February 2012 - Videomaker.com

Transcription

The Key to Green Screen Backgrounds
page 41
®
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO FEBRUARY 2012
Shoot it in
3D!
+Music Video Editing
Reviewed:
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HP
Elitebook 8760w
Adobe
Premiere/Photoshop Elements 10
Audio-Technica
AT2022 X/Y mic
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Save 30% on Step-By-Step Documentary Production!
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Contents
Volume 26 • Number 08
FEBRUARY 2012
www.videomaker.com
Features
22 Lighting Buyer’s Guide
Video lighting has many options from ultra-portable to semi-permanent. Knowing what lighting technology to buy and what light
kit is best is key to not being left in the dark.
by Earl Chessher
28 Bags and Cases Buyer’s Guide
When it comes to buying a camcorder case or bag it’s a matter of
choice. Your camcorder is your baby, your toy, your pride and joy.
You want to protect it so it will last you a very long time.
by Teresa Echazabal
37
22
Documentary storytelling is found across a diverse swath of
mediums including celluloid film, DVD, online video and even
interactive scrapbooking.
by Andrew Burke
It’s one of the oldest tricks in the video arsenal, yet it’s still
one of the most useful and effective.
by Peter Zunitch
46
Columns
Cinematography
by Matthew York
• JVC GY-HMZ1U
• Sony MHS-F3 3D Bloggie
• Adobe Premiere/Photoshop Elements 10
• Audio-Technica AT2022
• HP Elitebook 8760w
The Key to Green Screen Backgrounds
46 Basic Training
Storyboard Examples
by Kyle Cassidy
page 41
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO FEBRUARY 2012
Shoot it in
3D!
+Music Video Editing
Music Video Editing
by Mark Montgomery
Adobe
Premiere/Photoshop Elements 10
297 February cover 12.indd 1
contents
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Backup Strategies
Do you Really Need Releases?
Interviewing Techniques
On Sale February 28, 2012
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2
3D Camcorder
by Dan Bruns
12 Adobe Premiere/Photoshop
HD camera
by Mark Holder
Elements 10
Editing Software
by Doug Dixon
16 Audio-Technica AT2022
X/Y Stereo Microphone
by Mark Holder
18 HP Elitebook 8760w
Save 30% on Step-By-Step Documentary Production!
www.videomaker.com/makeAdoc
Next Month
8 JVC GY-HMZ1U
58 Profit Making
Audio Levels
by Hal Robertson
Audio-Technica
AT2022 X/Y mic
4 New Gear
6 Reader Profile
59 Ad Index
64 New Titles
10 Sony MHS-FS3 3D Bloggie
Let There be Light…for Less
by Mike Fitzer
61 Audio
HP
Elitebook 8760w
Departments
54 Lighting
Film and Video Insurance
by Mark Jensen
Reviewed:
54
Reviews
50 Editing
®
executive editor
managing editor
associate editor
associate editor
41 Green Screen Backgrounds
3 Viewfinder
On the Cover
publisher/editor
associate publisher
37 Online Documentaries
Mobile Workstation
by Lance Olinger
12/29/2011 8:49:28 AM
ing
TrainVD
D
Take that first step toward making your
first documentary
See page 55 for details
V IDEOMAKER >>> FEBRUARY 2012
8
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.
Matthew York
Patrice York
by M atthew Y ork
Cinematography
Richard Ober
Jennifer O’Rourke
Dan Bruns
Jackson Wong
Cinematography is a term that may be
intimidating to many of you. However,
since you are reading this, you are
probably a cinematographer. When
contributing editors Kyle Cassidy
making decisions about lighting and
Mark Montgomery
camera choices while shooting, you
Hal Robertson
Mark Holder
are practicing the art of cinematograEarl Chessher
phy. You might not be a member of the
American Society of Cinematographers
production director Melissa Hageman
(ASC), you are still a cinematographer.
art director/photographer Susan Schmierer
In the American Cinematographer
advertising director Terra York
Manual, 9th Edition, cinematography
advertising representatives
is defined as a creative and interpretelephone (530) 891-8410
tive process that culminates in the
senior account executive Isaac York
authorship of an original work of art
account executive Tyler Kohfeld
rather than the simple recording of a
marketing director Dawn Branthaver
physical event. Cinematography is not
marketing coordinator Joseph Ayres
a subcategory of photography. Phomarketing coordinator Mike Rosen-Molina
tography is but one craft that the cinematographer uses in addition to other
manager of Andy Clark
physical, organizational, interpretive
information systems
web developer Tai Travis
and image-manipulating techniques to
IT assistant Garry Freemyer
effect one coherent process.
Some of the basic equipment
director of finance Stephen Awe
choices that you make are deciding
accounting assistant Sandra Matray
customer service Tammy Lynn Hettrick which lens, filter or lighting equipment
fulfillment assistant Bree Day
will be used for a given shot. Framing
and camera movements are aesthetic
choices that you make as you practice
subscription information
your technique. These decisions may
Videomaker Subscription Fulfillment
seem minor, but each of them require
P.O. Box 3780, Chico, CA 95927
complex considerations among thoutelephone: (800) 284-3226
sands of options. Each decision has
e-mail: [email protected]
an impact on the next. For example,
address
camera movement is complicated when
P.O. Box 4591, Chico, CA 95927
combined with a zoom lens. When contelephone: (530) 891-8410 fax: (530) 891-8443
sidering all the possible combinations,
there are literally millions of choices.
Videomaker (ISSN 0889-4973) is published monthly by Videomaker, Inc., P.O. Box 4591,
You should not be intimidated
Chico, CA 95927. ©2012 Videomaker, Inc. All rights reserved. Reproduction of this
publication in whole or in part without written consent of the publisher is prohibited. The
about this possibly dizzying reality of
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tographer. You should be encouraged
$19.97; $29.97 in Canada (U.S. funds); $44.97 Foreign Delivery (prepayment required,
U.S. funds). Send subscription correspondence to Videomaker, P.O. Box 3780, Chico, CA
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ly necessary in order to make a great
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what differentiate you from the milVideomaker makes no representation or warranty, express or implied, with respect to
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Shooting video can be a stressful
contained in these materials. These materials are not to be construed as an endorsement of any product or company, nor as the adoption or promulgation of any guidelines,
experience especially when you are
standards or recommendations.
pressed for time. Your cinematography
skills will be abbreviated if you don’t
take this role seriously enough to allocate ample time to make these critical
decisions. You should try to make as
many decisions as possible before you
begin to shoot. This is why a storyboard
is so important to create well before you
schedule the shooting. You can plan
shot framing and lighting on a storyboard. It is far easier to erase a storyboard frame than it is to re-shoot the
scene. You can save time by setting up
the equipment to match the storyboard.
This does not mean that you should
avoid improvising while shooting.
While pre-production work is
important, too much planning can be
as harmful as excessive impromptu
shooting might be. You need to strike
a balance between the two extremes.
Cinematography is a skill set that
has perhaps the greatest potential to
transform you into a highly skilled
video producer. Learn all that you
can about these choices by research,
practice and watching great motion
pictures, TV shows and videos. Every
minute that you invest in perfecting
these skills will pay off.
Matthew York is Videomaker's Publisher/Editor.
contents
For comments, email: [email protected],
use article #15376 in the subject line. You can
comment and rate this article by going online:
www.videomaker.com/article/15376
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VI D EO MA K ER >>> FEbRu A Ry 20 12
3
NEW GEAR
hot off the presses
by the V i deomaker E d it o r s
Sanho Corporation
Sanho’s HyperDrive iFlashDrive is the first USB flash drive that works with your iPad, iPhone
and iPod. The drive features a USB connector on one side and an Apple-approved 30-pin
dock connector on the opposite side, providing users with two-way data transfer between
their computer and Apple devices. The HyperDrive iFlashDrive is available in 8GB, 16GB and
32GB capacities to fit your storage/transfer needs. A free downloadable app is also available
to allow Apple devices to perform file management with the iFlashDrive.
www.hypershop.com | MSRP: $100 and up
The Digital Juice Flag Kit Pro is a portable lighting accessory kit to quickly and easily control contrast, light ratio, diffuse light or block it entirely. The compact frames
unfold and lock into place in order to hold a variety of screens or scrims that attach
to C-Stands and other supports. The compact, lightweight size of the Flag Kit Pro
makes it ideal for on-location shoots, while remaining useful in studio settings. The
Flag Kit Pro contains five 24” x 36” frames, five fabrics, two dots and two fingers.
Digital Juice
www.digitaljuice.com | MSRP: $300
JVC Pro
The JVC Pro GY-HM150U builds upon the features of its predecessor, the GY-HM100,
with a new encoder for improved HD recordings and support for standard definition.
In addition, the camcorder provides XLR inputs with phantom power and dual card
recording capability for creating instant backups of recorded footage or uninterrupted
recording in relay mode. The GY-HM150U shoots 1920 x 1080p at 24, 25 and 30
frames per second with the option to shoot 60 and 50 fps in 1280 x 720p.
www.pro.jvc.com | MSRP: $3,495
Matthews’ Digital & Chromakey Blue/Green Screens allows for versatility and
mobility. The two-sided chromakey fabric can quickly change from green
to blue chroma for key background options, and is made of polyester fabric
that is laminated to an opaque foam backing for reduced light bleed through.
Grommets located along the screen’s edge make attaching it to a frame easy,
while the stretchy material allows any wrinkles to be effortlessly pulled out. All
screens are available in standard sizes as well as custom sizes and shapes.
Matthews Studio Equipment
www.msegrip.com | MSRP: $281 and up
Nikon
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A tiny camera with a big lens, the Nikon 1 J1 has a 10fps autofocus CX-format
super high-speed AF CMOS sensor that promises you won't miss the action.
Nikon offers several Nikkor lens choices, including one designed for recording
movies and employing your choice of white, black, red, silver or pink colors, the
camera shoots full 1080p HD videos, giving you the freedom to simultaneously
shoot both stills and video with one small but powerful device.
www.nikonusa.com | MSRP: $650 and up
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V IDEOMAKER >>> f Eb RuARy 2012
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READER PROFILE
Behind the Lens - Don La Haye
Video creation is sometimes a singular business, but video producers
are a social lot who work and play in many areas of video production
and love to share their stories. This column introduces you to your fellow
video producers.
Name: Don La Haye
Cameras: Sony DCR-TRV20; Canon ZR600; Panasonic PV-GS320;
Canon Powershot A1100 IS
Editing Platform: Adobe Premiere Elements 7
Computers: HP; Intel E6300 processor; 64 bit; 8GB memory; 1TB hard drive;
PowerMac w/ G5 processor; Roxio Toast 10 for DVD copying and burning
Support Equipment: 2 tripods, 2 microphones, camera mounted lights
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I became interested in photography
when I was a kid. I saw Man with a
Camera, starring Charles Bronson,
and I purchased my first camera, a
Kodak Brownie, in order to do what
he did in the movie. I never did solve
any crimes, but I developed an interest in photography that has lasted
my lifetime.
In 1962, when I was in the Army in
Germany, I took color slides and black
and white photos using an Agfa Optima 35mm camera. When I returned
stateside, I learned that my sister’s
husband was taking 8mm movies of
his family, and that got me interested
in taking home movies of my own. I
do have all the expected films of my
wife and daughter, and have since
converted to digital and DVD.
In 1975, I joined the Army Reserve and did public information
photography for the service. I
studied photographic education, and
student-taught the darkroom with
Professor Meade at Southeastern
Massachusetts University. I quit one
job to become a professional wedding photographer.
I wanted to be the Massachusetts
State Wildlife Photographer, so I took
the exam. I got the top mark, but
the position was filled from within.
Instead, I was offered and accepted
a temporary position as a Natural
Resource Officer (NRO). The position
became permanent, and I had to de-
6
fer pursuing photography or videography until I’d have time to devote in
retirement.
My first camcorder was a rented,
shoulder-mounted one in 1989. Unless you were a professional, in the
1970s and 80s there simply wasn’t
much editing an amateur could
do. Computers were expensive
and slow, and file sizes were a big
limitation. It’s amazing to me to see
how far the technology has come in
recent years, and how fast things are
changing now!
I was pretty much computer illiterate when I began video editing. I
started out using Windows LiveMovie
Maker, which gave me a pretty good
result, considering I barely knew how
to turn on the computer. I worked
with lots of different programs to see
the variation in functionality, and the
ease of use. Some of them are Ulead,
VideoWave, PhotoSuite, and Pinnacle.
All of these were Windows based.
Only recently did I decide to try the
Mac platform. I got the G5 Apple
computer and I tried iMovie, and
Final Cut Express. For me the change
was difficult, and I prefer to use Windows software for video editing. I use
the Mac to go on the Web (to avoid
viruses and worms, etc.) and to burn
the DVDs using Toast 10 software,
that I like.
I enjoy doing travel DVDs for fellow travelers and friends. These are
personal use only, since I use some
copyrighted music and I don’t want
to violate any laws about that. I have
made several DVDs of footage from
old home movies that have been digitized. The other interesting project I
did was to create a promotional video
for Vermont Adaptive Ski and Sports,
a non-profit organization dedicated
to promoting sports for everybody.
It can be seen on YouTube at www.
videomaker.com/r/522
I haven’t yet gotten into burning
Blu-ray discs, but this would be the
next logical progression.
