
•
EZFX
www.ezfx.com
FLOATCAM
www.floatcampro.com
Giottos Industrial Inc.
www.giottos.com
Glidecam Industries Inc.
www.glidecam.com
•
•
Glidegear
www.glidegear.net
•
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Glidetrack
www.glidetrack.com
Habbycam
www.habbycam.com
Hakuba USA, Inc.,
www.hakubausa.com/
Hatcams LLC
www.hatcams.com/
HI-POD INC
www.hi-pod.com
Hollywood General Machining, Inc.
www.porta-jib.com
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www.chrosziel.com
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CINEIK
www.cineik.com/index.html
•
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CineRover
www.cinerover.com
Cinevate Inc.
www.cinevate.com
CobraCraneUSA
www.cobracraneusa.com
Comely Productions
www.camcrane.com
CPM Camera Gear
www.cpmcamerarigs.com
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D|Focus Systems Inc.
www.dfocussystem.com
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Dana Dolly
www.danadolly.com
Daniel Hamby
www.wildshotcamera.com/
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Delkin Devices Inc.
www.delkin.com
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ikan Corporation
www.ikancorp.com/
Indicam
www.indicam.com/
Infinite Jib Inc.
www.infinitejib.com
Intel-A-Jib
www.intel-a-jib.com/
iOmounts
www.iomounts.com/
JL Fisher Inc.
www.jlfisher.com
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JOBY, Inc.
www.joby.com
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JonyJib
www.jonyjib.com
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juicedLink
www.juicedlink.com
K-Tek
www.ktekbooms.com
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Kamerar
www.kamerar.com
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KB Systems
www.kbsystem.com
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Kenko Tokina USA, Inc.
www.kenkotokinausa.com
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buyer’s guide
and they are more prone to breaking.
The type of surfaces that you typically
shoot from is a key consideration. If
you primarily shoot indoors, look for
feet made of soft, pliable rubber that
won’t slide across the room or cause
damage by scratching up hardwood or
vinyl flooring.
Look closely at how the feet are
attached. Some are caps that simply
slide over the outside of the leg, some
are securely glued on, others are plugs
that insert inside the tubular legs. The
biggest consideration here is that the
feet are attached in a way that will last
without popping off and getting lost.
Many high-end tripods also include
spikes on their feet for getting a good
grip in the grass or digging into the
dirt. These are typically concealed by
rubber covers that either twist to retract or slip over the top of the spikes
for indoor use.
Legs and Latches
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www.industrialrev.com/pedco/
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Industrial Revolution
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www.hoodmanusa.com/
www.indiedolly.com
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www.idcphotovideo.com
www.indisystem.com
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Hoodman Corporation
Indie – Dolly Systems
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iDC Photo Video
indiSYSTEM
Pedestals
Atlas Camera Support System
DitoGear
•
Dollies/Sliders
Jibs/Cranes
Monopods
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Shoulder Mounts
Body-Worn supports
Handheld supports
Mountable supports
www.albacamerasupport.com
Tabletop Tripods
Alba Camera Support
Standard Tripods
www.8ballcamerasupport.com
Website
8 Ball Camera Support
Manufacturer
www.16x9inc.com
Pedestals
16x9 Inc.
Dollies/Sliders
Jibs/Cranes
Monopods
Shoulder Mounts
Body-Worn supports
Handheld supports
Mountable supports
Tabletop Tripods
Standard Tripods
Website
What does this have to do with video? The wise builder knew that without a firm foundation even the best
building would be shaky at best. It’s
a simple matter of science. If something is going to be steady on top, it
has to be securely anchored at the
bottom. If we apply this principle to
a paraphrase of our parable, it might
go something like this: The wise man
shot his video from a high quality
tripod with a bubble level, strong but
lightweight flip-latch legs and a true
fluid head so his shots were stable and
his moves were smooth. The foolish
videographer? After seeing his friend’s
fantastic footage, he decided it was
time to go tripod shopping.
Analogies aside, tripods are some
of the most important tools that
videographers employ. Because they
are responsible for supporting your
expensive camera and for creating
smooth moves and steady shots, they
are an absolutely essential part of any
professional’s production paraphernalia. Every serious shooter should have
a tripod that is well matched to his or
her camera and production needs.
Many videographers have multiple
support options designed for different
applications. So, depending on where
and what you shoot, you may need to
have more than one piece of gear in
your trunk. To make the right choice,
you need to know your particular
needs, and you need to be familiar
with the key features and components
of today’s supports, so let’s review
them from the ground up.
buyer’s guide
Manufacturer
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The legs are what give the tripod it’s
name. While all tripods have three
legs, all tripod legs are not equal.
When you look at legs, it’s important
to consider their strength, height,
weight and the type of latches that
secure the extensions. The strength of
a tripod is gauged by the amount of
weight it is rated to hold. This spec is
readily published in a tripod’s marketing documentation. The key here is to
select a tripod that is well-matched to
the camera you intend to mount on
it. If you have a lightweight camera, it
may work quite well on an inexpensive, light-duty tripod. But the same
tripod may flex and bounce under the
weight of a full-sized, heavyweight
camcorder. ACEBIL’s hefty j-805GX
can carry a payload of 8.8lb. while
the smaller i-605LAX is rated for an
6.6lb.-payload. Make sure you know
the weight requirements of your camera, and select a tripod that meets or
exceeds your need.
Overall height is another important
spec to check. If you want to be able
to shoot comfortably while standing
21
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A tripod’s legs are responsible for
adjusting height and handling weight,
but camera position and movement are
the job of the head. The tripod’s head
mounts your camera to the legs, and
allows your camera to rotate laterally
and vertically to pan and tilt. It also
supplies resistance, so your camera
stays put without drifting or falling out
of position when you let go. A good
tripod head lets the shooter make
butter-smooth moves. The smoothest
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Matthews Studio
Studio Equipment,
Equipment, Inc.
Inc.
Matthews
www.msegrip.com/
www.msegrip.com/
Merlin Video
Video Dolly
Dolly
Merlin
www.merlindolly.com
www.merlindolly.com
MICRODOLLY, Inc.
Inc.
MICRODOLLY,
www.microdolly.com
www.microdolly.com
Miller Camera
Camera Support
Support LLC
LLC
Miller
www.millertripods.com
www.millertripods.com
Miveu
Miveu
www.miveu.com
www.miveu.com
MK-V
MK-V
www.mk-v.com/
www.mk-v.com/
MOBISLYDER
MOBISLYDER
www.mobislyder.com
www.mobislyder.com
Monostat Switzerland
Switzerland
Monostat
www.monostat.com
www.monostat.com
Movcam
Movcam
www.movcam.com
www.movcam.com
MovieTech AG
AG
MovieTech
www.abc-products.de
www.abc-products.de
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OConnor (VITEC
(VITEC GROUP)
GROUP)
OConnor
www.ocon.com
www.ocon.com
Omni-Tracker
Omni-Tracker
www.omni-tracker.com
www.omni-tracker.com
OmniPod
OmniPod
www.omni-pod.com
www.omni-pod.com
Paterson Photographic
Photographic Ltd.
Ltd.
Paterson
www.patersonphotographic.com
www.patersonphotographic.com
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Photographic Research
Research Organization
Organization Inc
Inc
Photographic
www.promaster.com
www.promaster.com
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Photography Lighting
Lighting Inc.
Inc.
Photography
www.jtl-lighting.com
www.jtl-lighting.com
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Premier Studio
Studio Equipment
Equipment Inc.
Inc.
Premier
www.premierstudioequipment.com
www.premierstudioequipment.com
ProAM USA
USA
ProAM
www.proamusa.com
www.proamusa.com
ProMediaGear
ProMediaGear
www.promediagear.com
www.promediagear.com
Prompter People\Flolight
People\Flolight
Prompter
www.prompterpeople.com
www.prompterpeople.com
Quadrocopter, LLC.
LLC.
Quadrocopter,
www.quadrocopter.us/
www.quadrocopter.us/
Rabbit Audio
Audio Video
Video Inc.
Inc.
Rabbit
www.rabbitav.com
www.rabbitav.com
Really Right
Right Stuff
Stuff
Really
www.reallyrightstuff.com
www.reallyrightstuff.com
Redrock Micro
Micro
Redrock
www.redrockmicro.com
www.redrockmicro.com
Rhino Camera
Camera Gear,
Gear, LLC.
LLC.
Rhino
www.rhinocameragear.com
www.rhinocameragear.com
RigWheels LLC
LLC
RigWheels
www.rigwheels.com
www.rigwheels.com
www.cameraslider.com
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The Slider Co., LLC.
www.theslider.com
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The SteadyTracker Company
www.steadytracker.net
The Tiffen Company
www.tiffen.com
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Tiltall Tripod
www.tiltalltripod.com/
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ToCad America Inc.
www.tocad.com
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Trek Technologies LLC
www.trek-tech.com
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Tyler Camera Systems
www.tylermount.com
Ultra Camera Mounts
www.ultracameramounts.com
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www.shapewlb.com
www.shapewlb.com
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VariZoom
www.varizoom.com
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Velbon
www.velbon.co.uk
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VFGadgets.com
www.vfgadgets.com
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Video Innovators
www.videoinnovators.com
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www.varavon.com
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Varavon
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www.ulcs.com/
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www.vanguardusa.com
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Shape
Shape
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UltraLight Control Systems
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Vanguard USA Inc.
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www.vivitar.com
www.vivitar.com
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www.tamrac.com/
••
Sakar Inc./Vivitar
Inc./Vivitar
Sakar
www.jimmyjib.com/
That Cat Camera Support, LLC.
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Stanton Video Services, Inc.
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Tamrac
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www.sachtler.com
www.sachtler.com
www.sony.com
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Sachtler
Sachtler
Sony Electronics, Inc.
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www.switronix.com
••
Ronford-Baker Engineering
Engineering Company
Company Ltd
Ltd www.ronfordbaker.co.uk
www.ronfordbaker.co.uk
Ronford-Baker
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Switronix, Inc.
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www.skyeye.com
www.smithvictor.com
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SkyEye Corporation
Smith-Victor Corporation
www.stickypod.com
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www.studio1productions.com
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www.novoflex.com
www.novoflex.com
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Sticky Pod Camera Mounts
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Studio 1 Productions, Inc
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Novoflex [Präzisionstechnik,
[Präzisionstechnik,
Novoflex
precision engineering]
engineering] GmbH
GmbH
oror precision
http://www.simaproducts.com
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Pedestals
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SIMA Products Corporation
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Dollies/Sliders
Jibs/Cranes
Monopods
••
www.manfrotto.us
www.manfrotto.us
www.remotecameratech.com
Shoulder Mounts
Body-Worn supports
Handheld supports
Mountable supports
www.libecsales.com
www.libecsales.com
Manfrotto
Manfrotto
www.shootools.com
Sidereal Systems Inc.
Tabletop Tripods
Libec
Libec
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Shootools
••
Standard Tripods
www.kirkphoto.com
www.kirkphoto.com
Website
Kirk Enterprises,
Enterprises, Inc.
Inc.
Kirk
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Manufacturer
www.kingdom.com
www.kingdom.com
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Pedestals
Kingdom, Inc.
Inc.
Kingdom,
Dollies/Sliders
Jibs/Cranes
Monopods
www.kesslercrane.com
www.kesslercrane.com
Shoulder Mounts
Body-Worn supports
Handheld supports
Mountable supports
Kessler Crane
Crane
Kessler
Tabletop Tripods
Standard Tripods
Head
Website
up straight, you’ll want your tripod’s
mounting plate to be about chinhigh when the legs are extended. For
maximum stability, you’ll want it to be
suitably tall without having to crank
up a center pole extension more
than a few inches. Not all tripods are
equipped with center extensions,
but they are an excellent option to
look for if you think you might ever
need supplemental lift to shoot over
people’s heads.
If strength is important to you,
consider that legs with multiple extendable segments are stronger than
those with just a single long one, but
the additional sections also make a
tripod heavier. The Matthews M25 has
three leg sections, stands 5-feet tall
(1,520mm) and weighs 7lb. Tripods
with fewer leg sections tend to not be
as heavy, but they trade away strength.
Many light to medium-duty tripods
include a stabilizer hook that hangs
in the center of the tripod below the
center pole. Users can increase stability by hanging weight on this hook.
The Libec TH-650DV is an entry-level
model that features a counterbalance
system with a built-in spring.
Consider also the type of latches on
the tripod’s legs. The two most common latch types are twist and snap. Of
the two, snap latches are quicker and
easier to engage. We’re not saying that
all screw-type latches are bad, just
that users need to be aware of their
potential drawbacks and use extra
care to tighten them well but not so
much to strip the threading.
buyer’s guide
Manufacturer
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Vidpro
www.vidprousa.com
Vinten
www.vinten.com
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Vortex Optics
www.vortexoptics.com
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Wood’s Powr-Grip
www.powrgrip.com
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Woxom.com
www.woxom.com
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Xshot
www.xshotpix.com
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Zacuto
www.zacuto.com
ZazaSlider
www.zazaslider.com
Zhumell Inc.
www.zhumell.com
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and best performance comes from true
fluid heads, like Vanguard’s PH-111V,
which uses an internal viscous liquid
to cushion and control movement.
True fluid heads are at the top of the
totem pole. In terms of pan/tilt heads,
they are the exclusive choice of serious
shooters as they let the camera operator start and stop moves smoothly, easing in and out of pans and tilts without
a hitch, and allow the varying of speed
through the duration of the movement.
While true fluid heads perform the
best, they are also at the top end of
the price scale. Many intermediate
level tripods boast of “fluid action”
heads, that simulate the performance
of fluid heads without the expense.
Ultimately, these are not fluid heads,
but a variation of another type: the
friction head. Friction heads function by pressing parts, usually made
of heavy-gauge plastic, against one
another, providing enough pressure
to hold the camera in position, or to
slide against one another so the camera can pivot on an axis. The user can
adjust the amount of drag to permit
more or less movement, or lock the
camera in place, but the amount of
friction is constant. At certain tensions the friction plates begin to grab,
so moves become sticky and jerky.
Friction heads range in quality. Some
are better than others, so it’s wise to
try before you buy if possible. One of
the biggest problems with low-cost
tripods is the tendency of their inexpensive plastic heads and mounting
SOLD SEPARATELY
•
•
buyer’s guide
Higher end heads and legs are sold
separately, so you can mix and match
the legs and heads to build your own
tripod that is perfectly suited to your
personal preferences. Manfrotto’s
website allows you to select the parts
to customize your own rig. You can
even select accessories like mounting
plates and pan handles.
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23
plates to break, rendering the tripod
useless. Almost every videographer
has an old broken tripod or two in
a closet somewhere. Once the head
breaks the tripod is trashed, so it may
be wise to spend a little more money
on a well-built model that will last,
rather than save a few bucks in the
short term on a tripod that you will
quickly have to replace.
Shoppers should note that photo
and video tripods are not interchangeable. Photographers and videographers have different needs and their
tripods have different features. One of
the most obvious observations is that
still cameras are designed to shoot
stills, and video cameras are designed
to record motion. Therefore, tripod
heads designed for shooting photography are specially crafted to hold a
camera in a variety of fixed positions.
This often includes the ability to flip
the mounting plate up on it’s side to
rotate the photographer’s camera for
shooting portrait layouts as well as in
the traditional landscape aspect ratio.
As specialty tools, photo tripods do
have value to videographers. They are
excellent tools for locking your camcorder into creative positions; allowing
you to tilt your video camera to create
a canted angle, for instance. Just be
aware that these tripods are not made
for panning or tilting the camera as
you record.
A good head will also include a
bubble level, which is an excellent
feature to have. Tripods with a single
bubble level (typically the circular “target” style) allow you to find where level
is with uneven ground. This is usually
done by adjusting the height of each
leg until the bubble is centered in the
target. If you regularly shot on tilted
terrain, you might consider a head that
has a ball type mount. These mounts
let you adjust the level of the head
within a mounting cup so you can find
level quickly without the hassle of adjusting each leg. Some tripods include
two or more leveling bubbles so you
can center and level your tripod both
horizontally and vertically.
DSLR Rigs
The popularity of DSLR cameras in
video production has spread like wildfire. They capture amazing-looking
footage, but shooting video from these
lens-heavy powerhouses requires
wrists of steel. A few short years ago
video cameras were huge. While
the giant shoulder-size dinosaurs
that broadcast professionals used to
lug around were heavy beasts, they
produced shots that were inherently
steady because their heft was anchored on the shoulder of the shooter.
As sensor technology has improved,
camcorders have gotten exponentially
smaller and smaller.
The perennial problem with palmsized cameras is the unstable whipping and blurring caused by quick
twists of the wrist, which are the mark
of amateur video. A similar instability is in the DNA of the DSLR design.
DSLR cameras can be mounted to
standard video tripods, but there is
a also a special category of stabilizer
mounts designed specifically for DSLR
shooters who want additional control
without having to be tied to a tripod.
The solution is a lightweight rig that
attaches to the camera, adds a hand-
MONOPODS
Not all camera supports have three legs or rest on your body. Monopods like
Manfrotto’s 680B or the SIRUI P-326 are highly portable one-legged supports that provide assistance in holding a camera for quick steady shots or for
stabilizing a small camera for a long shoot. Monopods are more popular with
photographers than videographers, but they are gaining popularity in video as
camcorders continue to shrink in size. If you don’t need all the features of a
tripod, but would like more stability than simply shooting handheld, a monopod
may be a superb solution.
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24
buyer’s guide
grip and extends back to the shoulder.
Basic models include the Stedi-Stock
Black and the Opteka CXS-1 Shoulder
Stabilizer Support System. This feature
alone provides shot stability that gives
footage a more professional quality.
Mid-level models like Redrock Micro’s
microShoulderMount and the ikan
Flyweight add a second handgrip, improved ergonomic design and include
horizontal and vertical adjustability
for a more comfortable fit. High-end
rigs like Redrock Micro’s DSLR Field
Cinema Bundle can be configured
with accessories like monitors and mic
mounts and include counterbalance
weights and a follow-focus feature.