My suggestion to anyone starting out is KISS - Keep it Short,
Stupid. My comment relating to
the January Viewfinder 2009 editorial about whether the magazine
should better serve the amateurs
or professionals: most pros begin
as amateurs; and as in my case,
pros become amateurs, too. The
magazine should use a balanced
approach to serve both.
Don La Haye – From Still Photography to
Video Producer.
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reviews
reviews
JVC GY-HMZ1U
JVC
GY-HMZ1U
3D Camcorder
TeCH sPeCs
EZ 3D
b y D a n Bruns
T
ypically, many professional 3D
cameras are equipped with bulky
converters that required either a stout
operator or a sturdy tripod to manage,
which made shooting more of a chore
than it needed to be. So when camcorders began to combine two lenses
and sensors into one small package,
they came as a welcome relief. One of
those camcorders, JVC’s GY-HMZ1U, is
JvC
www.pro.jvc.com
strengths
• Sturdy housing material
• Full HD recording from both lenses
using MVC codec
• Can record to internal or external
memory
• Powerful image stabilizing technology
• Has timelapse recording feature
weaknesses
• No 60p recording option
• 3D LCD display is dim, has low
resolution
• Front-heavy design
• Battery can only power camera for a
little over an hour
• No zebra bars in 3D mode
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$2,000
8
aiming to not only keep a camera operator’s load easy to bear, but to make
capturing great images easy as well.
Design
The camcorder body is made of a highquality composite that feels more than
ready for a tough life on the road. The
body is actually fairly small weighing
in at only 2.2 pounds and measuring
a little more than five inches wide by
six inches tall (with handle) and nine
inches deep. This, along with its dual
lens design, made the entire camcorder
body shaped like one big rectangle.
Speaking of the lens, JVC was
thoughtful enough to include the ability to open the aperture to an f-stop of
1.2. This means that the lens is able to
allow enough light into the camcorder
for even dark scenes to look good. The
lens also includes a zoom ability for
getting that extra bit of detail on runand-gun style shots. The optical zoom
can achieve 10X in 2D mode, but is
only able to get up to 5X in 3D mode.
However, this doesn't affect the usability of the camcorder much as zooming
in 3D often lessens the effect of depth.
Taking a look at the back of the camcorder, JVC includes several buttons to
make shooting in 3D a rather convenient experience. The most noticeable
is the large 3D button for switching the
camcorder from 3D mode to 2D mode.
V IDEOMAKER >>> F E bRuARy 2012
This button made it easy to quickly
switch back and forth by being located
in a place where our thumb naturally
rested on the back of the camcorder. It
also allowed us to see when the camera was in 3D mode by having an illuminated LED ring around the button.
In addition, the back has buttons for
switching from automatic to manual
mode, another button for switching
between stills and video, an assignable
user button, an info button, and a button to adjust the level of depth in the
scene using a small, yet convenient dial
right next to it. The record button is
also located on the back of the camera,
however we found its position to be
a bit too close to the edge. This made
it tough for our thumb to press when
using the handgrip along the side.
The camera also includes HDMI (mini)
output, 1/8-inch headphone jack, and
a DC input on the back of the camera
JVC 3D Twin HD GT Lens
Storage Media: SD/SDHC/SDXC, 64GB
Built-In Memory
Sensor: Back-illuminated CMOS
Sensor Size: 1/4.1"
Effective Pixels (k): 3.32 million
HD Modes: 1080 60i/, 1080 24p
File Format: JPEG, MPO, MPEG-4
MVC/H.264, AVCHD
Focus: Auto/Manual
Iris: F1.2-2.8
Shutter Speed Range: 1/2 – 1/4,000
Zoom: 5X (3D), 10X (2D)
White Balance: Auto/Manual/Preset
LCD Monitor Dimensions: 3.5"
Video In: Yes
Video Out: HDMI, Composite (1/8")
Internal Microphone: no
Microphone In: (2) XLR, 1/8"
Headphone Jack: Yes
Speaker: Yes
Battery Type: Lithium-Ion (2,190 mAh)
Accessory Shoe: Yes
Dimensions: 5.28" x 6.02" x 9.21"
Weight: 2.2 lbs (with handle and battery)
as well as a 1/8-inch microphone input
and composite output, USB output,
and a slot for an SD card located on the
inside of the camera’s LCD screen.
On the right side of the camcorder,
JVC includes a switch to shutter the lens
in order to eliminate dust and scratches,
and a cover, which gives access to the
camera’s battery. We were surprised at
just how much room the battery takes
up in the camera and how little space
is left for the lens, sensors, and various
other controls. Having the battery on
the inside of the camcorder meant that
the 2,190 mAh battery is not upgradeable which is bad news for those looking to use this camera for live events.
One of the most useful parts of the
GY-HMZ1U was the detachable handle
that featured two XLR inputs for professional microphone use. Unfortunately,
since the handle connects via an 1/8inch jack on the camcorder, the XLR inputs were not phantom powered. Nonetheless, the handle proved to be very
useful when shooting low shots and for
connecting more than one microphone
to the camera. The other interesting
part about the handle was that it made
the camcorder especially front-heavy.
Though this became a strain after long
periods of shooting, the lightness of the
camcorder made this flaw tolerable.
With a distinct lack of 3D monitors
on the market today, it’s more important than ever for a camcorder’s LCD
panel to display a great picture. JVC
went with a large 3.5-inch auto-stereoscopic, touch panel display. We enjoyed
not having to put on glasses to see in
3D, but we did find that there were
only about four distinct areas where
our eyes could actually view 3D playback. This led to eye fatigue setting in
earlier than usual with this camcorder.
One nice part about the display is that
it was sharp and bright in 2D mode.
However, as soon as the camera was
switched into 3D mode the display and
resolution lessened considerably. It was
actually possible to see black dots between pixels. We also found it difficult
to see the display when used outdoors
due to its lack of brightness. We were a
bit disappointed to find that the zebra
stripes only worked in 2D mode, which
made finding the right brightness level
even more difficult to determine. You
can shoot 3D footage and view the real
time playback in 2D. Though there are
some places where viewing your image
in 3D will be appropriate, you’ll probably find the 2D option works best.
Video Quality
Of course, the most important part
of any video camera is the kind of
images it produces. The camcorder
can record images at a resolution of
1920 x 1080 in both 60i for fast motion images and 24p for that coveted
“cinematic” feel.
One of the best parts about this camera is that it houses two ¼-inch backilluminated sensors, which can produce
VI D EO MA K ER >>> F EbR uA Ry 20 12
Two XLR inputs
two separate 1920 x 1080 images. The
back-illuminated sensors allow more
light to be recorded to the camera’s sensor without producing grain, adding to
an already great low light image. However, this can only be recorded using the
newly developed MPEG-4 MVC codec. If
you choose to use AVCHD, the camera
will record two squished images at 960
x 1080, which means you’ll be sacrificing quality in order to get smaller
file sizes and a file that can be played
directly on 3D capable TVs.
We were impressed by the amount
of depth that the camcorder was able
to produce in its 3D image. When
played back, the 3D looked quite convincing and had a surprising amount
of color and detail. We did notice that
the contrast was a bit high in the image, but not to the degree where our
footage was unusable. The sensor also
held up well during quick panning.
There was only the slightest hint of
rolling shutter skew, which is all you
can ask for when dealing with CMOS
technology. Overall, we were pleased
with the images we captured.
sUMMArY
Though 3D is still in its infancy, the
JVC GY-HMZ1U gets a lot right. It’s
portable size, professional features,
and dual full HD recording makes this
camcorder worth thinking about for
anyone considering the switch to 3D.
Dan Bruns is an Associate Multimedia Editor
for Videomaker.
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9
reviews
reviews
Sony MHS-FS3
Sony
MHS-FS3
3D Bloggie HD
Camera
TeCH sPeCs
The Next Dimension in
Compact Video?
b y M a rk H ol der
W
ith portable 3D capture still in
its infancy, manufacturers are
quickly vying for position as they
race to place this exciting capability
into the hands of consumers. Sony
enters the fray with the MHS-FS3 3D
Bloggie HD camera. As with all early
entries there are some weaknesses,
but there is no question that the 3D
Bloggie HD is going to be a strong
contender.
Basics
Packaging is very minimal as the
3D Bloggie HD comes pretty much
complete and ready to go. It is accompanied by a wrist strap, USB
connection support cable and some
sony electronics inc.
http://store.sony.com
strengths
• Produces good quality 3D
• Impressive 3D display
• Easy to use
weaknesses
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• No option for expanded memory
• No manual control over most features
• No external mic support
$200
10
basic instructions. The internal battery is charged via the USB arm and
the 16GB storage media is built-in, so
there is no need for battery, charger
or media card. One item we would
like to see included is an HDMI cable.
While 3D viewing is possible on the
built-in display, one should view their
footage on a 3D capable television to
fully enjoy the 3D experience. The
unit comes preloaded with the necessary software, so you won’t find a CD
included either.
Tour
and minimizes fingerprints.
The top edge has no ports or other
features at all while the bottom is
home to the tripod mount. Down
the left side of the camera (facing
the front) are the stereo microphone,
speaker, power button, charge lamp
and shutter button. Along the right
side are the pop out USB arm and
release switch, the HDMI Out port and
mounting point for the wrist strap.
A goodly portion of the back of
the device is home to the 2.4” LCD
screen, which automatically orients itself depending on how you’re
holding the camera. Be prepared
for a legitimate “Wow!” moment
when you turn on the 3D Bloggie
HD. When shooting in 3D mode
your view through the display is in
Similar in size and appearance to a
cell phone, the most striking feature
of the 3D Bloggie HD is the dual lens
arrangement on the front of the camera with the letters, “3D” emblazoned
proudly next to
LCD screen and function buttons
them. The lenses
are by Sony with
a maximum aperture of f2.8. A video light is placed
above one of the
lenses to aid with
shooting in those
dark places. The
front and sides are
clothed in a rubberized material
that improves grip
V IDEOMAKER >>> f E bRuARy 2012
Imaging Sensor: 1/4" Exmor CMOS
Sensor
Effective Picture Resolution: 5.03MP
Color Filter System: RGB primary
color filters
Lens Type: Sony Lens
Aperture (Max.): F2.8
Digital Zoom: Yes
Minimum Focus Distance: 4" to infinity
Media Type: Approx. 8GB internal
memory
Video Format: MP4 / MPEG-4
AVC/H.264
Audio Format: MPEG-4 AAC
Video Modes: 1920x1080/30p;
1280x720/60p; 1280x720/30p; 3D –
1920 X 1080 / 30p
Still Image Mode: JPEG
ISO: Auto
real-for-true, genuine 3D – with no
glasses required! At the bottom of
the screen, (when held vertically) are
three buttons for playing your creations, toggling between 3D and 2D
recording and accessing the menu.
Menu options are pretty sparse as
most features we would like to have
control over are set to automatic
including ISO, white balance, shutter
speed and focus. Below the function buttons is a navigational pad
with the record button at its center.
Depending on the particular function
button selected, the left/right, up/
down arrows may be used to adjust
or access the self timer, video light,
volume and zoom; select clips for
playback, deletion, protection and
sharing; as well as to choose the
desired recording mode.
Operation is simple and straightforward. Turn the unit on, select 2D
or 3D recording, frame it up and
press record. When you’re finished
White Balance Mode: Auto
Shutter Speeds: Auto (1/30 – 1/4000)
Self Timer: Off / 2sec. / 10sec.
Face Detection: 8 Faces (Auto) – 2D only
Image Stabilization: SteadyShot Image
stabilization
LCD Type: 2.4" TFT LCD (230,400 pixels)
Battery: Internal (NP-SP70 3.6V)
Media / Battery Indicator: Yes / Yes
USB Port: Hi-Speed USB arm (USB 2.0)
HD Output: HDMI (mini)
Supplied Software: Bloggie Software
v1.3 / Share-it-Later
Operating System Compatibility:
Windows XP SP3 (32bit only), Windows
Vista SP2, Windows 7, Mac OSX(v10.3v10.6)
Weight: Approx. 4.2oz
Dimensions: 2 1/4" x 4 3/8" x 11/16"
recording connect the unit to your
computer via the built-in, flip out
USB arm. Plug the arm in with the
camera powered off and it recharges
the battery. Plug it in and turn the
camera on and it goes into mass
storage mode. The computer’s operating system recognizes the camera
and fires up the Bloggie software
(which you had previously installed,
of course). Editing capabilities are
limited at best, but here you can
download your files from the camera, tag, trim and share them in a
number of ways including upload to
Facebook or YouTube.
It’s worth noting that in 3D mode,
the camera’s design requires it to be
held horizontally, in the landscape
position. In fact, if you attempt to
record 3D vertically, a reminder
appears stating that the camera
must be held sideways. For optimal recording of motion in 3D the
camera itself should be stationary; it
is unfortunate, then, that the tripod
mount is located on the bottom of
the camera, as that forces a vertical
orientation. Videomaker has been an
advocate for tripod use for 25 years
and we think excluding the ability to
use a stabilizer is not good for users.
Impressions
With a small 1/4-inch sensor and the
inability to manually control things
like white balance, one has to expect
less than perfect results. That being
said, however, the 3D Bloggie HD produces very believable 3D HD footage
whose depth is undeniable. It also
shoots video in 2D with high quality stills in both 2D and 3D formats.
For all its lack of manual controls,
the auto settings do a decent job of
adapting quickly to scene changes
and reproducing color fairly accurately, albeit a bit oversaturated. Handling of low light situations is impressive considering the small sensor and
the on-board video light helps a great
deal when shooting in dark places.
Audio is typical compact camcorder
fare with no options for controlling
levels, wind cut or sensitivity.
If you want bells, whistles and
lots of manual controls then you’ll
definitely want to look elsewhere. On
the other hand, the 3D Bloggie HD will
have lots of appeal for those shooters
who just want to quickly and easily
capture great 3D footage without all
the fuss and bulk that usually accompanies prosumer and professional
level cameras.
sUMMArY
If grab-it-and-go 3D appeals to you
then look no further than Sony’s 3D
Bloggie HD.
Contributing Editor Mark Holder is a video producer and
trainer.
11
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reviews
Adobe Premiere/Photoshop Elements 10
Adobe
Premiere/
Photoshop
Elements 10
Editing Software
Blurring the Lines
b y D o u g D i xon
T
Adobe
www.adobe.com
strengths
• Fully integrated Elements Organizer for
managing and sharing photos and video
• Deep automated analysis of media for
Smart Tags
• Guided Edits and how-tos
• Extensive creative options for sharing
photo collections and video productions
• Extensive online integration for
backup, syncing, sharing
weAknesses
contents
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• Requires up-front investment in
organizing media to enjoy full benefits
of automation
• Requires serious “enthusiast” interest
in doing video editing; not for quick work
• Automated processing can require
significant processing horsepower and
time
• Sometimes unclear where to find
specific functions among the multiple
applications
12
en years — Think of the advances
in personal computers and digital
video in that time. And now Adobe
has released the tenth annual versions
of its best-selling consumer Adobe
Elements product line, Premiere Elements 10 and Photoshop Elements 10.
This latest edition continues Adobe’s
focus on providing deep technical
power to create impressive results, but
packaged behind a friendly interface
and extensive automated assists.
The Elements applications are not
for the casual user. They are designed
for photo and video enthusiasts interested in investing effort to organize and
manage their media. The promise with
this investment is the pay off through
the automated assists to help manage
those files and over time as you learn
to the depth of these applications.
Video and Photos Together
The key new focus in Elements 10 is the
end of the distinction between photography and videography. Consumers
don’t want to carry multiple separate
devices -- or worry about lugging
around both a still camera and a video
camcorder. Instead, they shoot both
photos and video with the same capture
device, whether a digital camera with
video mode, a camcorder with photo
mode, or simply on their smartphone.
Similarly, today’s media productions also blur these lines, as a photo
editor needs to combine a collection of photos into an animated
photo montage or slide show, and
a video editor needs to incorporate
still photos for titles, backgrounds,
and overlay elements. Conveniently,
this leads to the conclusion that you
really need both kinds of tools, such
as a bundle with both Premiere and
Photoshop Elements.
This integration of photos and
video is also combined with Adobe’s
• Premiere or Photoshop Elements 10 (Individual app) - US $100, upgrade $80
• Both bundled together $150, upgrade $120
• Premiere or Photoshop Elements 10 Plus (Individual app) $140 ( Adobe.com, U.S. only)
• Both bundled together with Plus $180
• Adobe Elements Plus (additional online services, one year annual membership) $50
V IDEOMAKER >>> f E bRuARy 2012
emphasis on dealing with a collection of media as a separate issue from
editing. Both Premiere Elements and
Photoshop Elements include a separate common Organizer tool, used to
import media files from various devices and then organize and tag them.
You can also apply basic photo fixes
and create photo albums, and share
photos and videos directly online.
Then you can launch the individual
applications for more extensive photo
or video editing.
The Organizer integrates with
Adobe’s online services, offering
automatic online backup, synchronization of your media collection between
multiple computers running the Elements Organizer, and Web access from
computers and iOS or Android mobile
devices using the Photoshop Express
companion app. The Elements Plus
upgrade increases the online storage
from 2 to 20GB, and provides access to
additional libraries of how-tos, movie
themes, and video effects.
Photoshop Elements 10
Beyond the new photo capabilities
in the Organizer, other enhancements in Photoshop Elements 10
include curving test that flows along
paths and around objects, 30 new
smart brush effects including Snow,
Pencil Sketch, and Oil Pastel, and
additional Guided Edits to provide
step-by-step assistance for sophisticated activities including highlighting the subject with simulated depth
of field, adding a diffuse glow to
create a dreamlike Orton effect, and
breaking a photo up into a collage
of snapshot pieces. There are also
nice refinements including crop line
grid lines using Rule of Thirds or
Golden Ratio for better composition,
and saving photo creations (such
as photo books) as individual JPEG
or PDF pages for more convenient
printing and sharing.
Organizing and Searching
In Elements 10, the Organizer is now
fully integrated between Premiere and
Photoshop Elements, and fully functional on both Windows and the Mac.
You can also use it to immediately
share clips online, on YouTube, Photoshop.com, and now also on Facebook.
When you import new media, the
Organizer does extensive processing
of both photos and video clips, so this
is not a tool for quick in-and-out editing. Instead, the Auto-Analyzer performs intelligent content analysis to
find the most interesting and highest
quality imagery, and uses that information to automatically set a variety
of Smart Tags for each piece of media.
Elements also performs People Recognition to automatically identify and
tag people in photos, even across time
from children to adults. If you’re sharing photos on Facebook, the People
Adobe Carousel
Adobe Elements does media synchronization and sharing between
computers running the Elements
applications, online, and mobile
devices. But Adobe has recently
announced a separate product,
Adobe Carousel, focused solely on
keeping your entire photo library consistent across computers and mobile
devices.
Adobe Carousel client apps are
available for Mac OS computers and
on the iPad, iPhone, and iPod touch
(with versions for Windows and
Android expected in the first half of
2012). Your entire photo collection
then is accessible on any supported
device through the Internet cloud
— When you import new photos on
the desktop, or take photos on your
mobile device, or make edits, deletions or additions, any changes on
one device are automatically updated
across all devices linked with the
account.
THE AZDEN
105 DSLR SERIES
COMPACT,
AFFORDABLE
PERFORMER
All you want in a high performance
wireless microphone, the Azden 105
Series includes:
• 92 User selectable UHF frequencies
(566.25-589.75MHz)
• Compact receiver with shoe-mount
• Pivoting high gain antenna
• 3.5mm DSLR microphone cable
• Headphone output with volume control
Available system combinations include:
105LT, 105LH, 105LX, 105HT, 105XT
Visit the Azden website for
system details.
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www.azdencorp.com
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13
REviEwS
Special Videoguys Promotion!
Add Training to Your Order for $1
Adobe Premiere/Photoshop Elements 10
Recognition now can automatically
tag faces in photos based on the information from your Facebook Friends
list. And photos shared on Facebook
can be tagged based on the information in the Organizer.
This processing, augmented by
your own tags, then helps you to
better organize your photos and
footage, as well as assisting the Elements tools to provide automated
editing assistance. To find interesting
photos, Elements 10 adds new visual
searching options beyond text and
tags. Visual similarity search, now on
the Mac, finds photos with a similar
general look, balanced between color
and shapes. The new Object Search
then finds specific objects that you
select from within a photo. And the
new duplicate photo search finds duplicate or similar photos that you can
clean up or group, to better organize
your collection.
Premiere Video
Once your media files are imported
and under control, you can launch
into Premiere Elements to work on
your video production with a traditional-style storyboard or timelineediting interface. Use the project tab
to import and assemble the media
files for your production, and the edit
tab to enhance with effects, transitions, titles, and clip art, or to apply
professionally-designed themes.
Then use the disc menu tab to create menus for Blu-ray and DVD discs,
and the share tab to export to files,
discs, DV tape, mobile devices, online,
or as an online Web DVD. Premiere
Elements 10 now supports exporting in high-quality AVCHD format,
as well as burning hi-def movies to
standard DVDs as AVCHD discs with
menus, that you can then play back
on Blu-ray players.
Premiere Elements 10 picks up en-
TECH SPECS
Trial Version: Yes, free 30-day trial
Operating System: Windows and Mac
OS
Minimum CPU: Windows - 2GHz or
faster processor with SSE2 support;
dual-core processor required for HDV
or AVCHD editing and Blu-ray or AVCHD
export, Mac - Multicore Intel processor
Minimum RAM: 2GB of RAM
Minimum Hard Drive Space for
Installation: 7GB of available hard-disk
space to install applications; additional
5GB to install content
Capture Formats: (DV25, DV50, Analog
Capture Cards, MicroMV, DVD Camcorders, HD Ready):
Supported import/export formats include: AVCHD, Blu-ray Disc
(export only), DV-AVI (import/export
on Windows, import only on Mac OS),
DVD, Dolby Digital Stereo, H.264, HDV,
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14
MPEG-1 (import only), MPEG-2, MPEG-4,
MP3, QuickTime, Windows Media (Windows only)
Batch Capture: No
Automatic Scene Detection: Yes
Number of Video/Audio Tracks: 99
Nesting Tracks: No
Audio/Video Level Envelopes: Yes
Audio Scrub: Yes
Keyframe Animation: Yes
Number of Video Transitions: 100+
Number of Video Filters: 90
Background Rendering: No
Realtime Software Previews: Yes
Optimized for Dual Processor/
HyperThreading: Yes (separate 64-bit
version available)
Third-party Plug-in Support: Yes
Batch Render: No
DVD Authoring Software Included:
Yes, part of app
V IDEOMAKER >>> f Eb Ru ARy 2012
hanced technology from professional
editing, including the auto tone &
vibrance tool to enhance footage color
by automatically boosting tone and
vibrance without affecting skin tones,
and the Three Way Color Corrector to
subtlety adjust colors independently
for highlights, shadows, and mid-tones.
It also adds a pan and zoom tool
to create customized pan and zoom
motions across photos, automatically
moving to the faces found in the earlier
tagging. And it includes additional
movie themes and Online Album
templates, and adds SmartSound on
the Mac to add musical soundtracks
that automatically adjust to match the
movie length. Premiere Elements
10 now comes in both a 32-bit and
64-bit version for Windows, opening
up more memory and better performance for more complex productions.
Top 10
Adobe Premiere Elements 10 and Photoshop Elements 10 are a welcome
next step in the decade-long progression of the Elements line. These tools
walk a delicate line between leveraging powerful technology and still
proving a consumer-friendly interface
with how-to and Guided Edit support.
In particular, there’s a lot of indexing and processing going on, especially
when you first import collections of
media files, which can get in the way
of trying to do some simple job quickly.
But this investment then pays off as
you (and the automated processing)
can leverage the media information to
a better job of finding your media and
enhancing your productions.
SUMMARY
Adobe Premiere Elements 10 and
Photoshop Elements 10 tools leverage advanced technology and automated analysis to reward motivated
users with great creative flexibility.
Doug Dixon covers digital media at Manifest-Tech.com.
800-323-2325
10-12 Charles St., Glen Cove, NY 11542 • 516-759-1611 • Fax 516-671-3092 • [email protected]
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Audio-Technica AT2022
Audio-Technica
AT2022 X/Y Stereo
Microphone
Sound Investment
b y M a rk H ol der
A
udio-Technica combines reasonable price with solid quality in the
AT2022. Equally at home, in the field
or in the studio this little microphone
produces big audio without busting
the budget.
Impressive
Right out of the box, one is struck by
the AT2022’s weight and appearance.
At 9.5 ounces, its metal construction
feels very well built and solid – like
you could drive nails with it, though
we don’t recommend doing so. Its other distinguishing feature is the head.
Perched atop the seven-inch long
cylindrical body is the approximately
2.5-inch wide head, which is home to
two unidirectional condenser capsules
Audio-Technica U.s., inc.
www.audio-technica.com
sTrengThs
• Quality + Cost = Good Value
• Adjustable stereo pickup pattern
• Lo-cut filter
• Solid construction
• Windscreen, battery and cable included
• Standard AA batteries are convenient
power source
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weAknesses
• Output unbalanced
• Shock mounts = weak point; possible
damage if rotated by the capsule(s)
$439
16
situated across from, and facing one
another in an X/Y configuration.
The capsules may be pivoted
between 90 degrees and 120 degrees
to custom select a narrower or wider
pickup pattern. The underside of the
head is clearly marked at 90 degrees
and 120 degrees to aid in the accurate
positioning of each capsule. When
not in use the capsules may be folded
flat for storage or transporting. Each
of the capsules is fixed in its own
shock mount, which is a great feature,
but care must be taken not to damage them when pivoting. Grasp the
metal base behind the shock mount to
change the angle of the capsules – not
the capsules themselves.
The body unscrews and slides open
to reveal the battery compartment. A
single AA battery is required (alkaline
recommended) and one has thoughtfully been included. It is important to
know, and remember, that this microphone has been designed for battery
power only and that damage could
result if phantom power is used.
Power is controlled using a three-position switch located on the upper third
of the body nearest the head. Available
positions are Off, L-Cut and Flat. The
L-Cut position switches the unit on, as
well as the built-in low-cut filter, which
initiates a roll-off of 6dB per octave at
150Hz. This feature is useful for reducing the capture of low-frequency noise
like air conditioners and cars driving by.
At the base of the microphone is
a typical 3-pin XLR-type connector.