Flying Supports
Sometimes you need steady shots
without being anchored in one
position. Flying stabilizers like the
HD-2000 from Glidecam or the Pilot
HD from Steadicam are excellent options for keeping your shots smooth
while you’re on the move. Varizoom’s
unique CrossFire-FP is a hybrid device
that acts as both a flying stabilizer and
as a tripod. Flying camera stabilizer
rigs like these let you shoot smooth
gliding shots like the ones you see in
feature films. In the last few years,
this category has exploded with a
wide variety of affordable options for
videographers at all levels.
Floating rigs are an excellent solution for active wedding and event videographers who need to move around
a venue quickly without sacrificing
shot stability. Rigs generally include a
camera mount on a gimbal, and a set
of weights used to counterbalance the
camera. One consideration shooters
should keep in mind is total weight.
Many models are held in the hand. If
you plan to shoot short shots, this is
not a problem, but if you need to shoot
for extended periods of time, your
arm may become quickly fatigued. If
you have a heavier camera, or need to
shoot for long durations, you can consider a vest-type rig like the VariZoom
Navigator arm and vest with FlowPod
or the high-end Steadicam Pilot-AA.
These wearable camera stabilizers
still require an amount of upper body
strength, but transfer the bulk of the
weight of the stabilizer onto your body
instead of falling fully on your forearm.
Jibs and Cranes
Cranes and jibs are a specialty category
of camera supports that raise the elevation, allowing you to lift your camera
high overhead to achieve spectacular shots from higher points of view.
Height, length, weight, capacity, collapsibility and camera controls are just
a few options to consider when you
consider a crane. Most jibs mount onto
tripod legs that you must purchase
separately; something to keep in mind
as you budget for your jib.
Lightweight and easily portable
models like the CobraCrane FotoCrane
UltraLite single bar jib will support
DSLR cameras up to 3lb. and provide
an 8-foot lift for $279. Generally speak-
ing, costs go up as you increase payload and extension. The CobraCrane I
Plus ($430) is a single-bar arm that will
raise a 6.5lb.-camera to 12 feet, and the
CobraCrane II Plus is a 20lb.-capacity
jib offering seven feet above a tripod
for $500. The VariZoom QuickJib
will support cameras up to 50lb. and
extends to 10 feet. Professional models
like the JonyJib2, $1,200-$3,400 for
arms reaching 8-feet to 18-feet, are
highly modular and feature-packed.
One JonyJib2 option is a heavy duty
arm that can extend to 18-feet with
five telescoping sections and can be
fitted with options like a motorized pan
and tilt head and monitor.
Finding the Right Support
There is a wide range of tripods and
supports on the market, and they each
have their own strengths. The secret
isn’t simply to buy the most expensive
buyer’s guide
one, and bigger isn’t always better. You
need to determine which support is
best matched to the camcorder it will
hold and the specific job it needs to
do. Be sure to consider the weight rating, height, and above all, the quality
of the craftsmanship. Watch out for
flimsy or springy legs, fragile mounts,
sticky pan heads, and unreliable locks
and latches; any of which can cause
bad shots or a broken camera.
Ultimately, reliability and durability are the two most important features
to look for in a foundation, whether
you’re building a house or a video.
Chuck Peters is a 3-time Emmy award winning writer
and producer. He is currently VP of Production at
KIDMO/Rivet Productions.
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11/13/2012 4:21:49 PM
GETTING THE RIGHT IMAGE FOR THE WORK
Production Monitors
Buyer’s Guide
Choosing the
best production
monitor for the
work being done
is the best key
to success.
BY MARSHAL M. ROSENTHAL
S
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hooting a video production
requires more than just using a
camera and some lights. A production
monitor (also known as a studio monitor) provides a view of what is being
shot that otherwise would be limited
to the cameraperson while everyone
else hovers nearby. Additionally, such
a monitor offers both verifications of
the quality and characteristics of the
video in play as well as manipulation
for broadcast use. But don’t expect to
just hook up a television from the den
or basement, as there are exacting
standards that the monitor must meet
in order to function not only efficiently, but correctly as well.
Monitor Characteristics
To begin, the physical size of the
monitor determines screen size
and resolution, although a trend for
26
increasing resolution in small form
factors exists today. For the most
part, the larger the monitor, the
larger the viewing panel with greater resolution possible. This viewing
panel is typically LCD, with or without other technologies added in (for
example, LED backlighting) and the
panel’s size helps determine its cost.
Screen resolutions approach and can
meet that of an HDTV (1920x1080
pixels), but for the most part they
are similar to that of high-end computer monitors in that resolution of
800 pixels horizontal (800x600) is
sufficient for most productions.
The inputs of a production monitor
also vary, depending on the model,
but the choices found are standardized and not proprietary; for example
component, RGB, and HDMI, and
those designated for use with professional video equipment, being SDI,
HD-SDI and the more recent 3G-SDI
which is seen as replacing dual-link
HD-SDI. These inputs all conform to
the standards for use with broadcastgrade video. Also to be found with
some inputs will be a “pass-through”
capability: this is where the signal is
passing through the monitor without
alteration for use elsewhere.
The brightness levels vary for different monitors, as does the contrast.
Those designed for field use have
increased brightness to compensate
for outdoor ambient light and typically a higher contrast level than those
designated for indoor use.
Another consideration is how rugged the chassis is and how well it can
handle abuse outside of a studio location. Whether or not the monitor can
run off battery power also affects its
viability for outdoor shoots. The significant trade-off between the monitor’s weight with or without battery
power is less of an issue with current
field monitors. These can be found in
use as stand-alone monitors as well as
viewfinders for digital cameras.
Additionally, the advent of the
Internet as well as features found on
mobile devices has not been lost on
27
contents
full screen
print
contents
Mount (rack, on-camera, desktop, VESA)
HDMI Loop-Through
Component
Composite
Viewable Angles
Brightness 1 cd/m^2 (equal to 1 nit)
Max. Resolution
Component
Component
HDMI Loop-Through
HDMI Loop-Through
y y n n rack,
rack,1/4"-20
1/4"-20Thread
Thread
Display Size (inches)
Composite
Composite
nn
Manufacturer
HDMI
HDMI
HD-SDI
HD-SDI
Viewable Angles
Viewable Angles
Max. Resolution
Max. Resolution
yy nn
Atomos
Atomos
Ronin
Ronin
$1,995
$1,9955 5
800800x 480
x 480 npnp 170170
opt.opt. y y
npnp npnp opt.opt.rack,
rack,desktop
desktop
DT-X91Hx2
$2,900 9(dual)
1280 x 800 np
np
n
y
n
y
np rack, 30° tiltable
www.atomos.com
www.atomos.com
Samurai
SamuraiBlade
Blade
$1,295
$1,2955 5
1280
1280x7x72020 npnp 170170
opt.opt. y y
npnp npnp opt.opt.on-camera
on-camera
DT-E17L4
$2,650 17
1920 x 1080 np
160° / 140° V
y
y
y
y
y
np
Samurai
Samurai
$995
$995 5 5
800800x 480
x 480 npnp 170170
opt.opt. y y
npnp npnp opt.opt.on-camera
on-camera
DT-X51Hx3
$2,495 5x3
800 x 480
140° H / 120° V
y
y
n
y
y
rack, 30° tiltable
1920
1920x 1200
x 1200400400 npnp
HD-SDI
$600
$600 7 7
HDMI
AT-DIS7-PROHD
AT-DIS7-PROHD
Price ($)
Atlona
AtlonaInc.Inc.
www.atlona.com
www.atlona.com
Model
Price ($)
Price ($)
Model
Model
Manufacturer
Manufacturer
Production
ProductionMonitors
MonitorsBuyer’s
Buyer’sGuide
Guide
JVC Professional Products Company
DT-V17G1
$2,995 17
1366 x 768 350
178° H / 178° V
y
y
y
y
np stand
www.pro.jvc.com
DT-E21L4
$2,950 21.5
1920 x 1080 np
170° H / 160° V
y
y
n
y
y
350
np
Ninja
Ninja
$995
$995 4.34.3
800800x 480
x 480 npnp 170170
y y opt.opt.
npnp npnp y y on-camera
on-camera
DT-X71Hx2
$2,195 7x2
1024 x 768 400
160° H / 160° V
y
y
n
y
y
rack, 30° tiltable
Fast
FastForward
ForwardVideo
Video
www.ffv.com
www.ffv.com
SideKick
SideKickHDHD
$2,495
$2,4954.34.3
480
480x 272
x 272 npnp npnp
yy yy
npnp npnp n n 1/4"-20
1/4"-20Thread
Thread
DT-V9L5U
$1,995 8.2
1280×800
80° H / 80° V
y
y
y
n
y
np
Flanders
FlandersScientific,
Scientific,Inc.Inc.
LM-2340W
LM-2340W
$2,995
$2,9952323
1920
1920x 1080
x 1080npnp 178178
nn yy
yy
y y n n 1/4"-20
1/4"-20Thread
Thread
www.flandersscientific.com
www.flandersscientific.com
LM-0950W
LM-0950W
$2,795
$2,7959 9
1024
1024x 600
x 600 npnp 176176
nn yy
yy
y y n n VESA,
VESA,rack,
rack,wallwall
LM-2140W
LM-2140W
$2,495
$2,49521.5
21.5
1920
1920x 1080
x 1080250250 178178
nn yy
yy
y y n n 1/4"-20
1/4"-20Thread,
Thread,rack
rack
360
DT-E15L4
$1,995 15.6
1366 x 768
170/160
y
y
y
y
np np
LCD4Video
QR7-HD Quad monitor
$900
7x4
1920 x 1080 450
140/120
y
n
y
y
n
dual rack (2)
www.lcd4video.com
LCD10-3 (packaged in
one of 3 kits)
$500
10.2
1024 x 768 300
70/60
n
n
y
y
n
desk, on-camera
LCD7-HDSLRII
$600
7
1920×1080 250
160/150
y
n
n
n
n
on-camera
LM-0750W
LM-0750W
$1,995
$1,9957 7
800800x 480
x 480 npnp 160160
nn yy
yy
y y n n VESA,
VESA,rack,
rack,wallwall
ikan
ikanCorporation
Corporation
MR7
MR7
$2,300
$2,3007 7
1024
1024x 600
x 600 400400 170170
yy yy
yy
n n y y 1/4"-20
1/4"-20Thread,
Thread,rack
rack
www./ikancorp.com
www./ikancorp.com
MD7
MD7
$2,300
$2,3007 7
1024
1024x 600
x 600 1100
1100 170170
yy yy
yy
y y y y 1/4"-20
1/4"-20Thread,
Thread,rack,
rack,VESA
VESA
LG
RM7Xi
RM7Xi
$2,100
$2,1007 7
1024
1024x 600
x 600 350350 170170
yy yy
yy
y y y y rack
rack
www.lg.com
23ET83V-W
$550
23
1920 x 1080 250
178
y
n
n
n
n
desk
TL-1850HD-SE
TL-1850HD-SE
$2,000
$2,00018.5
18.5
1366
1366x 768
x 768 300300 L85/R85,
L85/R85,U80/D80
U80/D80
yy yy
yy
n n n n Adjustable
Adjustablemonitor
monitortilttilt
IPS277L-BN
$370
27
1920 x 1080 250
178
y
n
n
n
n
desk
IPS237L-BN
$240
23
1920 x 1080 250
178
y
n
n
n
n
desk
7
1920 x 1080 450
120/140
y
n
y
y
n
desk
29
2560x1080
178
y
n
n
n
n
VESA
300
D7wD7w
$1,300
$1,3007 7
1280
1280x 800
x 800 400400 178178
yy y y
nn
n n y y 1/2"-20
1/2"-20Thread
Thread
$1,000
$1,0007 7
1280
1280x 800
x 800 400400 178178
y y y y
nn
n n y y 1/2"-20
1/2"-20Thread
Thread
IPS235V-BN
$240
23
1920 x 1080 250
178
y
n
n
n
n
desk
D5wD5w
$1,000
$1,0005.65.6
1280
1280X 800
X 800 300300 160160
y y y y
nn
n n n n 1/2"-20
1/2"-20Thread
Thread
IPS235T-BN
$230
23
1920 x 1080 250
178
n
n
n
n
n
desk
VX9e
VX9e
$900
$900 8.98.9
1024
1024x 600
x 600 180180 45º/45º
45º/45º(R/L)
(R/L)15º/35º
15º/35º y y y y
(U/L)
(U/L)
y y
y y y y 1/4"-20
1/4"-20Thread
Thread
IPS225T-BN
$200
21.5
1920 x 1080 250
178
n
n
n
n
n
desk
VX7i
VX7i
$900
$900 7 7
1280
1280x 800
x 800 400400 170170
y y
y y y y 1/4"-20
1/4"-20Thread
Thread
y y y y
D5D5
$700
$700 5.65.6
1280
1280x 800
x 800 300300 160160
y y y y
nn
n n n n 1/2"-20
1/2"-20Thread
Thread
V8000W
V8000W
$499
$499 8 8
800800x 480
x 480 400400 65/65(R/L)
65/65(R/L)
upupto to1024
1024
x 768
x 768
y y nn
y y
n n n n desk,
desk,wallwall
VK7i
VK7i
$499
$499 7 7
1280
1280x 800
x 800 400400 178178
y y nn
y y
n n n n 1/4"-20
1/4"-20Thread
Thread
VK5VK5
$399
$399 5.65.6
1024
1024x 600
x 600 220220 80/80(R/L),
80/80(R/L),
55/55(U/L)
55/55(U/L)
y y nn
y y
n n n n npnp
VH8VH8
$399
$399 8 8
1600
1600x 768
x 768 300300 35º/35º
35º/35º(R/L)
(R/L)10º/30º
10º/30º y y n n
(U/L)
(U/L)
y y
n n n n 1/4"-20
1/4"-20Thread
Thread
VL7VL7
$299
$299 7 7
800800x 480
x 480 400400 npnp
y y nn
y y
n n n n 1/4"-20
1/4"-20Thread
Thread
$249
$249 5 5
800800x 480
x 480 400400 150(H)
150(H)130(V)
130(V)
y y nn
nn
n n n n 1/4"-20
1/4"-20Thread
Thread
Ikegami
IkegamiTsushinki
TsushinkiCo.,Co.,Ltd.Ltd.
HLM-7002WR
HLM-7002WR
$2,700
$2,7007(dual)
7(dual) 800800x 480
x 480 1000
1000 170170
nn y y
nn
n n n n rack
rack
www.ikegami.com
www.ikegami.com
HLM-1704WR
HLM-1704WR
$2,000
$2,00017 17
1280
1280x 768
x 768 370370 170170
nn y y
y y
opt.opt.n n npnp
HLM-904WR
HLM-904WR
$1,500
$1,5009 9
800800x 480
x 480 320320 170170
nn y y
y y
opt.opt.n n npnp
print
28
$350
$700
D7D7
VL5-KIT
VL5-KIT
full screen
LCD7-HDRGB
29EA93-P
manufacturers either: some production monitors now feature Ethernet inputs to allow for
remote adjustments through computer software (besides the usual front-mounted physical controls), for example Blackmagic Design’s
SmartView Duo rack-mountable dual 8-inch
LCD monitors which features 800x480 resolution and 3G/HD/SD-SDI inputs. Among other
features, the $700 price tag buys the ability to
rotate both displays upside-down for an auto
image-flip as a way of achieving the best viewing angle.
Another important aspect of a production
monitor is the viewing control technologies that
are built-in, for example false color which is a
group of color rendering methods for displaying
color images (i.e. a “true-color” image) and blueonly exposure check for adjusting chroma and
phase. Calibration technologies are also built in,
Atomos
www.atomos.com
Ikegami Tsushinki Co., Ltd.
www.ikegami.com
contents
full screen
SmallHD
www.smallhd.com
print
29
www.marshallmonitors.com
www.marshallmonitors.com
1280 x 768 np
HDMI Loop-Through
$2,900 17
Component
LMD-1751W
Composite
Price ($)
Sony Electronics Inc.