There is a difference here, however. While XLR connectors usually
provide for a balanced audio signal,
the AT2022 produces an unbalanced
output. The unbalanced signal uses
Pin 2 and Pin 3 for the left and right
channels respectively, with each using
Pin 1 as its ground. The audio signal
travels from microphone to recorder
via a 1.6-foot cable having a 3-pin female XLR-type connector at one end
and a 1/8-inch TRS connector at the
other. Having a standard 1/8-inch connector, and battery power, allows the
AT2022 to be used with a wide variety
of audio and video recording devices.
The microphone comes with the
aforementioned battery and cable as
well as a microphone stand clamp for
5/8"-27 threaded stands, a soft zippered pouch and a fuzzy windscreen.
The windscreen has long “hairs” and
is a must in windy conditions. The fibers do a good job of diffusing the effects of the wind on the microphone’s
capsules thereby reducing the amount
of captured wind noise.
Sounding Off
The AT2022 performs as well as it
sounds. While out and about, wandering through a busy park and tethered
to an Olympus portable audio recorder, many great sounds were recorded.
People talking, children laughing, dogs
barking, cars driving by and a partridge in a pear tree. Well, maybe not
the last one. At any rate, we discovered
that while quiet sounds don’t pick up
terribly well, sounds at moderate volumes and loud sounds pick up nicely.
We also found that even a little bit of
wind creates quite a bit of racket, so
the windscreen is definitely needed
when outdoors. Overall, sound reproduction was very good with a frequency response that delivered a nice, full
bottom and a crisp upper end.
Regardless of venue or application
the AT2022 provides very good quality
at a reasonable price.
sUMMArY
For stereo audio on a budget, AudioTechnica’s AT2022 stereo microphone
may well be a sound investment for
producers at every level.
Mark Holder is a video producer and trainer.
TeCh sPeCs
Elements: Fixed-charge back plate, permanently polarized condenser
Polar Pattern: X/Y Stereo
Frequency Response: 20-20,000Hz
Low Frequency Roll-Off: 150Hz, 6dB/
octave
Open Circuit Sensitivity: -41dB (8.9mV)
re 1V at 1Pa
Channel Balance: <2.5dB
Impedance: 200 ohms
Maximum Input Sound Level: 122dB
SPL, 1kHz at 1% T.H.D.
Dynamic Range (Typical): 103dB, 1kHz
at Max SPL
Signal-To-Noise Ratio: 75dB, 1kHz at 1Pa
Switch: Off, on/flat, on/roll-off
Weight: 9.5oz
Output Connector: Integral 3-pin XLRM-type
V IDEOMAKER >>> F E bRuARy 2012
Dimensions: 7.56 inches long, 2.56
inches maximum head diameter; 0.83inch body diameter
Battery Type: 1.5V AA/UM3 (WARNING:
The AT2022 is designed for battery operation only. Do not attempt to use when
phantom power is present. Possible damage to the microphone may result.)
Battery Current/Life: 1.2mA; 500 hours
typical (alkaline)
Cable: 1.6 feet long, three conductor,
shielded, vinyl-jacketed stereo cable with
3-pin XLRF-type connector at microphone end and 1/8-inch TRS connector at
output end
Accessories Furnished: AT8405a stand
clamp for 5/8"-27 threaded stands; fuzzy
windscreen; battery; soft protective pouch
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17
reviews
reviews
HP EliteBook 8760w
HP EliteBook
8760w Mobile
Workstation
BEnCHMARkS
Experience Index
Model
HP Z400
HP Z200
HP XW6600
DV Apprentice
ADK i7-DVC
HP Elitebook 8760W
b y L a n ce O l i nger
T
What’s it Made of?
The 8760w has a nice clean brushed
metal look and a relatively seamless
design with a screwless removable under panel allowing easy access to the
hard drive, memory, and optional add-
Hewlett-Packard Company
www.hp.com
strengtHs
• Nice design
• Light-up keyboard
• Vibrant 1080P LCD with DreamColor
• Fast 3D rendering
• Many available I/O ports
weaknesses
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• Expensive
• Middle mouse button
• Loud fan on full load
$6,120 – as configured
18
Processor
7.7
7.3
7.7
7.5
7.7
7.5
Primary HDD AVG Speed
Model
HP Z400
HP Z200
HP XW6600
DV Apprentice
ADK i7-DVC
HP Elitebook 8760W
Top of the Line
he HP EliteBook 8760w is HP’s
current top of the line mobile
workstation. The base cost for the
quad core model is $2,130 and $1930
for the dual core models. The HP
8760w we received has all the bells
and whistles that HP currently offers,
showcasing the raw power that these
workstations are capable of.
HP various ports
in cards. All the I/O ports, like USB, are
conveniently labeled and located. The
illuminated keyboard makes typing
in the dark easy. The unit even comes
standard with a fingerprint reader for
quick and secure logins. The biggest
design drawback is the large threebutton mouse pad; finding the rightclick can take some getting used to.
Internally, the workstation has
all the latest and greatest hardware.
The CPU is a quad core Intel Core i7
2820QM 2.3ghz capable of 3.4ghz on
turbo boost. But with the four physical
cores and eight hyper-threaded cores
the turbo boost isn’t really needed.
The workstation comes with 16GB of
DDR3 1333 RAM. Now the question is:
how many 1080p videos can you have
open at once to use it all? The new
NVIDIA Quadro 5010M comes with
4GB of memory and has 384 CUDA
cores. Only a couple other graphics
cards even have 4GB of memory. For
data storage there are two 320GB 7200
rpm Seagate drives, which is one of
the least impressive components and
this creates a bit of a performance
bottleneck. The workstation supports
many types of media and has lots of
plugs to support various devices like:
V IDEOMAKER >>> f Eb Ru ARy 2012
two USB 2.0, two USB 3.0, DisplayPort,
eSATA, FireWire, VGA, Blu-ray, DVD,
and even a SD/MMC memory card
reader. You can view it all on a 17.3"
teCH sPeCs
AVG HHD Read/Write: 75.3 MB/s /
66.6 MB/s
Drives: 2 x 320GB Seagate 7200rpm
LAN: 1 x 1000Mb/s (125MB/s)
CPU: Intel Quad Core i7-2820QM
2.3GHz
RAM: 16GB DDR3 1333
OS: Windows 7 64-bit
Video: NVIDIA Quadro 5010M
Audio: 2 Channel IDT HD Audio
Chipset: Mobile Intel QM67
Power Supply: 230W AC Adapter,
8-cell (83 Whr) Lithium-Ion battery
Available I/O: DisplayPort, VGA, Bluetooth, eSATA, USB2.0/3.0, FireWire
400, Blu-ray/DVD/CD, SD/MMC
Weight: Approx. 7.66lbs
Warranty: 3 year standard parts and
labor
SpecViewPerf11
Model
HP Z400
HP Z200
HP XW6600
DV Apprentice
ADK i7-DVC
HP Elitebook 8760W
Memory
7.8
5.9
7.7
7.5
7.8
7.6
READ
106.4 MB/s
74.5 MB/s
60.9 MB/s
213.3 MB/s
190.6 MB/s
73.2 MB/s
1280 X 1024
Catia-03
22.99
7.15
10.65
26.92
6.31
37.51
LED backlit DreamColor HP FHD. The
LCD comes with an optional 720p HDintegrated webcam, so you can shoot
video from your workstation!
DreamColor
One of the features this workstation
boasts over other workstations is HP
DreamColor technology. The major
difference between a standard LCD
and an HP DreamColor LCD is the LED
RGB backlight. What this means is
on top of the color range the LCD can
display, the backlight can be adjusted
to provide more accurate color. The
HP Mobile Display Assistant 2.0 lets
you select preset color ranges like
AdobeRGB, sRGB, Full/Native, etc.
There is even a setting to adjust the
color temperature. For the average
user this isn’t a huge advantage. For a
video/image editor, accurate color can
be a big deal. Attempting to configure
Graphics
6.9
5.9
6.9
7
7.9
7.5
Hard Disk
5.9
5.9
5.8
5.9
7.8
5.9
WRITE
76.7 MB/s
66.6 MB/s
50.8 MB/s
212.9 MB/s
207.9 MB/s
66.6 MB/s
Ensight-04
12.89
5.37
11.68
20.81
36.63
38.21
3DMarkVantage
Model
HP Z400
HP Z200
HP XW6600
DV Apprentice
ADK i7-DVC
HP Elitebook 8760W
Lightwave-01
53.4
12.32
14.98
37.45
15.3
37.86
Maya-03
17.81
5.68
8.09
15.1
10.85
50.56
a standard LCD to look the same as a
printed image can be a major ordeal
and true representation can rarely be
achieved. The goal of DreamColor is to
eliminate this; the image seen on the
LCD is close to the image seen when
printed or on the TV. In short, the
DreamColor LCD is brighter and has
custom adjustments for more accurate
color. The other advantage to having
an LED backlight is it consumes less
power, which in turn increases battery
life. The DreamColor LCD option is an
additional $800 versus the base 1600
x 900p LCD option.
Battery Life
In tests of real world battery life, the
workstation was able to run for two
hours at 100 percent charge. Longer
battery life could be achieved by
turning the monitor brightness down.
While the workstation is running unVI D EO MA K ER >>> F EbR uA Ry 20 12
Total Score
7108
1130
7197
7391
23530
12080
Proe-05
9.47
7.57
3.99
7.54
1.72
8.71
Sw-02
41.28
8.77
12.77
33.37
9.06
38.34
CPU Score
23766
12856
23039
19841
30173
20457
Tcvis-02
17.31
5.6
15.19
26.13
0.98
39.08
Snx-01
17.29
7.06
16.6
22.21
3.31
35.83
der a heavy load, the battery life may
decrease to one hour. During normal
use the workstation is quiet; under a
heavy load there is considerable fan
noise. Considering this laptop has
four cores and a high power NVIDIA
Quadro, the battery life is decent.
Performance
The 8760w comes with two internal
hard drives. This unit was configured
with two 320GB Seagate hard drives,
but larger drives are available. The
hard drives had an average read of
75.3 MB/s and an average write of
66.6 MB/s. A standard full size hard
drive can achieve speeds of 100 MB/s
and an SSD can achieve speeds of 250
MB/s. The internal drives are acceptable for rendering video, but having
an external full size USB 3.0 or eSATA
drive will help decrease render times
and allow increased storage space.
19
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BEST VIDEO TRAINING
INFORMATION WITH
VIDEOMAKER. It’s all here.
All the basics. Lighting. Editing.
Directing. All the advanced stuff,
too. Storyboarding a Script.
Starting a videography business.
Shooting Video Outside in the
Dark from a Moving Car. You’ll
HP EliteBook 8760w
The Windows Experience Index base
score was 5.9 with the hard drive being
the bottleneck. The graphics card, CPU,
and memory were all around 7.5 which
is comparable to most full size desktops
that we have reviewed. The highest windows experience score is 7.9, making
this workstation close to achieving the
maximum score possible.
The SpecViewPerf11 scores were
the best of the other computers we recently reviewed. Using the MAYA rendering engine, this workstation was
five times faster than previously tested
computers. This is all mainly due to
the new NVIDIA Quadro 5010M that
comes equipped in this workstation.
Without a doubt the 8760w with the
new Quadro will beat most desktops
when it comes to 3D modeling.
The 3DMark Vantage base score
was P12080 and CPU score was
20457 using the performance setting
on version 1.1 of 3DMark Vantage. In
comparison to other HP computers we
have reviewed, the CPU performance
is very similar. The main difference
being the new Quadro 5010M boosted
the overall score by 5000. In other
words, this workstation can handle
gaming too. Want to know for yourself
how this computer ranks? You can
view 3DMark rankings anytime by going to http://3dmark.com.
Should I Buy This?
This computer has it all and the
price tag reflects that. If you can
afford it then buy it, you won’t be
disappointed. If this particular setup
doesn’t meet your budget, subtracting a few of the more expensive
add-ons will make the price more
reasonable. Unless you are doing
3D modeling there is no need to
purchase the NVIDIA Quadro 5010M.
The Mercury Playback Engine in
Premiere Pro 5.5 will boost render
times considerably with the Quadro
5010M, but whether that is worth
the money is a personal choice.
DreamColor is a nice feature to have,
but you don’t need it. What it all
boils down to is HP offers workstations for all budgets.
SUMMARY
HP delivers up yet another fast
mobile workstation with the
EliteBook 8760w.
Lance Olinger is an IT Professional and Web Developer.
find it all here. Get the training.
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21
BY EARL CHESSHER
Video lighting has many options from ultra-portable to
semi-permanent. Knowing what lighting technology to buy
and what light kit is best is key when there’s so many that
can put you in the dark. The Videomaker Lighting Buyer’s
Guide sheds some light on the subject to help get you
started lighting your video world.
T
oday’s videographer faces a multitude of challenges when it comes
to deciding on the best light kit to
acquire. How do you determine which
light kit is best for you? Do you know
the difference between quartz lights,
LED (light-emitting diode) and incandescent, even fluorescent - and what
will each type do for you... or not?
What light kit is best based on
your needs and budget? What lighting conditions and challenges do
you anticipate facing most often?
Do your continuous lighting needs
call for Fresnel lights, a soft box or
other professional lighting kit? What
brands offer a professional lighting kit or models using the lighting technology you most wish to
utilize? Let’s take a look at the host
of options available to you. With the
lighting technology offered today
you’ll find something you can use
that fits your budget.