HD-SDI
Model
desk
desk
HDMI
Manufacturer
nn
Viewable Angles
nn
HDMI Loop-Through
nn
Max. Resolution
Component
yy
Composite
1024
1024 xx 768
768 400
400 L/R:
L/R: 170°
170° // U/D:
U/D: 110°
110° nn
HD-SDI
HDMI
$2,760
$2,760 8.4
8.4
Viewable Angles
Price ($)
OR-841-HDSDI
OR-841-HDSDI
Model
Marshall
Marshall Electronics
Electronics
Max. Resolution
Manufacturer
Production Monitors Buyer’s Guide
178°
n
y
y
n
n
rack, VESA
V-LCD15SB-AFHD-DT
V-LCD15SB-AFHD-DT
$2,530
$2,530 15
15
1024
1024 xx 768
768 600
600 npnp
yy
yy
yy
yy
nn
desk
desk
LMD-940W
$2,600 9
800 x 480
np
85°/85°/85°/85°
y
y
y
n
n
np
V-R841DP-AFHD
V-R841DP-AFHD
$2,180
$2,180 8.4
8.4
1024
1024 xx 768
768 400
400 170
170
nn
yy
yy
nn
nn
1/4"-20
1/4"-20 Thread
Thread
PVM740
$2,495 7.4
960 x 540
np
85°/85°/85°/85°
y
y
y
n
n
¼, 3/8
M-LYNX-19SDI
M-LYNX-19SDI
$1,700
$1,700 19
19
1280
1280 xx 1024
1024 400
400 178
178
nn
yy
yy
nn
nn
optional
optional rack,
rack, ceiling,
ceiling, oror wall
wall
LMD1541W
$2,300 15.3
1280 x 768 np
89/89/89/89
y
y
y
n
n
VESA
www.pro.sony.com
V-LCD651STX-HDA
V-LCD651STX-HDA
$1,630
$1,630 6.5
6.5
1024
1024 xx 768
768 650
650 L/R:
L/R: 160°
160° // U/D:
U/D: 140°
140° opt.
opt. opt.
opt.
yy
yy
nn
npnp
LMD1530W
$1,360 15.3
1280 x 768 np
89°/89°/89°/89°
y
n
y
y
n
VESA
V-LCD651STX-HDI
V-LCD651STX-HDI
$1,630
$1,630 6.5
6.5
1024
1024 xx 768
768 650
650 L/R:
L/R: 160°
160° // U/D:
U/D: 140°
140° yy
opt.
opt.
yy
yy
nn
npnp
LMD2110W
$1,200 21.5
1366 x 768 np
170°/160°
y
y
n
desk, rack
V-LCD90MD
V-LCD90MD
$1,600
$1,600 99
1280
1280 xx 768
768 600
600 L+R:
L+R: 176°
176° // U+D:
U+D: 176°
176° yy
opt.
opt.
nn
nn
yy
1/4"-20
1/4"-20 Thread
Thread
SD-SDI
y
avail. with
BKM320D
V-LCD56MD
V-LCD56MD
$1,000
$1,000 5.6
5.6
1280
1280 xx 800
800 300
300 L+R:
L+R: 170°
170° // U+D:
U+D: 170°
170° yy
opt.
opt.
nn
nn
yy
1/4"-20
1/4"-20 Thread
Thread
V-LCD70XHB-HDIPT
V-LCD70XHB-HDIPT
$870
$870
77
800
800 xx 480
480
nn
yy
yy
yy
1/4"-20
1/4"-20 Thread
Thread
77
800
800 npnp
yy
V-LCD70MD
V-LCD70MD
$790
$790
1024
1024 xx 600
600 800
800 L+R:
L+R: 170°
170° // U+D:
U+D: 170°
170° yy
opt.
opt.
nn
nn
yy
1/4"-20
1/4"-20 Thread
Thread
V-LCD50-HDI
V-LCD50-HDI
$600
$600 55
800
800 xx 480
480
nn
nn
nn
nn
1/4"-20
1/4"-20 Thread
Thread
M-CT7
M-CT7
$450
$450 77
1920
1920 xx 1440
1440 400
400 70°/70°
70°/70° (L/R),
(L/R),
50°/70°
50°/70° (U/D)
(U/D)
nn
yy
nn
nn
on-camera
on-camera
300
300 L+R:
L+R: 170°
170° // U+D:
U+D: 170°
170° yy
yy
LPM770BP
$1,150 7
800 x 480
SSML24F1
$1,090 24
1920 x 1080 250
np
80°/80°
y
n
y
y
n
on-camera, 1/4" thread (4)
170°(H) / 160°(V)
y
n
y
y
n
VESA
LMD1510W
$950
15.6
1366 x 768 np
89/89/89/89
y
y
y
y
n
VESA
SSML22F1
$895
21.5
1920 x 1080 250
170°(H) / 160°(V)
y
n
y
y
n
VESA
SWIT ELECTRONICS USA
M-1071H
$2,360 7x2
1024 x 600 400
H/V: 160°/160°
y
y
y
n
n
rack
www.swit.us
M-1051H
$2,250 5x3
800 x 480
350
H/V: 140°/120°
y
y
y
n
y
rack
$1,800 8.9
1280 x 800 250
H/V: 140°/120°
y
y
y
n
y
on-camera, Screw mount
V-LCD51
V-LCD51
$380
$380 55
800
800 xx 480
480
300
300 L+R:
L+R: 170°
170° // U+D:
U+D: 170°
170° yy
nn
nn
nn
nn
1/4"-20
1/4"-20 Thread
Thread
M-CT6
M-CT6
$360
$360 6.2
6.2
800
800 xx 480
480
400
400 75°/75°
75°/75° (L/R),
(L/R),
70°/70°
70°/70° (U/D)
(U/D)
yy
nn
yy
nn
nn
on-camera
on-camera
S-1090F
S-1071F
$1,680 7
1024 x 600 400
H/V: 160°/160°
y
y
y
n
y
Panasonic
Panasonic Corporation
Corporation ofof North
North America
America BT-LH1850
BT-LH1850
www.panasonic.com
www.panasonic.com
$2,595
$2,595 18.5
18.5
1366
1366 xx 768
768 npnp
yy
yy
yy
nn
yy
npnp
S-1090H
$1,350 8.9
1280 x 800 250
H/V: 140°/120°
y
y
y
n
n
S-1071H
$1,180 7
1024 x 600 400
H/V: 160°/160°
y
y
y
n
n
Plura
Plura Broadcast,
Broadcast, Inc.
Inc.
$2,900
$2,900 1717
1920
1920 xx 1080
1080 450
450 178
178
yy
yy
yy
yy
npnp rack
rack
S-1070C+
$960
7
800 x 480
H/V: 130°/110°
y
n
y
n
n
S-1071C+
$890
7
1024 x 600 np
H/V: 160°/160°
y
n
y
n
n
www.plurabroadcast.com
PBM-317S
PBM-317S
170°
170° HH // 160°
160° VV
DBM-140
DBM-140
$2,800
$2,800 40
40
1920
1920 XX 1080
1080 500
500 178
178
yy
nn
nn
nn
npnp Wall
Wall
PBM-184S
PBM-184S
$2,700
$2,700 8.4
8.4
1024
1024 xx 768
768 400
400 178
178
yy
yy
yy
yy
npnp rack
rack
S-1051H
$750
5
1024 x 600 350
H/V: 140°/120°
y
n
y
n
n
PBM-219S
PBM-219S
$2,700
$2,700 19
19
1366
1366 xx 768
768 250
250 178
178
yy
yy
yy
yy
npnp rack
rack
S-1071C
$580
7
1024 x 600 400
H/V: 160°/160°
y
n
y
n
n
S-1051C
$420
5
800 x 480
H/V: 140°/120°
y
n
n
n
n
PBM-217-3G
PBM-217-3G
$2,700
$2,700 1717
1366
1366 xx 768
768 350
350 178
178
yy
yy
yy
yy
npnp rack
rack
PBM-307-3G
PBM-307-3G
$2,500
$2,500 77
1024
1024 xx 600
600 400
400 178
178
yy
yy
yy
yy
npnp rack
rack
PBM-209-3G
PBM-209-3G
$2,400
$2,400 99
800
800 xx 480
480
yy
yy
yy
yy
npnp rack
rack
600
600 178
178
SmallHD
SmallHD
DP7-PRO
DP7-PRO HB-SX
HB-SX
$2,700
$2,700 6.95
6.95
1280
1280 xx 800
800 1200
1200 160
160
yy
yy
yy
yy
yy
on-camera
on-camera
www.smallhd.com
www.smallhd.com
DP7-PRO
DP7-PRO OLED-SX
OLED-SX
$2,700
$2,700 7.7
7.7
1280
1280 xx 800
800 250
250 165
165
yy
yy
yy
yy
yy
on-camera
on-camera
DP7-PRO
DP7-PRO OLED
OLED
$2,000
$2,000 7.7
7.7
contents
full screen
print
30
350
1280
1280 xx 800
800 250
250 165
165
yy
yy
yy
yy
yy
on-camera
on-camera
DP7-PRO
$1,600 6.95
6.95
DP7-PRO (with
(with info.
info. for
for $1,600
SB,
SB, SB-X,
SB-X, HB-SX,
HB-SX, OLED
OLED
and
and OLED-SX)
OLED-SX)
1280
1280 xx 800
800 400
400 160
160
yy
yy
yy
yy
yy
on-camera
on-camera
AC7-OLED/SDI
AC7-OLED/SDI
$1,400
$1,400 7.7
7.7
1280
1280 xx 800
800 250
250 165
165
yy
yy
yy
yy
nn
on-camera
on-camera
AC7-OLED
AC7-OLED
$1,100
$1,100 7.7
7.7
1280
1280 xx 800
800 250
250 165
165
yy
nn
yy
yy
nn
on-camera
on-camera
AC7-LCD-SDI
AC7-LCD-SDI
$900
$900 77
1280
1280 xx 800
800 400
400 160
160
yy
yy
yy
yy
nn
on-camera
on-camera
DP4
DP4 EVF
EVF
$600
$600 4.3
4.3
800
800 XX 480
480
350
350 160
160
yy
nn
yy
yy
yy
on-camera
on-camera
AC7-LCD
$600 77
AC7-LCD (with
(with info.
info. for
for $600
AC7-LCD-SDI,
AC7-LCD-SDI, AC7-OLED,
AC7-OLED,
AC7-OLED-SDI)
AC7-OLED-SDI)
1280
1280 xx 800
800 400
400 160
160
yy
nn
yy
yy
nn
on-camera
on-camera
DP4
DP4 (with
(with info.
info. for
for DP4
DP4 $450
$450 4.3
4.3
EVF)
EVF)
800
800 XX 480
480
350
350 160
160
yy
nn
yy
yy
yy
on-camera
on-camera
350
such as color bars generators and vectorscopes
for viewing image saturation.
The types of productions that can take advantage of using a production monitor can be
broken down into three categories: the hobbyist,
the lone wolf producer, and the small production company.
Hobbyist
Everyone likes to shoot video, but going beyond
a quick grab of the video camera or cellphone
separates the hobbyist from the others. Perhaps
it’s a tribute to a returning veteran for a local
public access channel or to commemorate a
special event; it could be an event of importance
like a graduation or special outing. Regardless,
having a monitor to use, instead of relying on
a viewfinder, will up the ante not only produc-
ikan Corporation
www.ikancorp.com
Plura Broadcast, Inc.
contents
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SWIT ELECTRONICS USA
www.swit.us
print
31
HD-SDI
Composite
Component
HDMI Loop-Through
1920 x 1080 450
L/R/T/B: 88/88/88/88° y
n
y
y
n
desk, wall
www.totevision.com
LED-1908IP67
$2,340 19
1280 x 1024 300
80/80/65/65
y
n
y
n
n
VESA
LED-4201HDMT
$1,435 42
1920 x 1080 450
89/89/89/89 degrees y
n
y
y
n
VESA
LCD-3200PVM
$1,120 32
1366 x 768 500
89/89/89/89 degrees y
n
y
y
n
desk, wall, ceiling
Max. Resolution
HDMI
$2,345 55
Viewable Angles
Price ($)
LED-5500HDT
Model
ToteVision, Inc.
Manufacturer
LED-4202HDT
$875
42
1920 x 1080 450
89/89/89/89 degrees y
n
y
y
n
VESA
LCD-842HD
$785
8.4
800 x 600
75/75/75/75
n
y
y
n
desk, flush, rack
450
y
LED-3204HDT
$615
32
1920 x 1080 400
89/89/89/89 degrees y
n
y
y
n
desk, wall, ceiling
LCD-703HD
$615
7
800 x 480
350
65/65/55/60
y
n
y
y
n
desk, wall, on-camera
LCD-703HD
$615
7
800 x 480
350
65/65/55/60
y
n
y
y
n
desk, wall, on-camera
LED-2361HDMT
$695
23
1920 x 1080 300
85/85/80/80
y
n
y
y
n
wall
LCD-1560HD
$500
15.6
1366 x 768 200
90/90/65/65
y
n
y
y
n
VESA
LED-1902HDT
$496
19
1366 x 768 250
85/85/80/80
y
n
y
y
n
desk
LED-1908HD
$496
19
1280 x 1024 300
85/85/80/80
y
n
y
n
n
desk, wall, under cabinet
LED-2600HDT
$488
26
1920 x 1080 400
80/80/75/75degrees
y
n
y
y
n
desk, wall, ceiling
LED-1002HD
$479
10.4
1024 x 768 400
89/89/89/89 degrees y
n
n
n
n
desk, VESA, 1/4 - 20 (2)
LED-1708HD
$467
17
1280 x 1024 300
85/85/80/80
n
n
y
n
y
LED-1708HD
$467
17
1280 x 1024 300
85/85/80/80
y
n
y
n
n
LED-2360HD
$426
23
1920 x 1200 250
85/85/80/80
y
n
n
n
n
np
LED-2361HD
$277
23
1920 x 1080 300
85/85/80/80
y
n
n
n
n
np
TVLogic USA
LVM-174W
$2,995 17
1366 x 768 350
178°(H) / 178°(V)
y
y
n
y
n
desk
www.tvlogicusa.com
SRM-074W
$2,895 7
1024 x 600 1000 170°(H) / 170°(V)
y
y
n
y
y
on-camera, desk
Wohler Technologies, Inc.
www.wohler.com
LVM-074W
$2,695 7
1024 x 600 400
170°(H) / 170°(V)
y
y
n
y
y
on-camera, desk
LVM-172W
$2,595 17
1366 x 768 350
178°(H) / 178°(V)
y
y
n
y
n
desk
LVM-084
$2,000 8.4
1024 x 768 400
170°(H) / 170°(V)
y
y
n
y
n
on-camera, desk
PRM-502LE
$1,895 5 (dual)
300
170°(H) / 170°(V)
n
y
n
y
n
np
VFM-056W / VFM-056WP $1,445 5.6
1280 x 800 300
170°(H) / 170°(V)
y
y
n
y
y
on-camera
RM-4290W-HD
800 x 480
250
140° (H) / 100°(V)
n
y
y
n
n
rack
350
$2,995 9 (dual)
800 x 480
RM-3270W-HD
$2,795 7 (dual)
800 x 480
RMT-170-HD-RM
$2,495 17
1920 x 1080 400
RMT-170e-SD-TT
$1,760 17
1920 x 1080 400
RM-2443W-2C
$1,015 4.3 (quad) 480 x 270
165
130°(H) / 115°(V)
n
y
y
n
n
rack
178 (H) x 178 (V)
n
y
y
n
n
desk, rack
178 (H) x 178 (V)
n
n
n
y
n
desk, rack
160 (H) x 160 (V)
n
n
y
n
n
rack
tion-wise, but quality-wise as well. Examples
include:
• Marshall Electronics V-LCD51 800x480 oncamera/portable field monitor with HDMI, $600.
The 5-inch screen and small chassis contains
features found in much more expensive models – such as an 800x480 resolution LED backlit
screen with a wide viewing angle of 170 degrees.
It features a 600:1 contrast ratio and an HDMI
input. Standard features include a wide variety
of formats and markers, as well as false color
and peaking filters (designed to assist the camera
operator in getting the sharpest focus possible).
Batteries supply the power and the V-LCD51 can
be mounted to cranes, jibs and DSLRs. This makes
it quite useful for all sorts of shoots, and can function quite effectively as a field monitor.
• Atomos Ninja-2 10-bit smart production for
DSLRs and HDMI cameras – field recorder, monitor and playback/playout device, $795
This battery-powered field monitor doubles as
a video recorder – providing touch screen operations for HD recording, monitoring and playback.
10-bit 4:2:2 video and audio are captured from any
HDMI source, which even includes mobile devices
such as iPhones or iPads. Built-in software aids
in accurately assessing focus and exposure, with
other functionality such as false color twin mode,
blue-only exposure check and adjustments for
individual filters included. User-replaceable 2.5inch hard drives (HDD/SSD) provide for up to 16+
hours of recording time. Aircraft-grade aluminum
makes for a lightweight but durable chassis.
Lone Wolf Producer
This type of production involves the one-man
band and requires attention to detail since you
don’t have a multitude of people to do the work or
be involved in the technical execution. The shoot
could be a band’s performance in a stadium or a
dance troupe in a theater, or even “hard” news on
the street that requires the flexibility of fast movement, quick setups and even faster shooting. Having a monitor that can meet the changing needs of
varying types of productions will serve well here.
Some examples of this type of monitor include:
• ikan TL-1850HD-SE LCD studio/field monitor, $2,000
Equipment Backup
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Shooting a video production must always include the possibility of equipment failure. While a careful examination and run-through
of all equipment prior to the shoot can guard against this possibility, should a vital piece of equipment cease functioning when on
the job, the loss in time and money can be exorbitant. The simplest solution is to have a backup of the most critical equipment.
This equipment can be rented and, while having similar functionality to the one it might have to replace is desirable, it can be many
times less sophisticated than the one it is to replace since the odds are that it won’t be used. If nothing breaks down, the worst
thing that has happened is the loss of a rental fee.
32
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33
A rugged construction and a dual-use (in
studio or out) is complemented by an 18.5-inch
screen and 1366x768 resolution. Inputs consist
of HDMI, composite, SD/HD-SDI and VGA (audio
as well for the dual speaker). Built-in features
include Pixel-to-Pixel, underscan/overscan and
temperature settings, plus a tally light.
• TVLogic SRM-074W 7-inch viewfinder, $2,895
This lightweight (2lb.) magnesium housed
7-inch 1024x600 display comes with a wealth of
inputs, two 3G/HD/SD-SDI, HDMI in, HDMI out,
and HDMI to HD-SDI converted out. The matte
finished panel also possesses the necessary
brightness for being able to be viewed in sunlight
conditions. Horizontal and vertical image flip
adds to the versatility, as does support for TVLogic color calibration, waveform, vectorscope
and RS422 external monitor control.
Small Production Company
Professional productions require professionalgrade equipment, and for monitoring video
feeds, this is of vital importance. The work may
take you from studio into the field, on foot or in
a broadcast van, but in each case the monitor being used must be more than merely competent if
the production is to be true to what is being shot.
The monitors that meet these needs do not come
cheaply, but what is being paid for is massive
control over the image. Examples include:
• TVLogic LVM-074W 7-inch multi-format HD
LCD monitor/$2,695
This high resolution 1024x600 (16:9) LCD
panel (LED backlit) is contained in a durable
housing suitable for studio as well as on-location
use. It has an 800:1 contrast ratio. Its features
include HDMI-to-SDI convention output and
HDMI-to-HDMI/SDI-to-SDI Active Loop Through.
Control buttons are located on the front panel,
and internal software provides for such features
as Waveform, Vectorscope, built-in HDMI to HDSDI conversion output and vertical image flip,
among others. White balance drift (from cold/hot
weather) is automatically compensated for, and
proper color calibration is assured through the
TVLogic Color Calibration utility.
• ikan MR7 7-inch 3G-SDI LCD monitor with
built-in H.264 recorder, $2,300
This 7-inch 2k resolution monitor has much
going for it – even if that means looking no further than the built-in H.264 recorder, false color,
waveform, vectorscope, tally, SMPT-425M 3G
signal, 1:1 resolution mapping, daytime brightness mode, and focus peaking assistance. The
monitor also shows a VU meter, has a viewing
angle of 170-degrees, can convert HDMI input to
SDI output and has an internal speaker.