A Video Lighting Kit
From major name brands to lesserknown manufacturers, even hobby
or do-it-yourself resource centers or
your local hardware store; you have
options for acquiring or designing
video lighting that addresses the lighting conditions you face for any video
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22
production. What you put together
becomes your video lighting kit.
Maybe you want to be portable “have camera and video lighting, will
travel”. Or your production needs
are less run-and-gun, and more
controlled. You might be using a set,
stage or room requiring more diverse,
expansive lighting technology. You
then might want to use Fresnel lights,
a softbox or three other continuous
lighting options. Options, options!
What you put together for your production needs, the video lighting tools
you acquire and accumulate as budget
permits, becomes your video lighting
kit. The video lighting you use doesn’t
have to be branded to be considered
a professional lighting kit. You’re the
professional and your collection of
tools for establishing mood, brightening corners or enhancing the scene
are your kit.
In fact, should you decide to specialize in video lighting for productions and immerse yourself into lighting technology, you could plan to bulk
up on a variety of lighting implements
and become a gaffer, creating the
lighting rigs needed as defined by a
production’s director of photography.
You just built a kit.
If you have added a few on-camera
VI D EO MA K ER >>> FEBRUA RY 20 12
options, assorted filters for changing
temperature, softening or dispersing
light, or acquired lamps and bulbs
for your rig that allow you a variety
of on-camera lighting options - you
have a kit. If you have a ditty bag
with a range of small stands, AC or
DC powered units, sandbags or water
bottles for weighing down stands you have a kit.
Over time the average videographer
acquires a variety of portable lighting devices that can be used on- or
off-camera to accomplish unique
lighting needs. The kit grows because
even with portable lights no one type
serves every purpose.
Boxes, Floods and Spots
Many event productions preclude using your lighting kit. Theater, dance
recitals, even seminar presentations
often restrict the amount of lighting
devices the videographer is allowed.
People from event planners to the DJ
will not be happy that you’ve put up
stands with soft box units, intense
quartz lights or even a few Fresnel
lights from your professional lighting
kit. These interfere with their mood
light or lights-out setups.
Weddings pose a particularly
unique set of challenges with no
23
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hard rules regarding or requiring the
videographer to use auxiliary lighting. Many video professionals prefer
a “less is more” approach to adding
lighting units at a ceremony or reception. But some additional lighting will
nearly always be needed for optimum
imaging for video.
Used properly and with regard to
the subjects lighted, your on-camera
video lighting might be the best light
kit for you. You still have choices
and decisions to make. If this is your
only light and you do mostly weddings, something like an NRG (Neutral
Grounding) unit with a 50-watt lamp
or a brighter lamp with diffusion
filter to disperse the beam might see
universal use.
Cool-Lux and Bescor, as well as
many other brands, offer multiplelamp units that can increase or
decrease the wattage as you fire them
up or turn them off. Many manufacturers provide on-camera units with
dimmers, some with gradual or no
temperature change going from low to
high output.
With a dimmer, you can keep your
lights lower or add more light with
the more powerful settings. Other
options include LED lights that burn
cooler and sometimes brighter, that
can be dimmed and are softer and
less focused. These units, however,
still have trouble being effective from
more than a few feet. Videographers
often place such off-camera lights at
a head table or even a podium, throwing light on the couple or the speaker
when the house lights have been
turned down low.
There are exceptions where softbox lights or stage lights (usually a
three-light kit with stands, heads,
lamps, floods, spots and barndoors)
can be used at receptions and other
events. Softbox kits, as the name
suggests, provide a broad, pleasant,
diffused light source and many lighting conditions call for this application. Even so, more direct continuous lighting may be needed as well,
calling for focused spotlights, quartz
lights or a few Fresnel lights tossed
into the mix.
For all but the most permanent
Throw Some Light on These Things
Names of things that relate with video
production - lighting for example, don’t
always ring true to everyone’s ears.
Some of you know barndoors have
nothing to do with horses even though
mounting might be involved. Umbrellas
aren’t always used to protect gear from
rain, though that’s not a bad idea and
gels aren’t always applied to saddle
sores or blisters.
What are all these things? Some of
the frequently used terms are defined
here. Rest assured, many are used
interchangeably and some differ greatly
depending on where in the world you
are when using the term.
Accessory mounts - Any number of
devices allowing for universal or custom mounting of lighting units, heads
or accessories. Accessory mounts
often include holes or thumb screws
for mounting umbrellas and mounts
that allow attaching barndoors or
scrims, etc.
Barndoors - flaps or panels mounted
on a light head that can shift, shape or
clip the throw or shape of the light with
a hard edge.
Boom - often used along with a light
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stand or C-stand to extend a lighting head horizontally from the vertical
aspect.
Flag - device used to throw shadows
or patterns over a set or subject. Often
used interchangeably (not always correctly) with scrim or gobo.
Fill light – a secondary light, placed
opposite of the key light to soften harsh
shadows.
Flood - as opposed to a spotlight, the
light thrown is broader and less focused,
softening the effects.
Gels - film or tough, flexible material
used to cover lenses or windows, etc. to
change the color or temperature of lighting, or otherwise alter the light’s effect
on the scene.
Gobo - Essentially a stencil with a cutout
pattern for creating shadows and shapes
from light. Also, see flag or scrim as,
incorrectly or not, these terms are often
used interchangeably.
Hair light - often used to generate a
ridge or halo along the subject’s hair.
Also used to separate the subject from
the background.
Key light - primary light on a subject.
Reflector - any white, silver, gold or
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24
sometimes other colored device
used to bounce, redirect or otherwise
generate a softer light from another,
brighter light source. Often used to
warm the light on a subject as with a
gold foil reflector.
Scrim - Material used in front of lighting devices to cut down on the brilliance of the light without generating a
pattern. As opposed, to a gobo or flag.
Softbox - a kit that uses material to
diffuse the light source, throwing a
broad, wide, gentle and unfocused
light.
Spot - a light that is intense, reaches
farther and is hotter and brighter than a
flood light. The spotlight can be focused
on a specific element to be lighted.
Stand - though tripods can be used
to mount lights in emergencies, light
stands are light stands and used as
such.
Umbrella - like the one used for rain
protection, but in this case attached to
the light stand in a manner that allows
reflective use of the light, rather than
direct light throw. Bounces light, generating a softer light source similar to
a reflector.
installations using light bars, trusses
and racks or stands, speed and efficiency are the determining factor
along with the basic lighting requirements of the production. For the
run-and-gun event video producer a
single, on-camera unit may be all that
is ever needed.
For studio and location kits, you’ll
want more diversity and a wide selection so you can pick the light kit that’s
best for your needs and to also offset
surprises. Again, budget and compromise will always play a role in establishing your professional light kit.
the output of bare-bulb lamps. Fresnel
lights are designed to offer focus
control. Halogen lamps are hot but
often provide a less expensive option
DOMKE_ISLAND_HDVIDPRO_OL.ai
1
to lighting large areas. Video lighting
with HMI (hydrargyrum medium-arc
iodide) lights using an arc lamp rather
than a bulb with filament offer great
diversity in lighting options but can be
quite expensive. Cooler operating fluorescent bulbs reflect lighting technol8/22/11
11:28 PM
ogy that has pretty much removed the
greenish cast that used to be so problematic with video lighting. These are
Bulbs, Lamps and Heads
The most confusing element of video
lighting selection perhaps is the actual element that creates the lighting
conditions you want. Those bulbs,
lamps and heads that can remain
cool to the touch or scorch your
reflectors offer a broad range of options based on intended use, safety,
efficiency and more.
What is a light source? The easy
answer is anything that generates or
emits light. The sun, moon, stars or a
mirror’s reflection. A fireplace, campfire, candle or jar of lightning bugs.
All these and more have generated
desired lighting conditions in productions. Industrial work lights, flashlights and recently even cellphones
and computer screens, even candles
and matches, have lit famous production scenes.
Before even considering the choices
available in the Lighting Buyer’s
Guide, there are sources that can be
used to augment your professional
lighting kit. When natural or other
sources can’t go it alone there are the
many types of bulbs and lamps to
consider.
You will find video lighting kits utilizing 1,800-watts or more to provide
lighting for large spaces. These are
often filament-type bulbs or lamps.
There are a variety of bare bulb lamps
and devices created to house them
offering more or less control over the
source. Many manufacturers engineer
methods for focusing or controlling
C
M
Y
CM
MY
CY
CMY
K
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25
Lowel
www.lowel.com
Airstar
www.airstar-light.com
•
Akces Media
www.alzovideo.com
•
•
Altman
www.altmanltg.com
•
•
Anton/Bauer
www.antonbauer.com
•
•
•
•
Bardwell & McAlister Lighting Inc.
www.bmlighting.com
•
•
Barger-Baglite
www.barger-baglite.com
•
Bescor Video Accessories
www.bescor.com
•
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•
••
DEDOTEC
DEDOTEC USA
USA
www.dedolight.com
www.dedolight.com
••
De
De Sisti
Sisti Lighting
Lighting
www.desisti.it
www.desisti.it
Eos
Eos Lighting
Lighting
www.eoslightingllc.com
www.eoslightingllc.com
••
•
FJORDLAND
FJORDLAND Entertainment
Entertainment
www.vidled.com
www.vidled.com
••
Frezzi
Frezzi Energy
Energy Systems
Systems
www.frezzi.com
www.frezzi.com
•
Gekko
Gekko Technology
Technology Ltd
Ltd
www.gekkotechnology.com
www.gekkotechnology.com
Hyundai
Hyundai Fomex
Fomex Co.,
Co., Ltd
Ltd
www.fomex.com
www.fomex.com
Britek
www.lincostore.com
•
•
•
•
•
••
••
••
••
Lowel
www.lowel.com
•
•
•
•
•
•
•
Mega Systems
www.megasystemsinc.com
•
Savage Universal Corporation
http://savagepaper.com
SIMA Products Corporation
www.simacorp.com
Nocturnal Lights Inc.
www.nocturnallights.com
•
Smith-Victor Corporation
www.smithvictor.com
••
••
•
RPS Lighting
www.rpsstudiolighting.com
Sachtler
www.sachtler.com/en
•
SeaChanger
www.seachangeronline.com
•
•
•
•
•
•
•
Norman
www.normanlights.com
•
SWIT ELECTRONICS USA
www.swit.us
•
Novatron
www.novatron.com
•
Swittronix
www.switronix.com
•
PAG
www.pagusa.com
•
Paterson Photographic
www.patersonphotographic.com
•
Videssence
www.videssence.com
Photoflex
www.photoflex.com
•
Zylight
www.zylight.com
Photogenic Professional Lighting
www.photogenicpro.com
•
•
Tokina Company
www.tokina.com.hk
•
•
•
•
and budget needs. But first, determine
the lighting conditions you expect
to address based on your current or
primary video production focus.
If you’re just starting out and want
something very portable that you’ll
attach to your camcorder so you can
run-and-gun, compare those units
first, then look beyond your immediate needs or desires and build your kit.
If you’re into controlled video production projects, conducting interviews, producing documentaries or
other close work, take a look at soft
box kits or a professional lighting kit
that offers basic three-point lighting
and perhaps a set of barn doors and
one unit head offering a choice of
flood-to-spotlight adjustment.
If you’re setting up a studio or
developing a professional lighting kit
that’s reasonably portable but capable
of providing stage or studio production lighting, go for the multiple-light
kits that include stands and a carrying
case to protect your video lighting kit
and keep it all in one place.
Most people in the independent
Halogen
Arc
Fluorescent
Photon Beard
www.photonbeard.com
•
•
LED
•
LUMOS
www.lumos.co.kr/eng
•
•
•
Rotolight
www.rotolight.com
•
•
Filament
Manufacturer
Halogen
Arc
Fluorescent
LED
Filament
•
•
JTL Lighting Co.
www.jtl-lighting.com
•
K5600
K5600 Lighting,
Lighting, Inc.
Inc.
••
Chimera
•
sometimes utilized in softbox
www.k5600.com
www.k5600.com
www.chimeralighting.com
lighting equipment and even
Kino
Kino Flo
Flo
••
Cinemills Corporation
•
•
•
in open industrial style ceilwww.kinoflo.com
www.kinoflo.com
www.cinemills.com
ing fixtures. LED lights work
well as fill when working up
LEDZ
LEDZ
••
Cool Lights USA
•
•
•
•
close, but often don’t have
www.led-z.com
www.led-z.com
www.coolvideolights.com
the throw needed for distance
or universal lighting. They
are wonderful in allowing adjustment
arc lamp device can be utilized in a
lamps and elements or the heads that
from their brightest setting to a very
variety of production environments.
house them, a variety of devices can
low setting without changing color
Many can be altered to provide a
be utilized to deflect, focus, reflect or
temperature or throwing off white bal- different use from their designed
bounce any light source.
ance settings. While Litepanels might
purpose, much like applying gel filters
be considered somewhat of a pioneer
over windows with streaming sunlight
Which Light Kit is Best for You?
in LED lighting, professional lighting
to change the color temperature but
Figuring out the best light kit for you
kit manufacturer Lowel and many oth- utilize the source. Some lights are
obviously requires some study. Read
ers have similar offerings in a variety
designed to provide focused spotlight
the accompanying Lighting Buyer’s
of designs.
or floodlight applications, adjustGuide chart and compare informaAny light source, lamp, bulb or
able to the need at hand. Beyond the
tion to narrow down your type, style
26
Litepanels
www.litepanels.com
•
Nila
www.nila.tv
••
••
•
••
••
ikan
ikan Corporation
Corporation
www.ikancorp.com
www.ikancorp.com
LITEGEAR
www.litegear.com
Mole-Richardson Company
www.mole.com
••
••
Photographic Research Organization
www.promaster.com
••
••
IDX
IDX
www.idx.tv
www.idx.tv
•
LTM
www.ltmlighting.com
••
••
Manufacturer
Halogen
Arc
Fluorescent
••
••
Leviton
www.nsicorp.com
••
•
•
•
••
Electronic
Electronic Theatre
Theatre Controls
Controls
www.etcconnect.com
www.etcconnect.com
•
•
••
•
F.J.
F.J. Westcott
Westcott
www.fjwestcott.com
www.fjwestcott.com
Brightline
www.brightlines.com
LED
Filament
Manufacturer
DADCO
DADCO
www.dadcopowerandlights.com
www.dadcopowerandlights.com
Flolight
Flolight
www.flolight.com
www.flolight.com
Bowens International
www.bowensusa.com
contents
•
•
•
•
•
ARRI
www.arri.com
Bron Imaging Group
www.bronimaging.com
Halogen
CowboyStudio
CowboyStudio
www.cowboystudio.com
www.cowboystudio.com
•
Amphibico
www.amphibico.com
Kino Flo
www.kinoflo.com
Arc
Fluorescent
LED
Filament
Manufacturer
AAdyn Technology
www.aadyntechnology.com
professional video production community want
and need portability to a
greater or lesser degree.
Others focus on developing productions for broadcast, cable or webcast. You
may be somewhere in the
middle, fixing up a room
where you produce special
interest videos for commercial purposes.
Video is Light
Your investment in video
lighting reflects on your
creativity and spotlights
your videos.
Smith-Victor, NRG, Kino
Flo, Lowel, Litepanels,
Cool-Lux, Bescor and oth•
ers offer a wide range of
video lighting options with
pricing for virtually every
budget and professional
standard. Shop around,
check out eBay and do a
•
Google search for video
lighting kits, but do be
careful purchasing video
•
lighting with unfamiliar
brand names or from offthe-wall locations. Check
references and inquire
on Videomaker forums
if anyone has used these units or
sources. There’s a world of dangers
in some of these, from blown bulbs
to blown circuits, and at any time you
may have a client who could be hurt
by an exploding light, as well as your
reputation, well, as they say, buyer
beware.
Contributing editor Earl Chessher is a veteran career
journalist, independent video producer and author of
video marketing and production books.
contents
27
full screen
print
Picking the Right
W
or birthday party or on important business trips? Do you
often travel with your camcorder or rarely? These are some
of the questions you will need to ask yourself before you
purchase a camcorder case or bag. After all, your camcorder is your baby, your toy, your pride and joy. You want
to protect it so it will last you a very long time.
BY TERESA ECHAZABAL
W
buyer’s guide
full screen
print
28
a matter of choice. Do you use your camcorder for
work or for play? Do you use it for the occasional wedding
Camcorder Case
or Bag
contents
hen it comes to buying a camcorder case or bag it’s
hether you are shooting in the
high desert with 100-plus heat,
or the minus degrees of the Arctic,
you need to protect your camcorder.
You want to choose a camcorder case
or camera bag that not only fits your
budget, but fits your gear, as well. If
you are a professional video creator
you will likely use your camcorder every day. If you also plan to carry extra
media storage for those long shoots,
you’ll want to have gear bags that
have plenty of spare room to fit your
camera and more, such as tapes, DVD
discs, media cards, and for those extra
batteries, filters, FireWire cables, etc.
Professional camcorder bags are
a must for pros on the go. The Pearstone Digital Video Camcorder Bag is a
bag for you if you are in the semi-pro
videographer category and are in the
market for a camcorder bag that will fit
professional camcorders up to 15-inches long. It is a top-loading, padded,
Cordura nylon bag with a large, zippered front pouch for accessories, four
flexible dividers, dual carrying straps
with grip, and a removable adjustable
shoulder strap for $187. The camRade CB HD Large might be another
choice for you. It is a large heavy-duty
camcorder bag, it fits professional
camcorders 29.5-inches is padded with
a 1000D Cordura exterior, reinforced
plastic sides, various exterior and interior pockets, has two carry straps and a
removable shoulder strap.
If you often travel by plane or on
bumpy wilderness roads, you may want
the extra-added protection that a hard
shell case can provide. For even more protection, the Case Logic MSEC-4 Compact
Camcorder Case will fit most compact
camcorders. It securely fits your camera
while you’re on the go. It is made of a
hard shell nylon material, protects against
bumps and scratches, and it has a tilt-out
padded camera cradle and a retractable
handle system to ensure portability.
If you use your camcorder mostly on
weekends or if you just want a good,
solid place in which to store your camcorder when not in use, a good quality, thick-padded bag might be all you
need. The Case Logic DCB-305 Camcorder Kit Bag is a polyester and nylon
case designed to protect most digital
camcorders. The case has a flexible interior divider that separates accessories
from the camcorder and side zippered
pockets that can store batteries, cables,
small accessories and an internal zippered pocket that stores memory cards.
A grab handle and a detachable and
adjustable shoulder strap allow for easy
carrying. Quality materials and logical
organization ensure the camcorder fits
safely inside, yet is instantly accessible.
A flexible interior divider separates accessories from the camcorder.
What about the Environment?
contents
full screen
As a professional filmmaker, you
will most likely be on the go with
print
29
Picking the Right Camcorder Case or Bag
Bag and Case Manufacturer Listing
Airbak Technologies, LLC
Everest Trading Corporation
Olympic Case
Tamrac, Inc.
Alfa Case Co.
F64 Camera Bags
Pelican Products, Inc.
Targus Group International, Inc.
Ameripack Inc.
Hybrid Cases
Petrol Bags
TENBA Gear
Anvil Cases
JVC Americas Corp.
Photographic Research Organization
Thermodyne
Built NY
Manfrotto Bags Ltd.
Plasticase Inc.
Think Tank Photo, LLC.
your camera a good deal of the time. You need
to consider the environment of the locations
where you will be using your camcorder.
If you will be shooting outdoors, a waterproof
or water-resistant camcorder case is an absolute
must. The CTC-100B/SR travel camera case for a
JVC GY-HM100U camcorder is a bag to consider. It
has thick interior foam padding, a main compartment with cradle, a removable, padded pouch
and a weather-resistant rain cover. Suede leathercovered handgrips and a removable shoulder strap
have been added to ensure portability.
Calumet Photographic
Kiesel Bags
Platt Luggage Inc.
Tiffen
Soft or Hard Shell?
www.alfacase.com
www.ameripack.com
www.anvilcase.com
www.builtny.com
www.calumetphoto.com
everestbag.com
www.f64camerabag.com
www.olycase.com
www.pelican.com
www.hybridcases.com
www.petrolbags.com
www.jvc.com
www.promaster.com
www.kata-bags.com
www.plasticase.com
www.kieselbags.com
www.plattcases.com
Calzone Case Co.
Kodak
Portabrace
Campbell Cameras
Lightware Inc.
Porter Case
www.calzonecase.com
www.campbellcameras.com
Canon
www.usa.canon.com
Case Design Corp.
www.casedesigncorp.com
Case Logic
www.caselogic.com
CineBags Inc.
www.cinebags.com
Clik Elite
www.clikelite.com
Crumpler
www.kodak.com
www.portabrace.com
www.lightwareinc.com
www.portercase.com
Lowepro USA
RedDog Design Ltd
www.lowepro.com
www.reddogbags.com
M-ROCK
Sahara Bags International, LLC.
www.naneubags.com
www.m-rock.com
Sakar, Inc.
Magna Case
www.sakar.com
www.magnacase.com
Savage Universal Corporation
Melmat, Inc.
http://savagepaper.com
www.melmat.com
Seahorse
Mountainsmith
www.seahorse.net
www.mountainsmith.com
The Sentry Case Company
www.crumpler.com
Nalpak, Inc.
CW Case Company
Nelson Case Corp.
Skooba Design
www.nelsoncasecorp.com
www.skoobadesign.com
Norazza, Inc.
STRUT, Inc.
Ogio International
Sumdex, Inc.
www.caseworld.tv
Digital Juice
www.digitaljuice.com
Eclipse Solar Gear
Innovus Designs, Inc.
www.eclipsesolargear.com
www.thesentrycase.com
www.nalpak.com
www.apecase.com
www.strutcases.com
www.ogio.com
http://sumdex.com
www.tamrac.com
www.targus.com
www.tenba.com
www.thermodyne.com
www.thinktankphoto.com
www.tiffen.com
Timbuk2
www.timbuk2.com
Tough Traveler Ltd.
www.toughtraveler.com
VANGUARD USA, Inc.
www.vanguardworld.com
VariZoom
If you are planning to travel by plane very often, it is important that you purchase a camcorder case that adheres
to your airline’s carry-on luggage regulations. Before
purchasing a camcorder case, you should check with your
preferred airline regarding what their carry-on size and
weight limitations are, because all airlines are different.
Think twice about checking in your camcorder case or bag
with the rest of your luggage. Even the best gear bag can’t
contents
full screen
print
VERSA-FLEX, Inc.
www.versa-flex.com
VidPro Corporation
www.vidprousa.com
Mobility redefined
Vituri
www.vituri.com
Voltaic Systems
www.voltaicsystems.com
World Richman Manufacturing
Corporation.
www.worldrichman.com
Zeikos, Inc.
zeikos.com
Zero Halliburton Inc.
www.zerohalliburton.com
protect your camcorder from the tumbling and tossing that it
can take in flight. Add to that the risk of your camcorder case
getting lost, and you have a pretty good argument for carrying
your equipment bag onboard. If you must check in your camcorder along with the rest of your luggage, then be sure you
buy the best camcorder case that will fit your budget and you
should seriously consider a hard shell case. Your camcorder
and your wallet will thank you for it.
contents
The
The DSLR
DSLR Video
Video Fastpack
Fastpack AW
AW isis designed
designed for
for multimedia
multimedia shooters
shooters who
who need
need to
to
move
move quickly
quickly with
with their
their gear.
gear. Includes:
Includes: dedicated
dedicated spaces
spaces for
for DSLR,
DSLR, lenses,
lenses, audio
audio
™
™
equipment,
equipment, laptop
laptop and
and tripod,
tripod, plus
plus aa built-in
built-in All
All Weather
Weather AW
AW Cover
Cover..
DSLR
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VideoFastpack
FastpackAW
AWseries
seriesavailable
availableininthree
threesizes.
sizes.
30
Petrol Bags
www.petrolbags.com
www.varizoom.com
Compiled by Jackson Wong
Air Travel Restrictions
Because all good quality camcorder bags and
cases are constructed to give your camcorder
superior protection, the choice between a soft or
hard case is really a matter of preference. Many
video creators prefer a hard shell case to a bag.
These add extra protection you don’t get with a
soft bag, although most good quality camcorder
bags do provide optimal protection. Today’s manufacturers make soft bags that provide the same
©
© 2012
2012 DayMen
DayMen Canada
Canada Acquisition
Acquisition ULC
ULC
www.airbak.com
Lowepro USA
www.lowepro.com
lowepro.com
lowepro.com
full screen
print
1500
1500
Picking the Right Camcorder Case or Bag
if not more protection than hard cases. But if you
like the look and feel of a hard camcorder case,
you may want to take a look at the Magna Case
SFT002 camcorder case. It has plenty of room
for storage making it suitable for taking your gear
on the road. The case loads from the top and
the flap is easily tucked aside for convenience. It
has a rigid frame, and is lightweight enough for
travel as a carry-on to protect your camcorder
from the rigors of baggage handlers. The Magna
Case SFT002 also comes equipped with an LED
carabiner and interior flashlights for low light
conditions. The Magna Case TL001 dedicated
brand camcorder case is specifically designed
for the Canon XL2 and XL H1 cameras but can
accommodate other cameras of similar sizes as
well. It has plenty of room for additional accessories. These cases are made of lightweight and very
durable aluminum. There is also room to store
additional battery packs, Mini DV cassettes, lenses
and other accessories. This case is comparable to
the Canon HC-3200 Pro Systems style cases.
For that Extra Stuff
In addition to housing your camcorder, your
camcorder case or bag should have some room
for that “extra stuff” you’ll need. Depending on
the type of camera you own, you will need media
storage, such as tapes, flash memory, hard drives,
SD cards and discs; as well as ancillary accessories
like lights, mics, and cables and you will need a
place to put them inside your bag. Most camcorder
cases and bags come equipped with partitions and
Tiffen
www.tiffen.com
contents
pockets. However, some have a lot more extra pockets for your accessories and can still provide your
camcorder with optimal protection.
The Kata One Man Band-77 has numerous additional pockets that let you organize and quickly
access your accessories. A large top and front panel
will hold your rain cover, tools and cell phone. Two
side pockets will hold additional flat accessories.
A see-through mesh pocket in the lid keeps your
cables and other accessories organized. The main
internal compartment is designed to be customized using the provided dividers and detachable
pouches. It will fit your external mic, mini light and
large external battery, and even up to a 17-inch
laptop and small monitor. A large video tripod can
be attached to the outside of the bag.