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34
HD Helmet Camcorder
Field Monitors
A field monitor, although used in a manner similar
to that of a production monitor, has a different
“mindset” in that it is designed for use outside or
on location. As a result, these units are built to
expect some rough handling and battery packs are
employed for greater mobility, although the ability
to plug into an AC outlet often exists as well. There
are also models that can be camera-mounted, with
the advantage here being: lighter equipment, and
a more mobile setup. One example is the Marshall Electronics 5-inch V-LCD50-HDI. A few other
examples of these monitors include:
• SmallHD AC7 field monitor, $600
This 7-inch IPS LCD monitor runs on AC or
battery power. It has a 1280x800 resolution
display, 8-bit color depth, and HDMI and component and composite inputs. The built-in software
provides for such functionality as focus assist,
false color, DSLR scales and frame guides.
• ikan D7w 7-inch 3G-SDI LCD monitor w/IPS
Panel, $1,300
This digital 1280x800 HD resolution on-camera
monitor packs a wealth of features within a compact aluminum chassis featuring both HDMI as
well as a 3G-SDI video input. Software functionality includes underscan and DSLR scaling functionality, along with peaking (with red outline),
false color with adjustable under/over luminance
warning as well as a Clip Guide with an adjustable threshold. The D7w is battery powered and
compatible with select Sony, Canon and Panasonic
batteries. The built-in features include a Waveform (calibration of professional video cameras),
Vectorscope (set/verify skin tones and white balance monitoring) and RGB Parade functions – here
designed to balance out the shadow region when
leveling a shot and provide a view of the color cast
of an image (by providing the color values for the
red, green and blue channels).
Decisions, Decisions
Video productions can vary wildly, but all will
benefit from the use of a monitor. That’s because
it provides a way to control and modulate what is
being shot so that it will meet the standards of the
intended use (such as broadcast) as well as ending
up looking the same when viewed as was shot.
Choosing the best monitor will be determined by
your needs, not just your pocketbook.
Marshal M. Rosenthal is a technology and consumer electronics
freelance writer.
For comments, email: [email protected], use article
#15759 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15759
VIXIA HV40
HDV Camcorder
• Solid State HD Sports Camcorder
• Waterproof to 3’ & impact-resistant
• Wide-angle (170°) fixed-focus lens
• Rotating Lens with laser-aided leveling
• Record 1080p to 720P HD video
resolutions @30/25fps
• One switch turn-on & record
• One-click video uploading
• Record onto microSD media (up to 32GB)
5
Mega
Pixels
#CO2HDHC
• 1/ 2.7”, 2.96MP HD CMOS sensor
with RGB primary color filter
• Frame rates: 60i, native 24p (records
at 24p), 24p cinema, and 30p (at 60i)
• DIGIC DV II image processor
• Canon HD 10x optical video lens
• Instant Aufo Focus w/ext. sensor
• SuperRange optical stabilization
• 2.7” widescreen LCD screen • External mic input
• Smooth variable zoom with 3 fixed zoom speeds
3
Mega
Pixels
#CAHV40
®
HDR-FX7
HERO3
3 CMOS HDV Camcorder
UltraHD Sports/Helmet Camcorder
• Supports 4K, 2.7K, 1440p & 1080p video
• Capture 3840x2160 pixels at 15 fps
• 2.7k mode recording 30 or 24 fps
• Capture 12, 7 or 5-megapixel stills
• 12- megapixel low-light image sensor
• Wide angle 6-element aspherical lens
• Camera housing waterproof to 197' (60 m)
• Built-in Wi-Fi & GoPro app ready • MicroSD card slot (up to 64GB)
• Basic mounts included • Includes Wi-Fi remote (up to 600' capabilities)
12
Black Edition Camera #GOH3BE
Mega
Pixels
HDR-AS15
• Carl Zeiss 20x Vario-Sonnar T Lens
• 3 1/4" CMOS, 16:9, ClearVID technology sensors
• High-Definition 1080i recording
• Super SteadyShot optical stabilization
• Expanded focus assist
• 3.5" LCD screen & Color viewfinder
• Zoom and focus rings
• Focus and zoom precision controls
• Built-in ¼ & 1/16 ND Filters
• HDMI, Microphone, Headphone, & LANC connectivity
Over 300,000 products,
at your leisure.
www.BandH.com
#SOHDRFX7
GC-PX100
HD Action Camcorder
HD Everio Camcorder
• Record HD 1920 x 1080/30p video
• Back-illuminated 1/2.3" CMOS Exmor
R CMOS sensor • Built-in WiFi capability
• Waterproof Housing with Tripod Mount
• Waterproof case to 197' (60 m)
• Memory Stick Micro & MicroSD/SDHC slot
• Carl Zeiss Vario-Tessar ultra-wide 170°
capable viewing angle lens
• Optical image stabilization • HD 720p slow motion modes, 60 or 120 fps
• External microphone input
• HD 1920 x 1080p recording
• Supports shooting
speeds up to 600 fps • Built-in Wi-Fi
• SC/SDHC/SDXC memory card slot
• 1/2.3 back-illuminated
12.8 Mp CMOS sensor
• 29.4mm F1.2 wide angle lens
• 10x optical zoom & 16x dynamic zoom • 3" touch panel LCD
• Optical image stabilizer with A.I.S.
• Capture still images in bursts of nine frames a second
#SOHDRAS15B
#JVGCPX100
HC-X920
12
Mega
Pixels
3D Flash Memory HD Camcorder
• 3x 1/2" back-illuminated CMOS sensors
• 12x optical, 25x advanced Leica
Dicomar lens (f/1.5 maximum aperture)
• Record to SD/SDHC/SDXC media
• Remote WiFi mobile device
tether plus Ustream sharing
• Manual controls
• 3.5" (16:9) LCD screen & color viewfinder • Optical image stabilizer
• 3D recording capable with optional Panasonic VW-CLT2 3D lens
• Microphone & headphone input
• Dual 1/3.91 back-illuminated
Exmor-R CMOS sensors
• Record to SD/SDHC/SDXC
MS PRO-HG Duo & XC-HG media
• 1920 x 1080 Full HD 24p/60p video
• Sony G series wide 10x 17x extended zoom lens
• 3.5" (16:9) LCD screen & Color viewfinder
• 5.1-ch recording • Optical image stabilizer with Active mode
• Watch 3D on 3.5" (16:9) LCD without special glasses
• Built-in GPS • Microphone & headphone input
20
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212-444-5025
HDR-TD30V
3 CMOS Flash Memory HD Camcorder
Mega
Pixels
VIXIA HF M500
Fax:
212-239-7770
20
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Pixels
#SOHDRTD30VB
HXR-NX3D1
HD Flash Memory Camcorder
Professional 3D Compact HD Camcorder
• Canon 1/3” HD 2.37Mp CMOS pro image sensor
• 1920 x 1080 recording on to SD/SDHC/SDXC media
• HD 10x optical zoom lens
• 3.0” widescreen LCD
• Optical image stabilization
• Cinematic Features
• 24p cinema & 30p progressive modes
• Microphone & headphone inputs
• RGB Primary Color filter
• Dual 1/4" Exmor R CMOS sensors
• Two Sony G lenses (10x optical in 3D)
• 96 GB internal memory
• One SD or Memory Stick card slot
• 3.5" LCD (view 3D glasses-free)
• Full 1920 x 1080 in 3D and 2D
• 3D modes: 60i, 50i, 24p (28 Mb/s)
• 2D modes: 60p, 50p, 60i, 50i, 24p, 25p
• Active SteadyShot in 3D
• Dual XLR inputs (line / Mic / Mic+48V selectable)
#CAHFM500
#SOHXRNX3D1U
HDR-PJ790
HDC-Z10000
HD Flash Memory Projector Camcorder
Twin-Lens 2D/3D Camcorder
• 1/2.88 back-illuminated Exmor-R
CMOS sensor • Record to internal
96GB flash memory, or SD/SDHC/
SDXC MS PRO-HG Duo & XC-HG media
• 1920 x 1080 Full HD 24p/60p video
• Internal 35 lumen projector • Carl Zeiss
Vario-Sonnar T* zoom lens (10x, 17x extended) • 3.0" (16:9) LCD screen
& Color viewfinder • 5.1-ch recording • WI-Fi capable (optional ADPWL1M wireless module) • Optical image stabilizer • Smooth slow-motion
recording capabilities • Built-in GPS • Microphone & headphone input
• Two independent 3MOS sensors
• HD Stereoscopic 3D recording
• Dual Integrated 10x Lenses
(12x in 2D) • Triple manual rings:
focus, zoom and iris
• Multi View Coding (MVC)
Recording in 3D 1080p60
• 3.5" 3D compatible LCD
• Dual XLR Inputs
• 2D/3D Still Image Recording
#SOHDRPJ790VB
+2
24
Mega
Pixels
#PAHDCZ10000
NYC DCA Electronics Store Lic. #0906712; NYC DCA Electronics & Home Appliance Service Dealer Lic. #0907905; NYC DCA Secondhand Dealer – General Lic. #0907906
We Buy, Sell and Trade
Used Equipment
Store & Mail Order Hours:
Sunday 10-6 • Mon.-Thurs. 9-7
Friday 9-1 EST / 9-2 DST
Saturday Closed
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AG-HMC40
AG-HMC40
420Ninth
NinthAve.
Ave.
420
Cornerofof34th
34thStreet
Street
Corner
NewYork,
York,N.Y.
N.Y.10001
10001
New
XDCAMHD422
HD422Handheld
HandheldCamcorder
Camcorder
XDCAM
35mmFull-Frame
Full-FrameInterchangeable
InterchangeableLens
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Camcorder
35mm
1080and
and720
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stillcapability
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• •10.6-megapixel
12xoptical
opticalzoom
zoom
• •12x
2.7-inchLCD
LCDmonitor
monitor
• •2.7-inch
XLRaudio
audioinput,
input,HDMI
HDMIoutput,
output,USB
USB2.0
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Supports1920/1440
1920/1440x x1080,
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formatsinin35,
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• •Captures
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• •Fujinon
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• •Optical
DualXLR
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withphantom
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• •Dual
Colorviewfinder
viewfinderand
andlarge
largeLCD
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• •Color
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CMOSSensor
Sensor(1920
(1920x x1080)
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• •1/2.9"
XDCAM422
422MPEG-2
MPEG-2Codec
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• •XDCAM
10xZoom
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Lens- 40-400mm
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• •10x
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Screen(852
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• •3.5"
HD-SDI& &HDMI
HDMIOutputs
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• •HD-SDI
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• •Dual
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• •24.3MP
E-Mount,and
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withincludes
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LA-EA3A-mount
A-mountlens
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• •1080/60i/60p/24p
microphonewith
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• •Tru-Finder
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• •Uncompressed
Duo,SD/SDHC/SDXC
SD/SDHC/SDXC• •3.0"
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LCDscreen
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#PAAGHMC40
#PAAGHMC40
#JVGYHM150
#JVGYHM150
#SOPMW100
#SOPMW100
#SONEXVG900
#SONEXVG900
HXR-NX5U
HXR-NX5U
HDR-AX2000
HDR-AX2000
24
24
Mega
Mega
Pixels
Pixels
AG-AF100A
AG-AF100A
AVCCAMHandheld
HandheldCamcorder
Camcorder
AVCCAM
3-CMOSAVCHD
AVCHDFlash
FlashCamcorder
Camcorder
3-CMOS
3-CMOSNXCAM
NXCAMFlash
FlashMemory
MemoryCamcorder
Camcorder
3-CMOS
DigitalCinema
CinemaCamera
Camera
Digital
Three1/4.7"
1/4.7"HDHD2.19MP
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back
• •Three
illuminatedsensors
sensors• •1920x1080
1920x1080native
nativewith
with
illuminated
variable60p,
60p,60i,
60i,30p
30pand
and24p
24pframe
framerates
rates
variable
Five-Axisoptical
opticalimage
imagestabilization
stabilization
• •Five-Axis
DualSDSDMemory
MemoryCard
CardSlots
Slots
• •Dual
12xzoom
zoom(f/1.5)
(f/1.5)and
and25x
25xdigital
digitalzoom
zoomlens
lens
• •12x
3.5"LCD
LCDscreen
screen& &LCOS
LCOScolor
colorviewfinder
viewfinder
• •3.5"
AVCCAMHDHDRecording
RecordingModes
Modes• •SixSixscene
scene
• •AVCCAM
presets,and
andseven
sevenprogrammable
programmableuser
userbuttons
buttons• •Interval
IntervalRecord,
Record,PrePrepresets,
Record,Record
RecordCheck,
Check,Last
LastClip
ClipDelete
Delete• •Two-Channel
Two-ChannelXLR
XLRAudio
AudioInputs
Inputs
Record,
Three1/3”
1/3”CMOS
CMOSExmor
Exmorsensors
sensors
• •Three
RecordstotoMemory
MemoryStick
StickPRO
PRODuo,
Duo,
• •Records
SD/SDHCCards
Cards(Dual
(Dualmedia
mediaslots)
slots)
SD/SDHC
1080/60i,and
and24p/30p
24p/30pAVCHD
AVCHDrecording
recording
• •1080/60i,
20xzoom
zoomG-Lens
G-Lens(29.5mm
(29.5mmwide)
wide)
• •20x
Zoom,focus,
focus,and
andirisirisrings
rings
• •Zoom,
DualXLR
XLRinputs
inputs• •3.2”
3.2”Xtra
XtraFine
FineLCD
LCD
• •Dual
Low-light(1.5
(1.5LUX)
LUX)capabilities
capabilities
• •Low-light
CinemaToneGamma
Gammaand
andCinemaTone
CinemaTone
• •CinemaTone
Colorcontrol
control
Color
Three1/3”
1/3”Exmor
ExmorCMOS
CMOSsensors,
sensors,with
witha aClearVid
ClearVidarray
array
• •Three
Captureuses
usesMemory
MemoryStick
StickPRO
PRO
• •Capture
Duo/ SDHC
/ SDHCCards,
Cards,with
withrelay
relay
Duo
recordcapability
capability(optional
(optionalHXRHXRrecord
FMU128flash
flashmemory
memoryunit)
unit)
FMU128
20xwide
wideG Gseries
serieslens
lens
• •20x
HD-SDI& &HDMI
HDMIoutput,
output,SMPTE
SMPTE
• •HD-SDI
TimeCode
Codein/out,
in/out,Dual
DualXLR
XLRinputs
inputs
Time
Built-inGPS
GPSsystem
system
• •Built-in
3.2”Xtra
XtraFine
FineLCD
LCD
• •3.2”
Large4/3-type
4/3-typeMOS
MOSsensor
sensor
• •Large
Microfour
fourthirds
thirdslens
lensmount
mount
• •Micro
Usesstill
still& &cinema
cinemalenses
lenses
• •Uses
TwoSDHC/SDXC
SDHC/SDXCmemory
memorycard
cardslots
slots
• •Two
(RelayRecording)
Recording)
(Relay
AVCCAMRecording
Recording1080i/p,
1080i/p,
• •AVCCAM
720pvariable
variableframe
framerates
rates
720p
Opticallow-pass
low-passfilter
filter
• •Optical
HD-SDI,HDMI
HDMIoutput,
output,Dual
DualXLR
XLR
• •HD-SDI,
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InterchangeableLens
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HD
ShootsAVCHD
AVCHDUpUptoto1080/60p
1080/60p
• •Shoots
24Mbps
atat24Mbps
Built-In96GB
96GBFlash
FlashMemory
MemoryCapacity
Capacity
• •Built-In
ProAudio
AudioControl
Control& &Level
LevelAdjustment
Adjustment
• •Pro
•
Equipped
with
Dual
XLR
Inputs
• Equipped with Dual XLR Inputs
Built-InProjector
Projector& &3.5"
3.5"LCD
LCDMonitor
Monitor
• •Built-In
Built-InStereo
StereoShotgun
ShotgunMicrophone
Microphone
• •Built-In
Super-WideCarl
CarlZeiss
Zeiss10x
10xOptical
OpticalLens
Lens
• •Super-Wide
BalancedOptical
OpticalSteadyShot
SteadyShot
• •Balanced
FeaturesSDSDororMemory
MemoryStick
StickCard
CardSlot
Slot
• •Features
1/4"4.2Mp,
4.2Mp,ClearVid
ClearVidExmor
ExmorR RCMOS
CMOSsensor
sensor
• •1/4"
Built-in64GB
64GBhard
harddrive
drive
• •Built-in
SD/SDHC/SDXC& &Memory
MemoryStick
Stickslot
slot
• •SD/SDHC/SDXC
1920x x1080i
1080iAVCHD
AVCHD(24Mbps)
(24Mbps)
• •1920
•
MPEG-2
SD
Mode
(9Mbps)
• MPEG-2 SD Mode (9Mbps)
12xwide
wideangle
angleSony
SonyG Glens
lens
• •12x
OpticalSteadyShot
SteadyShotstabilizer
stabilizer
• •Optical
2.7"ClearPhoto
ClearPhotoLCD
LCD
• •2.7"
Manuallens
lensring
ringwith
withassignable
assignable
• •Manual
parameters
parameters
10-bit,4:2:2,
4:2:2,native
native1080
1080and
and720p
720p
• •10-bit,
resolutionininvariable
variableframe
framerates
rates
HDHDresolution
AVC-Intra100
100and
and5050codecs
codecs
• •AVC-Intra
TwoP2P2card
cardslots
slots(hot
(hotswapping,
swapping,
• •Two
loop,pre-record)
pre-record)
loop,
advanced1/3”,
1/3”,2.2
2.2MP
MP
• •3 3advanced
CMOSsensors
sensors• •HD-SDI
HD-SDIoutput
output
CMOS
20-bitdigital
digitalsignal
signalprocessor
processor
• •20-bit
17xFujinon
FujinonHDHDlens
lens• •Built-in
Built-inscan
scanreverse
reversemode
mode
• •17x
Waveformand
andvector
vectorscope
scopedisplay
display
• •Waveform
ExmorAPS-C
APS-CCMOS
CMOSsensor
sensor(AVCHD
(AVCHD/ /
• •Exmor
MPEG2-SD)• •Supplied
Supplied18-200
18-200servo
servo
MPEG2-SD)
powerzoom
zoom• •E-mount
E-mountinterchangeable
interchangeable
power
lenssystem
system• •Add
Addlenses
lenseswithout
withoutbeing
being
lens
lockedonona alens
lensbrand
brandororlens
lensmount
mount
locked
UseAlpha
AlphaA-mount
A-mountlenses
lenseswith
with
• •Use
15‐pointphase
phasedetection
detectionAFAF
15‐point
Mechanicalshutter
shutterStill
StillPicture
Picture
• •Mechanical
3.5’’LCDPanel
Panel• •Record
Recordonto
ontoMemory
MemoryStick/SD/SDHC/SDXC/HXRStick/SD/SDHC/SDXC/HXR• •3.5’’LCD
FMU128(Optional)
(Optional)• •Records
Recordsononmedia
mediacard
cardand
andFMU128
FMU128Simultaneously
Simultaneously
FMU128
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RecordHDHD1080/720
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• •Record
CompactFlash
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Compact
50MbpsMPEG-2
MPEG-24:2:2
4:2:2recording
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• •50Mbps
1/3"2.37Mp
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CMOSsensors
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• •3 31/3"
18xCanon
CanonHDHDL Lseries
serieslens
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• •18x
DIGICDVDVIIIIIIimage
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• •DIGIC
•
4"
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Mp
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• 4" 1.23 Mp LCD monitor
1.55Mp
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• •1.55
Overand
andunder
undercrank
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• •Over
XF305Step-up:
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HD-SDIOutput,
Output,Genlock
Genlock& &SMPTE
SMPTETime
TimeCode
Code
XF305
Interchangeable1/2”
1/2”bayonet
bayonetlens
lens
• •Interchangeable
mount,incl.
incl.Fujinon
Fujinon14x5.8
14x5.8lens
lens
mount,
1/2”Exmor
ExmorCMOS
CMOSimage
image
• •3 31/2”
sensorsthat
thatshoot
shootfullfullraster
raster
sensors
1920x1080hi-def
hi-defimagery
imagery
1920x1080
•
Recording
on
removable
• Recording on removable
SxSflash
flashmemory
memorycards
cards
SxS
1080and
and720
720shooting
shootingmodes
modeswith
with
• •1080
selectablebitbitrates
ratesininboth
bothPAL
PALand
andNTSC
NTSCstandards
standards
selectable
Hi-res3.5”
3.5”LCD
LCDmonitor
monitor• •8-Pin
8-Pinremote
remotestudio
studioconnectivity
connectivity
• •Hi-res
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• •1920
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• •32GB
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cardslots
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• •Two
1/3"2.37Mp
2.37MpHDHDCMOS
CMOSpro
prosensor
sensor
• •1/3"
3.5"LCD
LCD& &Color
Colorviewfinder
viewfinder
• •3.5"
GenuineCanon
Canon10x
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VideoLens
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• •Genuine
SuperRangeoptical
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• •SuperRange
Customcinema-Look
cinema-Lookfilters
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• •Custom
Professionalshooting
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• •Professional
1/3”,2.2
2.2Mp
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sensor- 18-bit
- 18-bitdsp
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• •3x3x1/3”,
22xoptical
opticalzoom
zoomlens
lens
• •22x
1080p1080i
1080i60/p30/p24
60/p30/p24& &720p60
720p60
• •1080p
Threerings;
rings;Manual
ManualZoom,
Zoom,Focus
Focus& &IrisIris
• •Three
DualSD/SDHC/SDXC
SD/SDHC/SDXCcard
cardslots
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• •Dual
AVCHD& &DVDVrecording
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(SD)modes
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• •AVCHD
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Internaland
andDual
DualSDHC/SDXC
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• •64GB
cardslots
slotswith
withrelay
relayrecording
recording
card
1920x x1080
1080CMOS
CMOSImage
ImageSensor
Sensor
• •1920
Canon10x
10xHDHDVideo
VideoLens
Lens
• •Canon
8-BladeIrisIrisand
andManual
ManualFocus
FocusRing
Ring
• •8-Blade
DIGICDVDVIIIIIIImage
ImageProcessor
Processor
• •DIGIC
24MbpsRecording
Recording(AVCHD)
(AVCHD)
• •24Mbps
3.5"High-resolution
High-resolutiontouch
touchpanel
panel
• •3.5"
LCDand
andEVF
EVF
LCD
DualXLR
XLRterminals
terminals
• •Dual
1/3”,2.2
2.2Mp
MpCMOS
CMOSsensor
sensor- 18-bit
- 18-bitdsp
dsp
• •3x3x1/3”,
22xoptical
opticalzoom
zoomlens
lens
• •22x
1080p1080i
1080i60/p30/p24
60/p30/p24& &720p60
720p60
• •1080p
Threerings;
rings;Manual
ManualZoom,
Zoom,Focus
Focus& &IrisIris
• •Three
HD-SDI& &HDMI
HDMIoutput
output
• •HD-SDI
59.94HzHz/ 50
/ 50HzHzswitchable
switchable
• •59.94
Slow/quickmotion
motionrecording
recordingmode
mode
• •Slow/quick
cardand
andDVCPRO
DVCPROmode
moderecording
recording
• •P2P2card
AG-HPX255Step-up
Step-upFeatures:
Features:
AG-HPX255
Remoteterminal
terminalforforstudio
studiocontrol
control
• •Remote
Super35mm
35mm8.3MP
8.3MPCMOS
CMOSsensor
sensor
• •Super
CanonEFEFmount
mountwith
withEFEFcontacts
contacts
• •Canon
DualSDHC/SDXC
SDHC/SDXCmemory
memorycard
cardslots
slots
• •Dual
Multiplerecording
recordingmodes
modesand
andframe
framerates
rates
• •Multiple
Fullmanual
manualcontrol
controland
andfocusing
focusingaids
aids
• •Full
Exceptionallow
lowlight
lightsensitivity
sensitivityand
andwide
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• •Exceptional
dynamicrange
range
dynamic
imageprocessor
processor
• •DIGIC
Highresolution
resolutionEVF
EVFand
andintegrated
integratedLCD
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• •High
DualXLR
XLRaudio
audioconnectors
connectors
• •Dual
Super35mm
35mmCMOS
CMOSsensor
sensor
• •Super
MbpsMPEG-2
MPEG-2EFEFororPLPLlens
lensmount
mount
• •5050Mbps
DualCFCFcard
cardslots
slots
• •Dual
CanonXFXFCodec
Codec- 4:2:2
- 4:2:2color
colorsampling
sampling
• •Canon
Multiplerecording
recordingformats
formats
• •Multiple
High-resolutionVFVFand
and4",4",1.23
1.23Mp
MpLCD
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• •High-resolution
HD-SDI,HDMI,
HDMI,XLR
XLRaudio
audio
• •HD-SDI,
CanonDIGIC
imageprocessor
processor
• •Canon
High-Speed,Slow-Motion,
Slow-Motion,Time-Lapse
Time-Lapseand
andStop-Motion
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• •High-Speed,
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Genlockinin& &Sync
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• •Timecode
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Page22
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XA10
XA10
#CAXA10
#CAXA10
XF100/ /XF105
XF105
XF100
AG-AC160A
AG-AC160A
AG-AC160AStep-up
Step-upFeatures:
Features:
AG-AC160A
HD-SDI& &LPCM
LPCMaudio
audiorecording
recording
• •HD-SDI
•
59.94
Hz
/
50
Hz
switchable
Slow/quickmotion
motionrecording
recordingmode
mode
• 59.94 Hz / 50 Hz switchable • •Slow/quick
AG-HPX250/ /AG-HPX255
AG-HPX255
AG-HPX250
NEX-VG30
NEX-VG30
EOSC100
C100
EOS
LensOptional
Optional
Lens
#CAC300EF/ #CAC300PL
/ #CAC300PL
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PMW-200
PMW-200
PMW-F3K-RGB
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InterchangeableLens
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HDCamcorder
Camcorderand
andLens
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Interchangeable
XDCAMHD422
HD422Camcorder
Camcorder
XDCAM
Super35mm
35mmHD
HDCamcorder
CamcorderKit
Kit
Super
1/3"CMOS
CMOS1920
1920x x1080
1080CMOS
CMOSsensor
sensor
• •1/3"
DualCFCFcard
cardslots
slots
• •Dual
50MbpsMPEG-2
MPEG-2recording
recording
• •50Mbps
Canon'sMPEG-2
MPEG-24:2:2
4:2:2color
colorsampling
sampling
• •Canon's
60p/60i,30p,
30p,24p
24pMXF
MXFFile
FileFormat
Format
• •60p/60i,
10xHDHDzoom
zoomlens
lens
• •10x
3.5"920K
920Kdot
dotLCD
LCDmonitor
monitor
• •3.5"
Stereoscopic3-D
3-Drecording
recordingcapabilities
capabilities
• •Stereoscopic
DualXLR
XLRinputs
inputs• •Waveform
WaveformMonitor
Monitor
• •Dual
XF105Step-up:
Step-up:HD/SD-SDI,
HD/SD-SDI,SMPTE
SMPTETime
TimeCode,
Code,Genlock
Genlock
XF105
16.1MPExmor
ExmorAPS-C
APS-CHDHDCMOS
CMOSsensor
sensor
• •16.1MP
IncludesE-mount
E-mountf/3.5-6.3
f/3.5-6.318-200mm
18-200mm
• •Includes
OSSzoom
zoomlens
lens• •A-Mount
A-Mountcapable
capable
OSS
withoptional
optionalA-mount
A-mountlens
lensadapter
adapter
with
Directpower
powerzoom
zoomw/w/variable
variable
• •Direct
zoomspeed
speedcontrol
control• •XGA
XGAOLED
OLED
zoom
electronicviewfinder
viewfinder• •Quad
QuadCapsule
Capsule
electronic
SpatialArray
ArraySurround
Surroundmic
mic(5.1
(5.1
Spatial
channel)Mic/Headphone
Mic/Headphonejacks
jacks• •Optical
OpticalSteadyShot
SteadyShotimage
imagestabilization
stabilization
channel)
Comprehensivemanual
manualcontrols
controlsexpanded
expandedfocus,
focus,zebra,
zebra,and
andpeaking
peaking
• •Comprehensive
Three1/2"
1/2"Exmor
ExmorCMOS
CMOSsensors
sensors
• •Three
MPEGHD422
HD422atat5050Mbps
Mbpsrecording
recording
• •MPEG
HD4221080p
1080patat2424& &3030fps
fpsHD422
HD422
• •HD422
720patat24,
24,3030& &6060fps
fpsFujinon
Fujinon
720p
14xzoom
zoom(servo/manual)
(servo/manual)lens
lens
14x
DualSxS
SxSmemory
memorycard
cardslots
slots
• •Dual
FourChannels
Channelsofof16-bit
16-bitaudio
audio
• •Four
SupportsMXF
MXFand
andXDCAM
XDCAMEXEX
• •Supports
workflows• •Articulated
Articulated3.5"
3.5"LCD
LCDscreen
screen
workflows
Timecode& &Genlock
Genlockinput
input• •Cache
Cacherecording
recordingUpUptoto1515seconds
seconds
• •Timecode
IncludesRGB
RGB4:4:4
4:4:4baseband
basebandoutput
outputwith
withS-LOG
S-LOGgamma
gamma
• •Includes
ExmorSuper
Super3535CMOS
CMOSimage
imagesensor
sensor
• •Exmor
Includes35mm,
35mm,50mm,
50mm,85mm
85mmlens
lenskitkit
• •Includes
lensmount,
mount,35mm
35mmCine
Cinelens
lenscompatibility
compatibility
• •PLPLlens
10-bit4:2:2
4:2:2HD-SDI
HD-SDI
• •10-bit
TwoSxS
SxSmemory
memorycard
cardslots
slots
• •Two
Interlace/Progressivemodes
modes
• •Interlace/Progressive
D-SDIDual-link
Dual-linkoutput
output
• •D-SDI
3D-LINKoption
option
• •3D-LINK
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illustrativeerrors.
errors.©©2000-2013
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EOSC300
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Page33
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print
Entry-Level
Jobs
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Thereare
aremany
manyjobs
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for Video
The Building
Blocks of Your
Career
BY JULIE BABCOCK
I
f you’re actively searching for a job, you will
find one. The key is to find a job that will
lead you down a career path you desire. Not all
entry-level positions lead to the same future.
While all jobs are great for networking, most
entry-level positions in film and video are
building blocks for specific industry careers.
The First Stop to the Top: Internships
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38
Photos by Jennifer O'Rourke
A common misconception about internships
is that they are strictly for students who are
fulfilling college degree requirements. While
this is often the case, there are also internship
programs available to postgraduates looking
for experience in their field.
contents
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39
Entry-Level
Jobs
for Video
Like any job, finding the right internship
program takes time and research. Most major
studios have internship programs available.
These positions are usually highly sought after
and the competition is steep. But if you’re
up for the challenge you can usually find the
requirements for application on their company
website. If you don’t have a specific company in
mind, or you’re looking for an available internship right away, sites like internmatch.com list
available internships with companies located
across the U.S.
It’s important to note that a great number of
companies will not monetarily compensate you
for your time as an intern. These programs are
generally considered an exchange of services
– you work for the company, they give you
real-world experience and training. However,
the knowledge that is imparted to you and the
connections that you will make during your
internship are priceless when looking for future
employment in the film industry.
in a production office, your responsibilities as a
PA will vary. However, you can expect them to
revolve around the miscellaneous tasks that are
paramount for the overall success of each project … like getting people their coffee; (which
should never be taken lightly, rather with two
sugars, please).
If working in an office, a PA may be responsible for running a slew of errands, answering
phones, and helping with the day-to-day tasks
that arise. On set, a production assistant’s responsibilities may include helping with the extras, taking lunch to the second unit, and making copies
of the script, among many other tasks.
At the end of the day, there is no glory in being
a PA. You can expect long hours in a seemingly
thankless position. The key is to work hard, pay
attention to detail, and don’t complain. A good
attitude and enthusiasm for every assignment
can go a long way when you’re a PA. If you’ve
done your job well you’ll be on your way to a
mid-level production position in no time.
The Bottom Rung: Production Assistant/
Runner
Your Path to Post-Production: Assistant
Editor
When it comes to entry-level jobs, a production
assistant (PA) or runner position is one of the
lowest on the totem pole. Unfortunately, it is
almost always a necessary rite of passage.
Though the job responsibilities of a PA are
not entirely desirable, they are not difficult
either. Depending on the size of the production and whether you are working on a set or
contents
Major movie houses and production facilities use interns
well. The job might not pay, but it gives you important
connections that can pay off later. Search the production
companies’ websites for internships to get started.
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40
If you’re interested in a career in video editing, an
assistant editing position is a great place to start.
While this position is sometimes considered
entry-level, it does require a firm understanding of film and digital technology as well as skill
with editing software. (The two most common
programs are Avid and Final Cut Pro systems.)
Unfortunately, in this position there is no way
to “fake it until you make it.” And while a good
smile and some charm can get you far in life,
potential employers may want to see your editing
abilities up-front. Be prepared to submit a demo
reel with your résumé and cover letter.
Once you land the position, your job will
generally consist of digitizing footage, compiling footage for multi-camera shots, monitoring
continuity, providing technical support, keeping
detailed logs of negative cut lists, and compiling Edit Decision Lists among many other tasks.
Ideally, you will be preparing everything related
to editing, so that the editor can simply sit down
and begin cutting.
If you want to become an editor for feature
films, TV, post-production houses or news
stations, an assistant editor position is almost
always the first step to advancing to a higher title.
Learn as much as you can and make your ambitions known. Be sure to pay your dues and one
day you will be the one simply cutting.
nician position is where you want to set your
entry-level sights. While this position doesn’t
always require a college degree, it does require
knowledge of broadcast technology and Federal
Communications Commission (FCC) regulations.
Master control is an around-the-clock job.
Since broadcast TV never stops, master control
operators must take shifts to monitor the quality and accuracy of the outgoing signal. This can
mean working weekends, holidays, late hours
or even a graveyard shift should you accept the
position. In addition to ensuring the transmission meets FCC regulation both technically
and in regards to content, responsibilities may
include inserting the station’s identification,
controlling volume, and ensuring that programs
air as scheduled.
Do it Yourself: Freelance Videographer
There are many ways to get into video without
having to submit to hours of gofer work and
years of apprenticeship. One of those ways is to
become a freelance videographer.
The only requirement for this in an entry-level
position is to have access to the video gear needed to do the job. In addition to the essential gear
and video knowledge, a freelance videographer
Every production position is critical – no matter how menial.
If your job is to carry cables and deliver coffee to a director
working through the night, always keep a cheery attitude,
even if he doesn’t appear to appreciate it – he’ll notice.
needs to possess a “go get it” attitude. You alone,
will be responsible for finding and booking your
jobs. These jobs can vary depending on whether
you are answering “videographer wanted” ads
contents
The First Steps Into Broadcasting: Master
Control Operator
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If a career in broadcast TV is more your speed,
then a master control operator or broadcast tech-
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41
Entry-Level
Jobs
for Video
THE IMPORTANCE OF NETWORKING
such as those found on sites like mandy.com, or
whether you’re promoting your own services.
A great to way to start gaining experience and
building your portfolio is in wedding and event
videography, as well as real estate and commercial videos. Established freelance videographers
will charge a premium for their service, by offering discounted services you can secure some
small jobs until you’ve built a network of clients
and an impressive portfolio – just make sure you
can deliver what you promise!
Remember, when it comes to freelance
videography, every job is more than the task at
hand; it’s the future of your business and livelihood. Treat every job with the utmost importance; it could be the difference between getting
referrals and looking for a new line of work.
Making Movies on Your Own Terms:
Independent Filmmaker
Being an independent filmmaker has plenty of
appeal. However, it takes a special breed to be
successful. Not only does it require a dedication to the art of video production and postproduction, but you must also have a strong
business sense if your goal is to make money.
Fortunately, with sites like YouTube and Vimeo,
independent filmmakers can easily promote,
distribute and turn their videos into a healthy
source of revenue.
For some time now, YouTube’s Partner Program has been helpful in the quest to make
money. Once you sign up for the program and
your video is approved for monetization, You-
Every time you meet someone, it’s an opportunity
to find work. Every contact knows someone who
knows someone else who’s looking to hire. In the
field of video production, networking can be the
difference between sinking and swimming. Making
connections with the right people can help you find
work when all your other resources are exhausted.