For digital video camcorders up to 16-inches,
the Tamrac 979 Pro Camcorder Bag has plenty of
places to store your accessories. It has a Cordura
nylon shoulder strap and comes equipped with a
mesh pocket for those items you need to grab at
a glance, while sporting a plastic platform in the
bottom for added protection.
The Portabrace CS-DV Mini DV camera cases
are designed for quick access to Mini DV camcorders and accessories. The CR Universal adjustable
cradle securely holds the camcorder. The cradle
fastens to the bottom of the case and holds the
camcorder firmly. Each case includes an HB-10
shoulder strap and a removable pouch. The pouch
is placed inside the main compartment and designed to hold extra batteries and tapes.
Protection is Number One
In the end, all that matters is that your camcorder case or camera bag keeps your camcorder
and other equipment safe and sound. That's the
job of the camcorder case. Having many pockets and compartments for accessories is not
as paramount as keeping your camcorder well
protected. Some camera bag manufacturers make
separate bags just for accessories. You may want
to go that route but keep in mind that then you
will have two bags to carry, one for your camera
and the other for accessories. But then, that’s often a good thing, so you can run-n-gun with just
your camera and one bag when you need to, or
set up a full location shoot for those other times.
It’s all in the bag.
Teresa Echazabal is a freelance video editor, writer, and producer.
full screen
Pelican Products
www.pelican.com
print
32
For comments, email: [email protected], use article
#15329 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15329
Kata Vitec LTD.
www.kata-bags.com
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lens required
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ON
• Intro to DVD Authoring
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• Documentary Production: Equipment and Crew - NEW
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Documentary storytelling is found across a diverse
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ocumentary has shown to be a malleable
genre, with many sub-genres to boot: travelogues, first person POVs, fly-on-the wall and biographies (among others) are all present online.
Online documentaries are briefer, to-the-point
and often involve fewer crew members than
feature-length or theatrical documentaries. They
can also include interactive or social media elements that enhance the overall story. Lucky for
us, there are many places to watch documentaries online. And while websites like YouTube still
dominate online video viewership, Web-enabled
TVs and portable devices are rising in popularity. Viewing these new online stories can help
us style our documentary accordingly, as well
as show us what other opportunities might be
waiting on the horizon. Understanding the online
medium allows us to confidently begin making
our rich online stories. As of this writing, roughly
80-percent of Americans with Internet access
watch online video. Now, there’s an audience!
Keep reading to find out where to watch, and
how to make better online documentaries!
BY ANDREW BURKE
contents
Watching Documentaries On line
To get a feel for what the online documentary
landscape is like, some homework is in order.
But don’t worry, this kind of homework is free.
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37
contents
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like John ‘Kung Fu’ Wang.
However, YouTube doesn’t
currently curate its own
documentary channel or
grouping. PBS has a number of micro-docs online, in
the form of its POV Series.
Check out City of Cranes
in its online documentary
listing. http://video.pbs.org/
video/1218548309.
Openfilm.com is a niche
haven for micro-docs,
including an independent
Hulu is just one place to find online docs, and its series called Australia
Inside Out: www.openfilm.
content is often high in production value.
com/channels/AustraliaInside-Out/ These Web documentaries
Online documentaries fall into two
really personify the kind of stories
basic categories: Feature length, and
that are being told on line: from local
short-form or micro-docs. Feature
biographies to travelogues coverlength online documentaries are theing thousands of miles. Vice Media,
atrical feature films that have been
originally called, VBS.tv, hosts a
ported to the web, while micro-docs
are made with the online audience in series of made-for-the-web-microdocs. Its Toxic series launched with,
mind. As of this writing, the average
Toxic: Garbage Patch Island www.vice.
online video is around five minutes
com/toxic/toxic-garbage-island-1-of-3.
in length, according to comScore’s
Later, Vice Media stitched together its
US Online Video Rankings report.
award-winning micro-doc series into
We’ll want to watch some great
a long-format doc, one that fit into the
documentaries before jumping in
film festival circuit. More niche online
ourselves. There are several online
documentaries can be found at The
video destinations where documenCreators Project. www.thecreatorsprotaries abound. Hulu.com has a hefty
ject.com/studio Here, artists, engineers
selection of free documentaries at
and musicians share their crafts in the
all times. And though their lineup
form of the short documentary.
changes frequently, you’re likely to
find a broad mix of award-winning
Making Your Micro-Doc
documentary icons such as The Thin
While length might be the most obviBlue Line (1988) and Super Size Me
ous difference between micro-docs
(2004). These are feature-length docs
that have found new life online. While and their longer-running brethren,
many similarities remain. Seasoned
Hulu doesn’t have as big of an audiVideomaker readers know what
ence as YouTube does, Hulu’s viewers
every documentary needs to have:
do tend to watch longer videos. So
the Three Legs of the Stool concept.
Hulu has shown to be a good home
The three legs of the stool are Story,
for longer documentaries. A few adCharacter and Access. The story
vantages of watching documentaries
needs to be compelling — a classic
on Hulu.com are social networking
love story, a plot twist or a neverand Hulu’s custom documentary recommendations. YouTube has attracted before-seen event. The character or
characters must also be enticing to
many online documentary-makers
your viewers (hopefully you’ll have
to create their own channels, like
several characters to choose from!).
Wholphin DVD which has uploaded a
And don’t forget your access to the
number of great short documentaries
38
story; this could take the form of limited access such as a tall fence in the
way of your camera lens, or it could
take the form of a friend-of-a-friend
knowing just the right person to help
you get your documentary started. A
successful documentary has all three
legs; a micro-doc also has all three,
just shorter. We like to think of this
abbreviated time limit as a creative
challenge. Making a micro-doc may
not allow you to pursue complex stories that unfold over months or years,
such as family biographies. If your
documentary requires voice-over
narration, the writer may overcome
the same creative limitations by
picking just the right words to use.
The number of characters you can
realistically fit into a short story may
be compromised, so it’s up to you the video producer- to carve the best
story using limited tools.
Smaller scale projects like microdocs allow a video producer to pursue
more subjects, and can help refine
his or her process faster. Micro-docs
should be manageable. This leaves
time to for the video producer to start
enacting a distribution plan. Using
Twitter can help tell a story and give
thanks to those who help out along
the way. Check Twitter for online
communities based on the same subject matter as your micro-doc. By including good local musicians, you can
build strong community support and
it’s usually more cost effective then
hiring a film composer. When a documentary is about ready to be shared
with the world, take care in preparing
a full description of your documentary. Your added text helps others find
your documentary more easily.
Many websites present
documentaries on a
wide variety of topics
that are quite inspiring
for anyone.
your documentary. Posting your video
to Openfilm.com could mean a spot in
their VOD lineup. Your public YouTube channel is accessible on Google’s
Smart TV. With a good percentage of
new TVs now shipping with Internet
functionality, your micro-doc can take
shape on a range of screens.
While online documentary isn’t
constrained by our web browser, some
documentary producers continue to
push the limits of the medium. Take
for example Michael Simons and Paul
Shoebridge’s Pine Point, the 2011
NETART Webby Award Winner. interactive.nfb.ca/#/pinepoint. This interactive story re-defines what an online
documentary can be, by overlapping
several storytelling elements together.
Micro-docs, photo flip-books, audio
narration and handwritten notes
form a rich documentary story about
a small mining town. The Pine Point
documentary is, well, different. But its
Webby award shows that it is worthy
of The Oscar of the Internet.
Online documentary is a seemingly perfect blend of the imagination
of a storyteller, with the technology
of the Internet. The two just seem to
be made for each other, like ‘peanut
butter and jelly’, or ‘peas and carrots’.
The Web. The documentary. The Story.
There are so many stories to watch
and be watched, and so many viewers,
eager to be transported into your next
online documentary. With your help,
the micro-doc will be around for a
long while to come.
Andrew Burke works as an online media strategist and
video producer.
Extra Opportunities
The online medium opens all sorts of
doors for creative storytellers. Microdocs are popping up on Web-enabled
TVs, iPad Apps, Netflix Streaming, and
Video On Demand (through your cable
provider). Phew! Not only are these upand-coming ways to watch documentaries — they are potential outlets for
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Workshops
Get Real Experience
Behind the Camera
when you Attend a Videomaker Workshop
CLASS SIZES ARE SMALL
SO SEATING IS LIMITED.
It’s one of the oldest tricks in the
video arsenal, yet it’s still one of
the most useful and effective.
It’s also an effect that takes a lot
of attention to pull off flawlessly.
We’re talking about the selective
subtraction of a color or color range
from an image, which can then be
replaced with a new image. This is
the green screen effect.
REGISTER TODAY!
The Basics of Video Production Learn video production from the ground up,
getting to know the equipment like the back of your hand. Get hands-on experience in the field; from
planning and shooting to lighting, audio and editing using equipment the pros use.
February 24-26, 2012 • May 4-6, 2012 • October 12-14, 2012, December 7-9, 2012
Intensive Lighting Master the nuances of lighting. Get hands-on experience with lighting for
interviews, green screen, product shots, outdoor exteriors and more for professional level videos. Classes
are small, so you set up the lights yourself!
May 4-6, 2012
Advanced Shooting Go beyond the basic point-and-shoot, developing sophisticated
techniques with hands-on experience using a wide variety of professional level equipment including dollies,
boom arms, car mounts and helmet mounts.
October 12-14, 2012
Intensive Editing Good editing can turn lackluster footage into riveting video. We provide
laptops and Adobe professional editing software to students with a good grasp of the editing basics & help
them hone their speed and skills to a fine point!
February 24-26, 2012, December 7-9, 2012
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TO REGISTER OR GET MORE INFORMATION
go to www.videomaker.com/workshops
or Call 800-284-3226
TO $40
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UP EA
Cancellations: Cancellations must be received in writing (faxes acceptable) to Videomaker Customer Service. Notification must be received at least 21 calendar days prior to the workshop start date to receive a full
refund (less $20 registration charge). A substitute workshop date may be requested in lieu of a refund. For cancellations received between 21 and 7 calendar days prior to the workshop start date, a 50% refund applies. No cancellations, refunds or substitution dates will be given after 7 calendar days prior to the workshop start date. Videomaker, Inc. reserves the right to cancel a workshop up to 1 month prior to the workshop
start date. Mail cancellation/refund requests to: Videomaker Customer Service (Workshop), P.O. Box 4591, Chico, CA 95927-4591. Fax: 530-891-8443, Attn Customer Service.
Green
Screen
Backgrounds
To be more accurate, it’s called a chromakey,
though green screen is used so often it’s used
rather synonymously. Red and blue work just as
well under certain circumstances, but are usually
avoided for reasons we’ll get into in a moment.
You can also use luminance to create this key
effect, where anything over (or under) a specific
brightness will be taken out. Technically this
works slightly differently though, so the powers
that be have given it a different name, luminance
key. Nevertheless the premise is the same, and
that’s really what we’re concerned with.
Green for the Green
Let’s give a brief overview of how to use a
green screen. A solid color is placed as a back-
ground and lit as evenly as possible. Your foreground subject is then placed in front of this
backdrop. The rules are simple: the subject
must not contain any of the background color
(green), must not be hit by any green light, and
must never cross the edges of the green screen
backdrop. Anything that is to be rendered “invisible” must be colored and lit as close to the
background as possible.
Once shooting is done, the image is taken into
the edit system or green screen software, where
the background color is targeted and removed,
leaving a transparent area in its place. This transparency can then be substituted with whatever
is desired, real or imaginary. That’s the basics. It
sounds easy but there’s actually a good deal of
BY PETER ZUNITCH
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41
Green Screen Backgrounds
both art and science behind it. For the
rest of our time together we’re going
to concentrate specifically on green
screen materials, but extensive details
on all things green screen can be
found at www.videomaker.com/learn
Too Green or not too Green?
Only primary colors are used for keying, because they do not contain elements of any other color. If you tried
to key on purple for example, anything
blue and green would be subject to
removal. Green is the color most often
used when dealing with people because it is not very prominent in anyone’s skin. Blue can be substituted on
those occasions when there is green
in the subject that cannot be replaced,
(like a plant). Likewise red can be used
when green and blue cannot. Red is
not a very popular key color though,
predominantly because it is a prominent skin pigment.
There are actually specific shades
of green, blue and red that have been
determined to be optimal for the
process. Manufacturers of chromakey
products have zeroed in on these colors and created a variety of products
to help you produce the best effects
possible (though again, red is all but
nonexistent these days). Green screen
materials can consist of paint, cloth,
paper or cardboard, and more, each
with its own benefits and quirks. It is
also common for people on a limited
budget to make their own green screen
backgrounds out BLUE CAN BE SUBSTITUTED ON
of consumerready material.
THOSE OCCASIONS WHEN THERE
Let’s take a look
IS GREEN IN THE SUBJECT THAT
at what chromakey materials CANNOT BE REPLACED.
are out there and
contrast them
are washable, but permanent staining
with some popular homemade counis always a risk.
terparts. This video tutorial can help
In general use, it can be hard to preyou with a DIY set: www.videomaker.
com/watch/tutorials/552/how-to-build- vent shifting and stretching, so it’s not
the best choice if you’re going to be
a-green-screen/
skateboarding through your key. Large
fabric setups can be heavy and difFabricating your Green Screen
ficult to transport. It’s also one of the
Probably the go-to system when
most expensive selections, especially
one thinks of a chromakey effect,
when you factor in the rigging equipfabric backdrops are a great balance
ment you’ll require to hang it.
of durability, quality and versatility.