LinkedIn is a great resource for networking and
keeping up with the contacts you’ve already met. It’s
free to sign up, just make sure to always keep your
profile updated with your latest work. After all, you
never know who might be looking.
Tube will place an ad in or near your video that
will generate revenue, while you sit back and
collect. Your earnings will depend on a variety of
factors. Needless to say, you must own worldwide
distribution rights to everything in the video for it
to be eligible.
Vimeo Plus members and non-commercial
Vimeo PRO members can use a feature called
“Tip Jar,”which prompts viewers to pay you, if
they like your video. Viewers can then enter the
amount they’d like to tip along with the magic
numbers of a valid credit card, and then the
money is yours.
In addition to Tip Jar, Vimeo has a Vimeo On
Demand service, which will allow content creators to further monetize their videos by charging
a per-view fee. Content creators will be able to set
the price for viewing as well as how many times
a person is allowed to view it.
As an independent filmmaker, there are many
ways to rake in the dough. The key is to possess
an entrepreneurial attitude that just won’t quit.
Then, find the avenues that work best for you. If
you’re successful, it can be quite lucrative, even
at the entry-level.
Nothing Good Ever Came Easy
Entry-level positions are not typically glamorous.
You will work hard. You won’t be appreciated at
times, and more than likely, you will have to do
things that you’re over-qualified to do. However,
don’t let this discourage you. Work harder. Be
polite and grateful for every opportunity that
is bestowed upon you. After all, this entry-level
position will be the foundation of your budding
career. People in high places do notice, and take
note. Do well at this level and there’s no telling
the places you’ll go.
Julie Babcock has worked her way out of the entry-level trenches and
now sits comfortably at an entertainment ad agency in Hollywood.
contents
Entry-level jobs cover all areas of video production from
helping carry gear on a set to running the helm of a TV station’s broadcast as a Master Control Operator.
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BASIC TRAINING
BASIC TRAINING
MARKET PLACE
JUNE 2013
Mini Shotgun PRO
b y Ky l e Ca ssi d y
Keeping Gear Safe on Location
and safe. But what if you have to
abrasions, water, mud, bumpy rides,
bellhops, underpaid assistants and
the rigors of life on the road. During
a lifetime of normal use, it's expected
that the exterior of your camera will
get scuffed. That said, let's take a
look at some safety precautions for
travel and location.
get into the nitty gritty grunge look
While Traveling
Shooting in a studio has its advantages: your gear is close, charged
Divide your gear up into “stuff that
can get banged around more” like
light stands and cables, and “stuff
that shouldn't get banged around” –
like your camera and lenses. You can
check the sturdy stuff on a train or
airplane, but carry the most fragile
things with you in your carry-on. See
“Five Tips to Tote Your Gear.” www.
videomaker.com/article/6853
of an old abandoned auto shop?
Bag Acquisition Syndrome is endemic
among videographers. Regardless of
their level of experience, few will turn
down the opportunity to add yet another, slightly different shoulder bag,
backpack, or hard shell case to that already over-bursting storage space. But
getting your gear to and from location is only one part of the equation.
Keeping it from blowing over, tripping
people, getting wet, getting smudged,
crushed, chewed by dogs or children
are all other things you need to consider. This month we'll take a look at
some ways to keep your equipment
safe from people and your people safe
from equipment.
Bags, Bags, Bags, Bags!
There are multiple types of bags
to carry your gear in for multiple
purposes.
Storage – these are places you keep
in your home, studio, or office whose
contents
On Location
function is to keep gear organized.
You have 50 USB cables, they should
all be in one place.
Carrying – these are bags or cases
designed for when you're carrying
your equipment to and from your
storage, the vehicle, the location or
around the venue you're shooting in.
These are usually smaller.
Travel – often hard-shell cases
are used to transport your equipment when you're not there to baby
it. Usually with customizable foam
inserts. These are the things that
protect your lights and stands in
If you only move gear
from studio to closet,
then you don't need
specialized cases.
However, you should
have a strong secure
case if your gear
gets checked on a
plane.
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44
the backs of cars and the bellies of
airplanes.
You may start out with one camera
bag, but as you gather experience,
you'll likely acquire a number of them
suited for different purposes.
Don't be Afraid to Get Your Gear
Into the Action
One reason that professional camera
gear is professional camera gear is
because it’s built to withstand rougher
than typical consumer environments.
The people designing it know that it
will be subjected to bangs, bumps,
Tape down cables – Call this “dressing,” it'll make you sound more
professional. You can say to your
assistant “make sure those cables are
dressed” – which just means taping
them down, lengthwise, with gaffer’s tape so that nobody
can get a
FullPageAD_NEWTemplate.indd
48
toe underneath them and trip. Better
yet, use rectangular strips of no-pile
industrial carpet and tape these down
which will look nicer than even the
best dressed cables.
Use sandbags for stands – Some
scenario like this will happen at
some point in your professional career: you will be outside, you'll have
a light on a stand, shining through
an umbrella on a lovely evening providing great light on your subject
and, gust of wind will come up, catch
the umbrella and pull the whole
setup over. CRASH! Which will bend
your umbrella in half and may or
may not break your light.
If you have a big budget, you
may have the back half of one of
your cars loaded with bags of lead
shot which you drape over the legs
of the light stand to hold it steady.
If you don't have a big budget but
have a lot of hangers-on (which is a
relatively common thing) delegate
Looking for that magic mic
for your HD or DSLR camera?
This is it...
Studios can be danger zones for the uninitiated. Always cover cables on the floor. Thin industrial carpet remnants over the cables keeps
them from getting gummy from Gaffer's tape.
someone to put their foot on the light
stand and keep it from blowing over.
You can then put them in the credits as a grip, which makes everyone
sound more professional.
Keep gear organized and out of the
way – When you're working on location you'll have your camera nearby as
well as some other important pieces
of equipment, maybe a microphone, a
cable, and a boom stand – and you'll
probably have a lot of other equipment – extra lenses, backup cables,
lighting gels. Keep this stuff far from
the action – against a wall or underneath a table – and make sure everything is organized so that you can tell
your assistant “Get me the lighting
gels. They're in the blue bag, left hand
pocket.” In the gear you take with you
everything should have a place and
everything should be in its place.
Lenses – When your lens isn't on
your camera, it should be in a bag (or
possibly your pocket) and it should, at
the very least, have the rear lens cap
on. Dust which collects on the back of
the lens can get dumped inside your
camera body, and once it's on the
sensor, it's a speck in the air that stays
there until you clean the sensor.
Keeping the front cap on keeps fingerprints off the front of the lens and
keeps it from getting scratched if you
put more than one lens in the same
compartment of a camera bag, though
more info:
QueAudio.com
CORRECTION:
4/22/2013 10:46:57 AM
In the May 2013 issue of
Videomaker, our review of the
JVC GY-HM600 [article #16009]
incorrectly states that the JVC
GY-HM600 can record two
separate formats simultaneously,
but that feature is available with
the JVC GY-HM650 instead.
The Dual recording mode of the
HM600 keeps video on the same
format and the backup recording
mode does not simultaneously
record video, but alternates
recording to different card slots
each time you press record.
contents
We regret any inconveniences
that may have occurred due to
this error. - The Editors
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45
BASIC TRAINING
DISTRIBUTION
JUNE 2013
by M organ P aar
your talent, which means a belt or even front
pocket. Don't let them get sat on, also, don't
forget them. If you leave their empty case sitting
out where it's visible, it will be a reminder to
get them back before you leave. If your microphones have wires, dress them on the floor and
wrap them around the boom and be careful with
them while moving through the air.
Design your set so that people have an easy
path. If you're interviewing a dozen school
children one at a time, make sure the path from
the door to the set is clear, obvious, and free of
obstructions. People shouldn't have to walk over
Cameras with removable lenses run the
risk of getting dust
in their elements. To
protect the sensor,
always keep the rear
cap on the lens when
not in use. Bypassing
this step should not
be an option.
I can't recall ever seeing a scratched lens in my
professional career. I tend to leave the front lens
caps at home because it's more trouble to keep
track of both front and back lens caps and it's
extra time when you're getting back to shooting.
A clear UV or “haze” filter will protect your front
element and not slow you down. Follow your
heart on this one. Do have a lens cleaning tissue
handy. You can get clip-on packs that hang from
all your camera bags or even on the camera strap
itself. This easy-to-pack cloth is useful not just
for the lens elements but the eyepiece and your
glasses (if you wear them). The lenses that aren't
on your camera should be in cases or bags where
they're easy to find and difficult to step on.
Your camera – your camera is probably the
most expensive single piece of gear you own, so
be careful with it. It should always be in a secure
space where the chances of it falling are limited.
This means in its case on the floor, in your hands,
or locked down on the tripod. Be sure not to have
your tripod in a place where people might kick
it over, and never leave your camera sitting on
a table with the strap dangling down – a perfect
opportunity for a cat or someone's foot to wreak
expensive havoc. Many cameras today, like the
Nikon D800, have extreme weather proofing and
you can literally pour a glass of water on them
without causing damage; but older cameras and
things like monitors aren't built with the same
specs. You can either buy protective rain gear for
these, or apply the judicious use of plastic bags.
In extreme heat, be sure to leave your equipment
in the shade when it's not being used, and if you
can't get to shade, throwing a light colored towel
over it will serve to reflect some of the sunlight.
Microphones and transmitters – Wireless
microphones are great to use on the set. Be
sure to put the transmitters on a safe place on
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46
YOU CAN USE MASKING TAPE TO
OUTLINE THE PATHWAY YOU'D LIKE
PEOPLE TO WALK.
or around wires or crates to get where they need
to be. If you're feeling adventurous, you can use
masking tape to outline the pathway you'd like
people to walk. Just keep in mind that some
public buildings allow only professional-grade
gaffer's tape on flooring, walls and fixtures.
Yourself – Your camera is replaceable, you
aren't. Don't take unnecessary risks on the set. If
you're walking backwards while shooting, have
an assistant spot you by walking with you, so
that they can keep you from tripping or stop you
if you approach something dangerous.
Conclusion
Not only does being organized and having the
right tools protect your gear and make it simpler
for you to get your job done, it also projects an
air of professionalism, and protects you from
not just damaging your equipment, but yourself,
your crew and your reputation. Every minute
your equipment spends in the repair shop is a
minute you can't be using it, so take some precautions. If you're dealing with a lot of people
and gear, and you do this often, check out this
Videomaker article on Film and Video Insurance.
www.videomaker.com/article/15422.
Contributing Editor Kyle Cassidy is a visual artist who writes
extensively about technology.
Writing Proposals That Sell
The good news for video producers
– there’s lots of money out there
to fund your production. The bad
news – to get it, you have to work
hard and follow their rules exactly.
I don’t mean to rain on this parade
before the first baton is twirled into
the air, but you need to know that
getting free money is a whole lot
of work. As my grant writing independent study teacher informed me
when I started my graduate thesis
film, “It might be easier and quicker
for you to meet your budget by flipping burgers at minimum wage than
to get involved in raising money
through grants.”
Show Me the Money
That said, lets assume you’re ready to
commit the blood, sweat and tears …
and long hours to fund your film with
a well-formulated proposal. Your first
step rests with the very question any
filmmaker needs to answer about any
project: Who is your audience? Not,
in this case, the audience for your finished film but the audience who will
read your proposal. Who are these
people and why will they reach deep
within their pockets to give you their
hard earned, cold cash?
Will your benefactors be family and friends, government, private
foundations, corporations or nonprofit
organizations? You could approach
more than one of these sources for
funding but the proposal you craft
will most likely have to be uniquely
re-tooled for each. For the purposes of
this article, we will be more general in
outlining a master plan but remember,
you may need to alter your masterwork for each type of funder.
Once you have targeted your audience, you need to determine what
the foundation’s or funders’ mission
it is they require of you. Think of it
otherwise you’re wasting your time
this way: What is in it for them? If
and theirs. Will your message progyou are planning a Kickstarter.com
ress their efforts or be opposite of
campaign, your mother may donate
what they believe in?
because she wants you to succeed …
or, earn enough money to move out
of the basement. Craft that campaign
Color Within the Guidelines
according to that audience and what
Once you know who is most likely to
they want to see and hear. If you are
fund your project and/or fund you,
a member of the Iroquois Nation
research what it is they want to see,
and you are writing a proposal for a
not what you feel they need. Locatgrant from the
Indigenous Film
Fellowship, it is
likely that they
will fund you because they want
to see one of their
own excel or tell
the Iroquois history or culture to
a wide audience.
Craft accordingly.
The National Endowment For the
Arts has a whole
other mission and
their guidelines
Setting up a crowd sourced fund through a company like Kickstarter
and motivations
can help you get funds to get your project started. These sites allow
will be complete- your friends, family and others interested in getting your story told, the
ly different. Know chance to help make your video a dream come true.
47
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DISTRIBUTION
Getting funding
for your next video
project can be easy
if you follow a few
tips and advice.
Free money is out
there, it’s just a
matter of knowing
where to go, and
how to make your
approach. “Shaking
the Money Tree” by
Morrie Warshawski
is a good place to
begin your research
to find funding.
ing funding guidelines has never been easier
thanks to the Internet. In most cases it’s as
easy as downloading a PDF of their guidelines,
application and other supporting material with
a few clicks of the mouse. Follow guidelines
and application instructions closely. There is
such thing as being too creative and more is
not necessarily better. Give them what they
want. Be as simple and direct as possible.
Morrie Warshawski states, in what I consider
to be the bible of raising money for film and video projects, Shaking the Money Tree (3rd Edition),
“… strike a balance between mind and heart,
reason and passion.” People may be impressed
with an outpouring of emotion for your video
but this strategy in a proposal for a foundation
may find your project eighty-sixed. (Read our
review of Shaking the Money Tree, 2nd Edition, at
www.videomaker.com/article/12164.)
Many proposals are submitted online now,
but if a mailed-in dead-tree version is required,
keep it simple and professional. No fancy fonts
in orange ink on blue paper. Use 12-point
typeface utilizing a Times Roman, Garamond
or Helvetica font with black ink on 8 ½-inch
x 11-inch white paper. This will get your story
across in a professional manner. Leave the creativity to your treatment (more on this soon).
To borrow once again from Warshawski’s Shaking the Money Tree, the table of contents for your
proposal would be strong if it included all of
these elements:
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48
1. Cover Letter
2. Title Page
3. Table of Contents
4. Formal Request
5. Description of the Project
6. Statement Proving Need
7. Description of Intended Audience
8. Why I Became Involved with this Project
9. Treatment
10. Production Plans and Timeline
11. Personnel
12. Distribution Plans
13. Community Outreach
14. Evaluation Plan
15. Funding Strategy for Completion of Project
16. Budgets
17. Miscellaneous Support Materials
a. Fiscal Sponsor Letter
b. Letters of Support
c. Letters of Commitment
d. Press Clippings
e. Full Resumés of Personnel
f. Demo Reel/Trailer
Warshawski breaks each of these headings
down into detail in his book. The mere $27 list
price might just be one of your best fundraising
investments. As they say, “You need to spend
money to make money.”
Filmmaker as Painter
Of the 20+ above items, the treatment is one of
the most important. This one element can make
or break your request. This is not a place for
explanation. This is where you paint your story
in exquisite colors, sounds, dialog, etc. You want
the reader to experience the project, not be told
about it. The sights and sounds should be projected on the mind of the reader.
The treatment should be two pages or less
so you have your work cut out for you. As the
French mathematician and philosopher Blaise
Pascal said, “If I had more time, I would have
written a shorter letter.” Take the time to get
this right. Have a couple of smart friends proofread it and take the time you need to perfect
the treatment.
Sample
The Bones
contents
DISTRIBUTION
JUNE 2013
Your sample work – usually in the form of a
demo reel or work in progress – should not only
show your best product but it should also show
subject mater relevant to the funder. More and
more funders are expecting to see your demo
JUNE 2013
reel online, snail mailed DVDs are the exception these days. Instead of having your demo
reel or sample live in the vast video sea known
as YouTube (or better even, Vimeo), design a
website for the video to live. It doesn’t have to
be complicated; again, simpler is better. A single
page with your video in the center, a picture of
you and your contact information will do. My
personal website is an example of that I mean:
www.morganpaar.com.
There are many tools to help the HTML illiterate amongst us to build a simple website. And
you don’t necessarily need a degree in design,
though it wouldn’t hurt. WordPress and Google’s
Blogger are very popular tools to help you build
an online presence. They are a bit more like a
blog but the line between blogs and websites
are blurring. Other programs such as Webs,
Homestead, Google Sites and Yola are popular.
I strongly suggest you keep it professional and
spend the money to avoid advertisements on
your site. Another bit of well-spent money is to
acquire a unique URL name, usually your own
name or the name of your production company.
If you do know design and HTML, or have
a friend who does and owes you a favor, head
right to the big guns with programs such as
Adobe Dreamweaver.
seems to be the norm in order to see a positive
return, if you beat out all the competition and
win the grant. Most organizations that give
money are like large ocean-going ships, they
take time to turn. Your proposal may need
to pass many sets of eyes and even multiple
meetings before getting the required number
of thumbs-up for approval.
Budgetary Note
The Parade Must Go On
Be realistic with your budget. If you are going to
make a feature length period piece for $2,000,
your funder is likely to notice that you don’t
know what you’re doing. Does your budget
include distribution and/or film festival costs? If
not, how is your message going to get out to the
masses. Funders are not interested in finished
films that live in a filmmaker’s closet. Michael
Wiese and Deke Simon’s Film & Video Budgets
(2nd Edition) is the bible of line items and total
tallies, a must for any producer.
The Martini Shot
All the work is finally done and its time to deliver.
Don’t wait until the day before the proposal is due
to overnight it five minutes before FedEx closes.
Get it in well before the deadline. The final effort
comes two weeks after shipping. If you have not
heard from the organization, call the program officer and politely inquire if they have received the
proposal and supporting material.
The Waiting is the Hardest Part
Don’t expect to be approved and opening a
fat check within days. Three to six months
Desired Feedback
And finally, you should be accepting of feedback, anywhere in the workflow of the grant
writing process. In fact, I recommend you ask
for it, whether you are accepted or rejected.
After you have received your approval or
denial, ask what the funders liked about your
“IF I HAD MORE TIME, I WOULD HAVE
WRITTEN A SHORTER LETTER.” ~ Blaise Pascal
proposal and what they didn’t. This will enhance your second, third and 100th proposal
efforts.
When you enjoy a parade in a small town or
large city, you rarely think of all the planning,
organizing and execution that went into producing that seemingly simple two-hour event.
Many people spent many laborious hours in
order for that parade to go on without a hitch.
Producing a proposal to raise money is similar.
The funder wants to know that you’re serious,
you know what you’re doing, you’re not afraid
of the hard work and finally, that they will look
the better or will have bettered society with
their funding of your project. Proposal writing
is not an easy road but it can be very fulfilling;
and it could finance your dream of getting your
project seen by an audience.
Morgan Paar is the co-founder and a producer, cinematographer and
editor for Nomadic Frames, a company specializing in international
video production, travel video, and travel still photography. Paar is also
a film professor in New York City.
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49
LIGHTING
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but your camera can’t see all of it
and the sky will play havoc with all
999
that vibrance. How do you fix it?
Setting the Sky
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One of the most challenging tasks
you will encounter as a videographer is learning how to adapt to that
mushy grey view of the world, but
nothing will reveal that inherent flaw
more than trying to expose for the
sky, which means creating a nicely
exposed subject while maintaining
a well exposed blue sky. Seems easy
enough. The sky is everywhere and
you see lots of well exposed outdoor
videography with blue sky so what’s
so hard about that? Just set the camera
on automatic, start shooting and let
the camera do all the work.
Sometimes that actually works
out pretty well, but frequently the
subject isn’t exposed correctly. It’s too
dark while the sky looks good or the
subject looks great but the sky ends up
50
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Exposing for the Sky
If you think about it, your camera is
basically color blind, which is sad
because the outdoor videography
world is full of wonderful textures,
vibrant colors and beautiful light. Too
bad your camera doesn’t see all this
beauty. It’s inherently flawed because
all it sees is “mushy grey.” Well it
doesn’t actually see mushy grey it
interprets everything as mushy grey.
Point it at your beautiful golden retriever as she dashes around the grass
on a spring-lit day and your camera
will think “wow! mushy grey.” Yeah, it
may process additional information in
the scene that tells it something was
moving around (wow! moving mushy
grey!) but the creative interpretation
ends there.
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If the subject happens to be in the
sunlight then you can expect good
exposure in the sky but the direct sunlight may be too contrasty, especially
if you are shooting a family portrait or
a bride in a white wedding dress. It’s
DON’T FORGET THE GREAT INDOORS!
Frequently you will be required to shoot a scene indoors, perhaps in an office,
church or school with prominent windows and beautiful indoor lighting. Here you
will need many of the techniques you learned about in this outdoor videography lesson. Many times the indoor interiors are just as important to the client as the subject
you're shooting. Perhaps you are shooting an interview of an interior decorator and
an architect or maybe a curator of a gallery. Either way you need to respect the
interior ambience while maintaining correct exposure in the windows and the outdoor features. Basically you are trying to bring the interior lighting up to match the
outdoor lighting.
Depending on the existing interior lighting, the size of the windows , and perhaps
skylights and the time of day, this lighting can be anything from very simple to nearly
impossible, so be sure to understand challenges and limitations before committing.
Armed with a few secrets, a fair amount of experience and good planning you can
expect decent if not excellent results.
The first thing to remember is all you are trying to do is match the sun exposure
to the interior exposure and that happens twice a day! Yep it happens every sunrise
and every sunset and you have about 1/2 hour during these times to get very good
results. Extend that time an additional 1/2 hour for acceptable results and bring in
some lighting for an additional 1/2 hour and you can commit to about 1 1/2 hour of
easy shooting. If, just like mentioned above, you are expected to shoot all day then
you need to cover the windows with neutral density filters, otherwise your exposure
will be inconsistent throughout the day.
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LIGHTING
LIGHTING
JUNE 2013
JUNE 2013
Sun
all just a big compromise which is why your camera sees everything as mushy grey. It averages the
exposure, and just like a blender mixes up all the
information, then it pours it out in the form of a
big compromise which sometimes works but it’s
a bland solution to a complex problem.
There are two problems here. One problem
you can solve and the other you have absolutely
no control over.
Let’s start with the one problem you can’t fix;
your camera’s inherent flaw. Your camera can
render only a limited dynamic range of light. It can
render very bright subjects or very dark subjects
but not both at the same time. That’s why there
are exposure adjustments on your camera and
that’s why it interprets everything as mushy grey. It
sees all the dynamic range of an average scene but
it interprets it as grey because the sensor can only
render a limited dynamic range. You can’t adjust
dynamic range with the exposure adjustments on
your camera so you are stuck with that flaw, but
you can change the camera’s settings to correctly
render very dark scenes or very light scenes.
begins because this is where all your creativity
comes in. The first step is your interpretation of
the scene which is followed with an evaluation
of the background, the overall lighting, and subject matter and how they all relate to the story
or basis of your shot. Since we are discussing
proper exposure of the sky then that is where
you start.
Save time by spending a little extra time taking a few test shots of your surroundings to see
where the exposure of the sky lands. This will
give you a starting point and you can assess
which view gives the best compromise between
nice exposure for the sky and correct exposure of the subject. Replaying it in your camera
Save Time by Spending a Little Extra Time
and viewing it on an external monitor allows
you time to visualize what is going on with the
existing lighting. Once you have chosen a few
views in your camera you can use the built-in
histogram to evaluate clipped highlights. You
can then go back and adjust the exposure while
evaluating the scene right in the camera which
will give you an accurate reading of exactly how
much light to add to the scene. Once you have
selected the best compromise you are well on
your way to a better shot.
This is why we always allow plenty of time
for us, alone with the camera, our thoughts and
the scene, because this quality time pays off
once things start rolling. Always plan ahead and
be there before everyone else, or better yet do
this the day before the shoot. Adding light to an
outdoor video shoot is very time consuming,
complicated, tricky, frustrating and so on, so
it’s best to pick a view where the existing assets
work in your favor.
Frequently you must alter the lighting in the
scene and that’s where great cinematography
Figure 1. Don’t face
your subject in the
sun, use it instead,
as a rim light, and to
be the source for a
reflector. Use a white
wall for a 3-point
lighting setup without
blasting the subject
with too much sun.
Sun
Subject
Shiny Reflector
SAVE TIME BY SPENDING A LITTLE
EXTRA TIME TAKING A FEW TEST
SHOTS OF YOUR SURROUNDINGS ...
Mix it Up
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Wall
print
52
A large white wall makes a great reflector. Throw
in a sliver or gold reflector and these two things
along with the sun become a nice three-point
lighting setup (Figure 1). The wall adds plenty
of light and the handheld reflector makes a nice
key light while the sun provides a nice rim light
around the entire scene.
Great. But what if the director wants something different and there is no white wall? One
great accessory you can bring along is a graduated filter which are available in various colors
and densities. As long as your subject is in the
bottom half of the frame, such as you would
find in a typical landscape scene, then things
can go well. You can also use a polarizing filter
to bring the sky down while maintaining proper
exposure on the rest of the scene but their effectiveness is dependent on the angle of light
entering the filter, which makes them somewhat
unpredictable or even obvious when attached to
a wide-angle lens.
You can mix polarizers and graduated filters
to create very dark skies for special effects
so don’t be afraid to experiment around with
filters and maybe even carry a large assortment
of them just in case. If you find yourself relying
on filters quite a bit, then get a matte-box for
your camera and attach large filters to that so
you can position where they are in relation to
Subject
Silver Reflector
Figure 2. No white
wall available to
bounce the sun as
illustrated in Figure
1? Grab a large
white bounce card
and combined with
your reflector gives
you the options of
making the sun work
with you, rather than
against you.
White Reflector
Camera
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53
LIGHTING
EDITING
JUNE 2013
by R us s F airley
the center of the lens. You frequently see graduated filters used in feature length films because
it’s a very effective and inexpensive solution to a
common problem.
Mother Nature, Unplugged
So far we haven’t plugged anything in and
we’ve been lucky enough to use mother nature,
the existing environment and a few gadgets to
get good results, but what if you have a larger
set, no power and a director who wants a very
specific camera angle? Then you can use reflectors, scrims or a combination of the two. Here
is where planning comes in because now you
have a lot of stuff on the set, your equipment
and perhaps a stylist, talent and other people.
The easy way is to place the camera so that the
sun is to the side of the set and use reflectors
to fill in the light. Depending on how large the
set is the reflectors can be as small as handheld
folding reflectors to as large as a 10-foot wall.
Here is where you need a lot of help because
the reflectors should not be moving because that
movement will show up in the video. It needs to
be steady and well-weighted (Figure 2). You can
Sun moving across the set
Translucent Scrim
Subject
Stands
Gold Reflector
Camera
print
... YOU NEED CONSISTENT LIGHTING
FOR EXTENDED PERIODS OF TIME;
PERHAPS ALL DAY ...
perhaps all day or several days of shooting.
When we used the sun to reflect off our wall or
our own large reflector, we were only shooting
a brief scene and as the sun moved across the
set we were already taking down our equipment, so it didn’t matter. But if we are shooting outdoors all day or over a period of several
days, such as you would see in a location news
event or a TV lifestyle feature, you need consistent predictable lighting.
Large scrims are available from several
vendors and now that we’ve let the genie out of
the bottle, which is artificial lighting – it’s nice
to know how to work with these tools because
powered lights means using power generators,
which make sound so the audio guys have also
something to do on this shoot. We should be
very glad we planned the shoot well before
everyone else arrived (Figure 3)!
Exposing for the sky can be as easy as
bringing in a small reflector, filtering our lens
or just selecting the right time of day and
positioning our camera so everything looks
good; or it can become a full production, but
either way it is expected of us and we should
be prepared for delivery so it is wise to try,
test and do everything possible to understand
all techniques available to us, not the least of
which is our creative interpretation of each
situation. Harnessing the sun can be difficult,
controlling its light shouldn't be!
Terry O’Rourke specializes in photography and videography for advertising clients worldwide.
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full screen
create a three-point lighting setup just like the
example above where we use the sun, the wall
and a silver reflector, or you can mix it up and
scrim the set and bring in artificial lighting for
your rim and fill lights.
The reason you would do such an elaborate
lighting production is because you need consistent lighting for extended periods of time;
Figure 3. For an outdoor shoot covering many hours, you need consistent lighting
throughout the day. Using a reflector makes moving with the sun easier, and setting
up a scrim over your talent allows you to control the light as the sun moves along.
54
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article/15689
Editing HD for SD Output
Editing HD footage for SD output
and delivery may not be the most
exciting gig, but if the job lands
on your desk it’s a good skill to
have in your toolkit and you’ll be
equipped to take on the challenge.
The video world is changing. Heck, it
has changed. Not so long ago, if you
saw something unbelievable on TV
while you were out in public, you would
have jumped up and turned away from
the nearly-square image, dug in your
pockets for change and ran for the payphone to call a friend. Nowadays, you
can watch a widescreen TV program,
make a video call to your friend, and
both shoot and edit high definition
video all on a smartphone or tablet.
What a difference a few years
makes. Ask a 15-year-old if they know
what a payphone is and they’ll probably tell you it’s a Maroon 5 song. (Ask
a 55-year-old what Maroon 5 is and,
well ... never mind!)
While editing footage you shot on a
cutting-edge touch screen device such
as a tablet is pretty cool, it’s probably
not what you do day-to-day for a living. If it is, then you’re unlikely to be
worrying about editing for SD video
output in the first place.
For the rest of us, we have to be
adaptable walking tool chests, ready to
take on whatever projects our clients
can dream up. Part of the aptitude
required of a successful editor is the
ability to change direction, adapt, and
learn quickly. So let’s learn to edit HD
for SD output and add another tool to
your skillset, starting with some basics.
High Definition and Standard
Definition
Here’s a crash course or refresher:
high definition, or HD, generally refers
to images displayed in a 16:9 aspect
ratio at a size of 1280 pixels by 720
pixels or 1920 pixels by 1080 pixels.
Tricks and Tips for Shooting HD for SD
1. Shoot as close to center cut safe as you can to avoid having to pan and scan in editing. No need to guess: if
you’re unsure what is safe and what isn’t, FreshDV.com offers a unique way to create scotch tape guides on your actual display – they use a 5D Mark II, but their trick should work with any camera.
(www.freshdv.com/2010/06/5dm2-4x3-guide-marks.html)
2. Deck out your on-set monitor for SD. Similar to the FreshDV.com trick, try adding gaffer-taped SD guides to HD
monitors to keep an eye on your safe zone. If you shoot with a camera that doesn’t output HD over HDMI when shooting try
doing the opposite and adding HD lines at the top and bottom to simulate your final outcome. Check out Kurt Lancaster’s
excellent book, “DSLR Cinema” from Focal Press, to see this in action on set.
(www.focalpress.com/books/details/9780240815510)
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3. This one might seem like a no-brainer, but if your camera has action and title safe guides, use them. Imagine
your center safe cut zone as existing 5-10 percent inside the title safe zone. If you’re off by a percent or two you can always
slide footage a bit in editing. To find the guides for your camera you may have to dig in your menus or consult the manual to
track them down.
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55
EDITING
EDITING
JUNE 2013
ADVERTISING INDEX
JUNE 2013
Adorama ________________________ 43
Adorama ________________________ 61
A
One way to get all of a widescreen
shot (Fig. A) into a standard
definition view is to create a
zoom and pan effect when editing,
starting at the left side of the
screen (Fig. B) and panning across
to the right side (Fig. C).
THE REALITY IS THAT MOST
STUDIOS WANT TO STAY ON TOP OF
THE LATEST TECHNOLOGY ...
cation, OK, not so much that last one, but we’ve
definitely had to embrace a steep learning curve
to keep up with formats, pixel aspect ratios, codecs, and a multitude of Web, film and broadcast
technologies and standards.
Let’s try to shed some light on one aspect of
this challenging changeover, and that is learning
a bit about editing HD video for SD delivery.
Before we get into the editing, however, it’s
important to know why one might choose to
shoot HD video when he or she knows it’s only
going to see the light of day as SD video.
B
Why Choose HD Footage for SD Projects
1. Color depth and compression – newer HD
cameras capture more color per pixel, offering
options to record their footage fully uncompressed. Those using compression for their HD
footage offer nice, small file sizes.
2. Zooming and panning – when we put our
videos together there are times when we wish
we framed a bit tighter, zoomed in a bit on the
action, or were able to do a slower zoom in or
out. HD footage will allow editors to zoom in and
out and pan side to side without falling out of
the SD frame.
3. Cost – the equipment is so cheap and so good
now, it doesn’t make sense to spend good money
on older technology. The reality is that most
studios want to stay on top of the latest technology, and simply learn how to meet the needs of
C
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56
and weighed as much as my Aunt Edna, but it
also had a screen that was pretty darn close to
square, right? That’s a standard definition screen.
Though there has been a shift towards digital,
high definition and TV broadcasting, both HD
and SD standards still exist. Depending on the
service provider and delivery method they use,
a North American broadcaster may broadcast at
480i, 720p, 1080i or 1080p.
What that means to video professionals, is
that the shift from SD to HD and the lack of a
single video standard has forced us to become
masters of many aspects of shooting, editing,
converting, encoding, delivery and transmogrifi-
Center Cut Safe Zone
Title Safe Zone
Action Safe Zone
Editors avoid placing
important information
in the title safe and
action safe zones as
a precaution. With
HD, another safety
area is the center cut
safe zone that shows
what will be seen on
a standard television.
B&H Photo/Video & Pro Audio ___ 35-37
Blackmagic Design _______________ 07
Camtrol _________________________ 33
Canon ___________________________ C4
Eagle America Sales Corp. _________ 33
different clients as projects come in.
4. Learning – clients looking for SD
now will likely be looking for HD in
the future, and in the meantime you
can learn to refine your high definition workflow for standard definition. So what part of the workflow
needs refining?
Highway to the Safe Zone
The most obvious thing we notice
when comparing HD and SD footage is that SD is far narrower than
HD. Even in HD there are boundaries
for what is safe to display. These are
called the title safe and action safe
zones, and they sit 10 percent and 5
percent from the edge of your footage, respectively. There is also a third
zone, called the center cut safe zone.
The center cut safe zone refers to the
4:3 section of a video frame that fits
inside the center of 16:9 HD footage.
We’ll get into these in a moment.
When discussing shooting, center
cut safe shooting describes shooting
footage in HD, but keeping your area
of interest centered in the middle 4:3
section of your shot.
Sounds easy enough, but as an
editor how do you make sure you’re
playing within the barriers? Let’s take
a closer look at these safe zones. Start
by turning on the action safe and title
safe guides in our editing software.
While these are for HD footage, they
can help us.
The outside rectangle is called
the action safe zone, meaning you
are safe to have your action (actors
acting, pipers piping, geese a-laying,
etc.) take place within this zone without risk of losing it on certain screens
or monitors.
The inner rectangle is called the
title safe zone. For television you’ll
want to keep all of your titles within
this zone to avoid them disappearing
off the side of certain displays.
Note: For Web the rule of thumb
is to keep your title text within the
MOST HOSTING SITES
WON’T CROP VIDEOS.
Eagle America Sales Corp. _________ 53
Glidecam Industries Inc. ___________ 25
Home Video Studio _______________ 41
KinoFlo _________________________ 15
Litepanels (VITEC GROUP) ________ 17
NewTek _________________________ C2
Nikon ___________________________ 03
VariZoom _______________________ 41
action safe zone versus the title safe
zone for television. Most hosting sites
won’t crop videos.
Slightly within the title safe zone
there is our center cut safe zone. Many
shooters and editors will use the title
safe zone as their center cut safe zone,
but the true 4:3 area sits within the
title safe zone.
Editing software has historically
included safety guides, so whether
you’re using a current editing program
or an older one, you may be able to
simply turn on center cut safe guides
and adjust your footage within that
zone. As of this printing, it seems
that more editing packages than not,
no longer ship with center cut safe
guides. They will, however, include
title and action safe guides, and a
VideoGuys ______________________ 51
WeVideo ________________________ 59
Videomaker PLUS Membership_____ C3
Videomaker Subscriber Alert _______ 53
Videomaker Webinars _____________ 59
marketplace
contents
Que Audio ______________________ 45
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the
The images can be displayed in either interlaced (alternating upper and lower fields playing
sequentially at a speed great enough to trick our
eye into seeing one image – commonly referred
to with an “i”, e.g. 1080i), or progressive (showing a full image in each frame – commonly
referred to with a “p”, e.g. 1080p). Common HD
displays include plasma, LED and LCD televisions, flat panel computer monitors, and most
mobile devices.
Standard definition, or SD, isn’t as wide and
sexy as our flat screen televisions and monitors.
It is generally an interlaced image with a much
smaller number of pixels – in North America
it is 640 pixels by 480 pixels to be exact (480i).
When imagining a 4:3 viewing area, think back
to your old, wood-cabinet television in the attic.
It not only contained a cathode ray tube or three
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57
EDITING
EDITING
EDITING
JUNE 2013
Many times you’ve
seen bars along the
sides of 4:3 footage
on a 16:9 screen
to compensate.
The opposite is
letterboxing – placing
bars on top and
bottom of a 16:9 shot
for 4:3 viewing.
What if you still want to present your footage
in glorious widescreen, but you are required to
output to SD? Again working in an SD timeline,
drop your HD footage in and scale it to the SD
frame width. You’ll see an immediate drawback,
which is the introduction of black bars on top
and bottom, meaning your footage doesn’t fill
COMBING, IS THE RESULT OF VIEWING INTERLACED FOOTAGE ON A
PROGRESSIVE MONITOR.
the entire frame. Regardless, some content providers may choose this format. We guess it’s why
VHS tapes used to come in fullscreen and widescreen. It’s nice to have choices. An added bonus
is that as editor you can use the black areas to
include text or graphics. Lower thirds, subtitles
and other content can go in these spaces without being superimposed over an image.
quick look online should help you track down a
guide image with an alpha channel to drop over
your project layers to use as a guide.
Handling Footage
Worrying about all of these safe zones is
enough to give us wrinkles, so let’s worry
about something simpler: editing and cropping
footage.
Assuming that your footage is center cut safe,
you’ll have a straightforward job as an editor. It
is then as simple as creating a standard definition sequence in your editing software, dropping your HD footage dead center in the frame,
and then editing as usual. Your action should
look just fine for SD output, and the HD edges
will be cropped away.
Things aren’t always as simple as having perfectly shot footage, but that’s OK – HD footage in
an SD timeline can be a good thing for a few reasons. As an editor, no matter how the footage has
been shot you may not want what landed in the
middle of the frame. Maybe you want to punch
in on a shot. Maybe you want to do a mild dolly
motion. Not only will you have latitude to slide
your footage in any direction without falling out
of frame, but you will also be able to zoom in a
bit on shots without worrying too much about
image degradation.
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58
The Plot Flickens
At some point you’ve probably come across
one or more of the common issues with
interlaced footage, such as interlace flicker or
combing. Maybe you’ve transferred VHS tapes
to a digital format and watch them on a progressive display, or maybe you have an older
interlaced camcorder and edit the footage on a
current laptop. Either way, you’ve seen flicker
and/or combing.
Interlace flicker is also called interline twitter.
Therefore, in 140 characters, interline twitter
is “the aliasing effect created by fine lines and
certain details in great enough frequency to be
near the horizontal resolution of the display.”
#like_when_broadcasters_wear_striped_shirts
To get around the issue of flicker or interline
twitter, fine and ultra-sharp details are generally
avoided when creating or broadcasting interlaced content.
Combing, is the result of viewing interlaced footage on a progressive monitor. What
you are actually seeing is the movement of
content in interlaced footage containing the
two distinct fields that would be alternated
when viewed on an interlaced display. The two
fields are technically captured at a different
time and then played sequentially fast enough
that we cannot differentiate them and see
JUNE 2013
only smooth playback. Progressive
displays with little or no deinterlacing have no option but to show both
fields at the same time.
Fortunately, there are great options
for editors who need to deal with interlaced footage on a regular basis. Every
major editing platform has at least one
tool – and sometimes more than one
– to reduce or eliminate interlacing
issues. Many encoding or compression
suites offer the option to deinterlace
footage when re-encoding your footage as well. (Learn how to deinterlace
footage on our site: www.videomaker.
com/video/watch/tutorials/699-how-todeinterlace-footage.)
Conclusion
SD or HD, interlaced or progressive, action safe, title safe, center cut
safe, flicker, combing … there are a
lot of things to learn about footage
and how to interpret and work with
it. This article is by no means the
definitive guide, but hopefully the
next time you’re faced with a project
requiring you to take high definition
footage and edit it for delivery in
standard definition, that lump won’t
form in your throat.
As in life, with every editing
project it’s always up to you which
route you take to achieve your goals.
Some will work, and some will need
some tweaking along the way, but
these journeys are what define us as
editors. Each seasoned editor has a
trick or two up his or her sleeve, and
many have proven workflows that
work for them time and time again,
but their methods may not get the
result you want. We all forage through
the technology to find our own way,
while stopping to pick up a trick or
two along the way. Keep foraging.
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webinars continues to expand for 2013. These
one hour classes explain and demonstrate
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For more information, a full class list and
upcoming schedule, visit:
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59
4/23/2013 9:51:29 AM
4/25/2013 9:50:53 AM
AUDIO
b y H a l R o b e r t so n
Hits and Impact Sound Effects
TV and movies aren’t reality,
regardless of what they tell you.
Enhanced reality might be a little
closer to the truth, or not.
Have you noticed that Hollywood
movies are rarely subtle? They can’t
just have a car crash, it has to be a
car crash with an explosion. It can’t
just be an earthquake, it must be an
earthquake with massive destruction of every building in sight. To be
nice, we’ll call this enhanced reality and it’s a staple of professional
sound effects on any big production.
And it works. The viewer is drawn
further into the story with every
exaggerated sound and the producers know this. So why not use these
techniques to your own advantage?
Whether you’re telling a story about
the end of the world or just a simple,
fun piece for online viewing, use
hits and impact sound effects.
It’s Not Real
Many of the sounds you hear on
screen aren’t the actual sounds themselves. This is pretty common for several reasons. First, real sounds don’t
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sound real in context. Here’s an experiment: go record a football game.
Now, play it back on your normal
audio editing software. Even massive
college linemen slamming into each
other sounds like clicking and scraping. Not exactly a high-impact crunch
and thud. When Hollywood does a
football game, they add other sounds
to the mix or completely replace
them to get the desired effect.
Another reason for sound effects
enhancement or replacement is the
production environment itself. Take
a fight scene for example. The actors
aren’t actually hitting each other, or
if they are, it’s a fairly light touch.
Household Objects
Experiment with
sound to add to your
movie’s soundscape.
In a fight scene, your
actors won’t want to
hit hard - or at all,
so having someone
hitting a punch mitt,
boxing glove or a
leather cushion can
substitute for the
sound of body blows.
So where do they get these sound effects? Some come from pretty bizarre
sources. A common approach for
crunches and broken bones is the
sound of celery breaking. That’s right,
celery. When properly recorded and
processed, a nice crisp stalk of celery
makes a very convincing sound effect
for your next broken arm or crushed
skull. Hits and punches are often created by smacking leather cushions
and other upholstery. When hit with a
board, a baseball bat or even a gloved
fist, this creates an enhanced substi-
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60
Naturally, the sound effects have to
be added in post-production. And of
course, they can’t be simple hits and
punches, they’ll be massive jaw-jarring body blows.
Finally, sound effects are often added for comic effect. Let’s use the 1999
comedy Mystery Men as an example.
During the superhero recruiting
party, The Bowler (Janeane Garofalo)
demonstrates her super-power with a
bowling ball. As the ball hits various
objects, you’ll hear bowling sound
effects like the ball rolling, hitting pins
and a full strike at the end. It adds
humor to the scene and still fits the
bowling theme.
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AUDIO
AUDIO
JUNE 2013
CLASSIFIED NETWORK
JUNE 2013
equipMent & accessoRies
Use a rubber mallet
or a soft foamcovered stick to
hit ordinary sheet
metal just right for a
nice thunder sound
effect for your eerie,
lightning-enhanced
haunted scene.
“Goes to 11”
TAKE YOUR AUDIO TO
THEWITHNEXT
LEVEL
THE DXA-HDV
T h e E s s e nt i a l C a m c o rd e r Aud i o Ad a p te r
Making your own sound effects is fun and makes you think a little deeper. Hit a piece of wood with a tube. Then put the wood on a hollow bin. Both
will sound different, which suits your needs better? Drop a sandbag in a hollow bin – Whoomp! Good sound. What can you use it for?
tute. Or you could punch a boxing
bag or have someone hit into a boxing
glove or punch mitts. And, of course,
you can just keep hitting until you get
the sounds you want.
Bigger Than Life
Watch an ordinary chase scene shot
from a helicopter on the news and
it’s pretty boring, however producers
like Jerry Bruckheimer and Michael
Bay have made many movies with the
“bigger than life” approach. Explosions fill the screen. Buildings crash
right around the viewer in full surround sound. Giant robots smash everything in sight. It’s no secret that in
Hollywood, bigger is always better in
action movies. And why not? If you’re
making an action flick, it’s more fun
to wipe out the bad guys in a rain of
bullets rather than a few carefully
aimed shots.
Pick any battle scene from your favorite Transformers movie. First, none
of this really happened, so everything
is manufactured for the movie. Now,
let’s narrow our focus to just one
impact scene. – A pair of robots are
locked in battle and crash through
the corner of a building, landing on
the street. – Just imagine how many
sound effects are in these few seconds
of screen time. It might measure in
the hundreds. There’s the sound of
the robots fighting, which in itself
might be dozens of sounds, big and
small. Then, you’ll hear the crash into
SOUND EFFECTS RESOURCES
Every video editor needs some dedicated audio software. Pay versions are
everywhere, but the standard for free sound editing software is Audacity. It runs
on Mac, Windows and Linux, so if you don’t currently have anything, just go
download and install it. Another starting place is www.AudioMicro.com. They
have a pay side that is used by several networks and production companies, but
there is a freebie section too.
If you’re looking for free sound effects, Videomaker has a free sound effects
page www.videomaker.com/downloads/free-sound-effects that we’re adding to
often, and check out Freesound.org. By signing up, you’ll gain access to a wide
variety of just about anything you can imagine. Plus, you can upload your own
creations to share with the community and it makes a handy archive for your
sound effects. Ultimately, search Google for “free sound effects” and see what
you find. There are plenty of sites that want you to buy something, but you’ll find
many that pass out free samples. It’s a great way to start building your sound
effects library.
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62
the building, which includes every
shattered pane of glass, every brick
and maybe a few people screaming.
Finally, there’s the hit on the ground.
This impact has asphalt breaking, cars
crushing, car alarms, electrical noises
and countless other sounds. It’s a
gigantic soundscape.
But that’s not all. Every one of these
sound effects is carefully tweaked for
maximum impact and perfectly timed
to match the action on the screen.
In addition, there are other sounds
– maybe things you wouldn’t expect
– included to crank things up even
further. Some of the creaks and groans
could be from animals or even electric
guitars. The breaking glass may have
come from a sound effects library but
it’s juiced up with the clang of pots
and pans. It’s very possible that you’re
hearing hammers, Styrofoam cups,
hair dryers and dozens of other everyday sounds blended into the mix.
Do It Yourself
It’s fun to think about all that goes
into a blockbuster soundtrack, but
you can use the same techniques to
enhance your projects, too. Let’s assemble a test scene and layer in some
sound effects. Imagine a Matrix-style
fight scene, complete with all the hits,
punches, scrapes and drags.
Before we dig in, you’ll need access
to some sound effects, either from an
online library or one you already own.
There are many professional sound ef-
fects libraries out there, including horror sound effects, if you want to turn
this into a zombie apocalypse project.
Alternatively, you can record and edit
your own effects as needed.
You have the scene edited and
waiting in the timeline. Study it
closely and make a shopping list of
the sound effects you need. Obviously,
there will be hits and punches, maybe
a few crashes, smashes and thumps.
Don’t forget the humor angle. Maybe
one of the fighters gets thrown across
the room at one point. That could be
the sound of a jet fighter crashing or
even the bowling strike we mentioned
earlier. Listen through your available
sound effects and let your imagination
take over. Have fun!
If you only have a few good punch
sounds for your fight, you can use
them over and over with a few
tricks. Find two similar sounds and
designate one for the right hand,
one for the left. Now, as you place
them on the timeline in sync with
the action, adjust the volume up or
down a little for each hit. Another
way to squeeze the most out of your
effects is changing the pitch of the
effect in your audio editing software.
A little bit goes a long way here,
but don’t be afraid to experiment.
Drastic pitch shifting can transform
one sound into another. Finally,
layer your sound effects for maximum impact. Imagine
the final right
FullPageAD_NEWTemplate.indd
48
hook that ends the fight. The shot is
in slow-motion, so you could add a
whoosh sound to the swing, followed by your best punch sound.
The action flick version would
include an explosion to signal the
end of the fight. The comic version
might add a boxing bell or gong
sound followed by birds tweeting.
And don’t think sound effects are
only for crashes, horror or biggerthan-life scenes. Any average scene
can be enhanced with a few subtle
sound effects.
It’s All You
We’ve focused on action this time
around, but you can use sound effects
and layered sound effects in just about
any project. A simple knock on the
door could become a huge event just
as a turn of the head can be accompanied by the swish of a sword. Whatever suits the project and your mood
at the time.
Listen to sound effects in the movies, and try to figure what they used.
Hitting a stick on a piece of wood
sounds like knocking on a door, hitting the stick with the wood placed
over a hollow bin sounds like a door
knocking on a haunted house.
One final tip: pay close attention as
you’re synchronizing sounds to your
video. Timing is everything here and
a dead-on sound effect really sells the
scene while one that is a little out of
sync can ruin things.
Contributing Editor Hal Robertson is a digital media producer and technology consultant.
All the features you need to connect virtually any microphone
to your camcorder for outstanding audio quality.
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63
9:34:52 AM
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TAKE FIVE
THE POWER OF
5 quick production tips
by Bree Brouw er
Five Tips for Finding Free or Cheap Video Gear
It’s out there. Free or nearly free gear that can be the difference between
stepping up and making that movie you’ve always dreamed about or
continuing to daydream of what you hope to achieve.
At the beginning of your videography career, equipment becomes your
number one priority. Maybe you’ve
stumbled across an incredible story
idea for a short film or you’re starting that video business you’ve always
wanted. Whatever the case, you need
to invest in some equipment. And of
course, money seems to be eluding
you. Fortunately, if you’re just getting
started with an endeavor, you have
more resources than you might think.
Quite a few options exist for finding
cheap or free video equipment; you
just need to know where to look.
2. Contact Local Establishments
Before You Start Your Search ...
3. Head to the Library
You need to decide what level of
professionalism you’re aiming for,
because this will affect your choice
of equipment, a poor camera could
result in poor-quality projects. On the
other hand, you’re not going to find a
RED Scarlet-X camera in the freebie
bin. Do some research if you don’t
know already about what types and
brands of video equipment are out
there and which you would feel comfortable saying “yes” to using; expect
to start out with some less favorable
options with the intention of upgrading when you have the money.
1. Networking is Key
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Once you know what you’re looking for,
you can try to obtain some of it cheap
or even for free. The first place to look
is within your networks. Check with
family and friends who may own video
equipment, and ask them to talk to
anyone they know who may work with
equipment. You may end up not having
to look any further. Friends and family
might only expect you to take extra care
of their equipment; at the very worst,
they may charge you a small fee or ask
you to return the favor someday.
64
If your connections don’t work, your
next stop should be local businesses
and establishments who work with or
own video equipment. For example,
many non-profits and churches have
cameras, mics, and more for their
own purposes. It doesn’t hurt to ask if
these places would be willing to loan
out the equipment. You will need a
very clear plan for your project to
convince them of your sincerity, and
you will likely have to sign a contract
that says you’ll pay for any incurring
damages to their equipment.
Because of the rise of digital media
needs for businesses and personal
branding, video equipment can also
be found for free or cheap through
local libraries, especially if you live in a
large city. Many libraries have invested
in professional cameras (not just your
average, home video family camcorder)
along with compatible equipment that
you can check out with nothing but a
valid library card. Be aware of the due
dates, though – library equipment can
have a loan period as short as three
days, so this is not a good long-term
solution, especially if your goal is
to start your own business. Library
equipment can be an excellent option
for someone making a film or web
series, though. Just plan your shooting
schedule around the rental period days,
and realize that you may need to wait
to get the camera back if someone else
checks it out before you.
4. Check Out Universities
Another great place to find free
or cheap video equipment is local
universities and colleges. Much like
churches and non-profits, universities
can also have their own equipment for
promotional videos and other PR purposes. You’re especially in luck if your
local university has a digital media
department, a field of study that many
colleges have been seeking to add or
expand in. If you find a college that
has a digital media department, you
can often rent their equipment for a
fair price. Students tend to get an even
cheaper price with a valid student ID.
PLUS
+
5. Rent Via Local or Online Means
As a last resort, head to your local
photography/videography equipment
store and see if their rental prices
are within your budget. You can also
choose to rent through online stores
like BorrowLenses.com or LensRentals.com. The benefit to renting online
is that you can compare prices of various companies and see who’s competing to provide you the best price
possible. Again, though, watch out for
how much time your rental contract
is for and your budget to rent again if
you will need the equipment later.
Don’t assume you need to spend
thousands of dollars when you’re first
looking for equipment. Starting your
projects with little to no cost allows
you time to think about your future
needs. Always remember, though,
that no matter the route you go when
looking for cheap or free video equipment, your goal is to expand those
dreams even more in the future.
Bree Brouwer is a freelance writer and blogger who
loves producing short films, investigating culture, pursuing geek enlightenment, and shopping for deals like a
true Dutchwoman.
Videomaker Plus Membership Gives You
Unlimited access to videos and articles
Free reports and software downloads
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