The obvious improvised solution is
Green screen cloth is easily stretched
to nip out to your local fabric store.
across an adjustable frame and can be
You can use anything from a green
positioned or carried as needed. The
sheet or blanket to a nice custom cut
right fabric offers the perfect balance
swath of cotton muslin. The more
of reflection without glare, which will
you pay for your fabric, the happier
minimize lighting headaches big time.
you’ll be with the results, and you
Fabric is more durable than other
can attach some stitched loops or
options, and ages well. It can be sized
and shaped simply by folding, and can grommets for hanging your green
screen fabric. There will come a point
be draped over objects for concealhowever, when your time and effort
ment. It is, however, prone to wrinwill equal the cost of the profeskles, whose dark lines can be a big
sional system. It will also be harder
headache. Professional green screen
to create larger home-brewed screens
fabric is often comprised of a thick
without seams.
cotton or cotton/muslin blend on a
foam backing (think neoprene or felt).
Painting the Scene
It is more resistant to creases than a
A long-term solution, for those with
generic fabric, and great care is taken
a fixed space is to paint the key color
to dye the fabric evenly. Most fabrics
Television weathercasters
generally don’t wear green,
the process of chromakey
will make an entire color
transparent.
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42
SubScriber
Alert!
Paint is one option for
your green screen. While
paint is very durable, it
is more difficult to light.
onto a background. The cost per
foot is comparatively very low, and
with the possible exception of a roll
of paper you’ll probably be able to
cover the largest area for the least
amount of cost. This savings will only
increase with time, as it can be one
of the longest-lasting methods. You’ll
also be able to make any shape a
keyable surface in no time. Furniture,
boxes, etc. can all be painted and
used on set. Like paper, green screen
paint tends to get dusty and marked
up easy, but the paint is made to
withstand limited cleaning. In any
case, if a little scrubbing doesn’t help,
you can simply lay down a new coat
over the spotted areas. You’ll also
never have to worry about wrinkles.
Paint really comes into its element
when one is making virtual sets for
green screen. It’s one of the only
practical ways to “apply” the key color to objects. Other methods obscure
objects by placing green in front of
them. Thus, the painted objects are
perfect for interaction. With paint
you’ll have hard surfaces. If you need
to roll or ride over it, or hang something on it, you’ll have no problem.
Paint however is permanent, and
has arguably the longest setup time.
It’s also more prone to hot spots
than fabric and can be harder to light
evenly. Extensive planning is needed
if you want to design a system that
will satisfy every time.
We know, in this area you do-ityourselfers are set, right? Match the
swatch at the local paint store to the
professional color key paint and save
some money. After all, paint is paint,
right? Be aware though that you may
find yourself laying down multiple
coats to get the same vibrancy as,
specialized green screen paint from a
company like Rosco. You also might
notice a difference in reflectivity
when lighting. That is unless you
spring for a more expensive brand
of consumer paint. Again though, at
what point do you just give up and
spring for the real deal?
Paper Sets
One of the few systems that can act
as both a cover and an application
is paper. It can be wrapped around objects (like a boom pole), making them
keyable without ruining the actual
object. It is easily shaped and piecemealed into any arrangement. You
can likewise buy huge 10-foot wide
rolls of it and hang it in your studio, to
set up at your leisure. Consider it an
expendable though, because its lifespan is likely to be the shortest of any
method here. Paper tears easily and
is extremely vulnerable to dusty feet
and dirty hands. It has the dubious
distinction of being low maintenance
(when you have a dirty sheet, you rip
it off and roll out a clean area) and yet
hard to keep over time. The edges of
the roll can get frayed and bruised if
your rolling is not perfect, and it can
become dry and brittle as it ages. Paper is also easily discolored. A simple
wet spot can cause enough contrast to
ruin a clean effect.
Paper excels as a keying element
for unusual setups. Back in my college days, we made a video short for
animation class where a 4-inch high
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subALERT.indd 1
9/19/2011 8:24:27 AM
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Green Screen Backgrounds
A portable screen is a
viable option for many,
and if reversed into a
bluescreen, provides even
more versatility.
some keyable paper around.
Miniatures are another great place
to use an ad-hoc paper solution. Any
crafts store will have multiple options
for creating a miniature keyable light
box. The problem with DIY paper actually lies in finding larger sizes with
the exact properties you desire. In the
end, don’t be surprised if you end up
piecing a bunch of poster board-sized
paper together to fill larger areas.
Imagining various uses for
green screen is easy. Keying
out different objects, maybe
even yourself, can allow you
a lot of creativity.
Green on the Go
robot was animated through stop
motion and made to interact with a
bunch of “thugs”. At one point the
robot shoots a laser at one of them.
As the thug falls, the others scatter
and you can see their feet and legs
through a huge hole in his chest. This
was accomplished by taking a roughly
round piece of green paper, attaching
it to his chest and making the shirt
around it look burned. We then shot
him in front of a matte, lying on a
floor of green. This was later combined with the footage of the other
actors on location scattering in all directions. To enhance the effect we had
someone run in front of him on the
green screen as well, adding a third
layer of depth to the final composite.
Paper can also be very helpful
in places where you need to make
corrections to your background (like
when you need to cover those wires
your audio guy just ran across the set).
Most people however will find that
paper is best used as a portable background for small frame sizes. It’s easy
to tack a piece of cardboard behind a
talking head for an interview. Needless
to say, no matter which solution you
regularly use, with this much versatility you might want to consider keeping
Perhaps one of the best choices for
those on the go is a Flexfill key solution. These are basically wire loops
with key color fabric stretched over
them. They pop open in an instant,
can stretch tight over the wire loop,
and easily twist up to travel size when
done. The frame means they are easily
supported with just a couple of clamps,
and their light weight means they can
be placed in locations where being
delicate is a factor. As an added benefit,
some have green on one side and blue
(or a reflector) on the other. The tradeoff for all this however is that they are
limited in scope. They cannot be made
larger, and are not easily integrated into
What’s With Those Spots?
If you’ve ever watched a making of video involving
big budget green screen effects, you’ve probably
noticed the green screen has a pattern of marks
on it, or the subject has a suit on with little white
spheres attached. These are for advanced forms
of keying that involve motion tracking and digital
replacement. Simply put, the marks are used to line
up the movement of the green screen camera with
the movement of whatever will be replacing the
green.
If the camera moves in to the subject, the marks
on the background will grow larger. If the camera
turns, the marks will distort respectively. A computer will be able to read the movement the marks
go through and extrapolate how the camera was
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44
moving at any given moment. This can then be used
to control another camera that will later shoot the
background, or feed into a 3D program to control the
virtual camera there.
The spheres are used in a similar manner, only in
this instance they are reference points for tracking
the motion of the subject. A sphere on the end of the
nose for example will show the computer which way
an actor is looking at any given moment. This data
can again be used in a 3D program to make a creature
look the same way. Later the actor can be removed,
and replaced by the creature, which will now move the
same way the actor did. Combine these two together
and you have limitless movement options for flawlessly combining what really is and isn’t there.
other systems. For quick use, portability and convenience though, these are
a great solution.
Key Accessories
A great deal of accessories exist to
help enhance your virtual sets and
aid in keying. Green gaffer’s tape (or
its hardware store equivalent, e.g.
FrogTape) is an obvious one, as is
the above-mentioned paper. You can
even find full body suits if you need
an invisible performer or stage hand.
Green screen lighting kits are available as well. These usually consist of
everything you need for a chromakey
could rival a professional system.
Your first job is to find a fabric with
the properties you desire, something
rather light, slightly stretchy and
more matte than reflective. You’ll also
want something that can resist folds
and creases. If you can’t find one in
the exact shade of green that you
want, get white instead and color it
with dye or diluted paint. Testing will
allow you to find a good mixture that
will both coat evenly and let the fabric remain malleable. From there you
can again attach grommets or sew in
loops on the edges to feed poles and
ropes through. An expanding paint-
A great deal of accessories exist
to help enhance your virtual sets
and aid in keying.
effect along with two or more soft
boxes that can evenly distribute light
onto your actors and backdrop.
Your own Key
So far we’ve only discussed cheap
solutions that can replace their professional counterparts. We know there
are some of you out there that are
rather resourceful though, and could
take things a step further. Let’s theorize how to make a green screen that
er’s pole on the top makes a great
crossbar that can be hung from the
ceiling, or clamped to two light stands
(remember those sandbags).
Professional chromakey tools are
made to be efficient, easy to transport
and use, and optimized for quality.
These features will come at a premium
though. Alternatively, you can certainly produce your own backgrounds
and systems with materials found
in the consumer market. The areas
where you’ll notice the most difference
are longevity and practicality, and there
quickly comes a point where it’s just
worth making the leap to the pro kits.
If you’re going to key often, consider
using a professional system. These
effects have been around since the
dawn of color video, and the tools have
been refined to the point that features
will be included that you never knew
you wanted, but will find most helpful.
Fabrics, for example, will be seamless,
washable and have mounting points
or Velcro. Paints will be washable, and
durable. Rigging systems will have access points for clamps. Portable screens
will have green on one side, and blue
or reflecting material on the other.
Everything will be quality controlled
so the color is even and will stand the
test of time in a production environment. You’ll more than make up for
the cost by reducing your production
setup, and post tweaking times. If on
the other hand you only want to use
the effect once or twice, and budget
doesn’t allow for such an allocation of
resources, then know that you can go
for the cheap green screen effect and
get away with it.
There are some middle grounds of
course. Some of the professional systems are cheaper than others. Likewise
if you really work at it you’ll be able
to come up with a homemade system
that will last for quite a while. Clearly
there’s a place for both. In the end
don’t be afraid to establish your green
screen production methods using
home-brewed systems. When you’re
ready to get serious though, a quality
rig will also serve to re-enforce to your
clients that you mean business, and
have the right tools for the right job.
Peter Zunitch is a post-production manager and editor
working on every system from 16mm film to Avid Symphony, utilizing many of today’s advanced manipulation
and compositing tools.
45
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BASIC TRAINING
BASIC TRAINING
february 2012
b y Ky l e Ca ssi d y
Storyboard Examples
the picture, so there was not a lot of time wasted
talking an item to death. We also didn’t have to
waste time worrying about things like shoes, for
instance, because we knew he wasn’t going to
show them in the shot.”
Other directors, such as the award-winning
filmmaker and documentarian Werner Herzog,
find storyboards constraining and an impediment to the free flow of creativity – Herzog
is quoted as saying “storyboards remain the
instruments of cowards who do not trust in
their own imagination and who are slaves of a
matrix...”
Whatever your ultimate opinion of their
usefulness, they are part of the cinematic
vocabulary.
From commercial storyboard examples to storyboard camera angles,
there’s a plethora of illustrative information with great storyboard tips to
help you with your masterpiece.
Getting your story’s vision from your
brain to the table is hard, so let’s look
at what storyboarding is, along with
some useful movie storyboard examples and tricks from the pros.
Psycho.
Narrative Only
Narrative only storyboards are perfect for people
who can’t draw, don’t have the money to hire a
storyboard artist, or who aren’t risking a whole
lot in having people stand around their set for
a few minutes while they figure out where they
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Not all storyboards are meticulously drawn
cartoon frames worthy of publication, some
are a lot less involved and others can be much
the entire movie, or sometimes just
difficult scenes in a movie, including camera angles and the motion
of actors through the sets. Lots of
storyboard excerpts have made their
way onto the Internet; Google can
help you track down many of them.
Spectacularly popular movies, such
as Star Wars or Kurosawa’s war
epic Ran, may have their storyboards published as books. Many
other movies will show some of the
storyboards in the special features
section of the DVD – often with sideby-side comparisons of the original
storyboards and the final film. Lots
of storyboarding tips and storyboard
examples can be seen on line on
websites like YouTube. There’s also
a plethora of writing about storyboarding in this history of Hollywood. One very famous champion of
the storyboard is Alfred Hitchcock.
Rita Riggs, the costume designer
for Psycho, discusses the director’s
affectation for extensive storyboarding in Stephen Rebello’s book, Alfred
Hitchcock and the Making of Psycho,
saying:
“The real difference working with
Hitchcock and his circle was that you
had an entire, cohesive picture laid
out before you on storyboards. He
truly used storyboards to convey his
ideas and desires to all his different
craftsmen. You knew every angle in
The progression of action in a scene can be described by key events in a narrative storyboard. This provides a general template for shot distance,
perspective, and any major actions that need to occur. Other common elements include sound effects, dialogue, and camera or character motion.
46
V IDEOMAKER >>> F Eb RuARy 2012
Page 1
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You knew everY angle in the picture, so there was not a lot of
time wasted talking an item to
death. — rita riggs, costume designer,
Types of Storyboards
What is Storyboarding, and Why is
it Useful?
On big video productions there may
be as many as a hundred people on
set at once, which means that every
second a director spends stroking his
chin and wondering about where the
camera ought to be placed he’s paying a hundred people to stand around
and watch him. This is something
that motivates a film’s backers to
make sure that there are no moments
during shooting when everybody
who’s getting paid to work isn’t working. One of the ways that directors,
producers, art designers, and directors of photography make sure that
everything is worked out before the
cast and crew actually get to the set,
and to minimize standing-around
time, is to use storyboards.
Storyboards are typically a sort
of comic book style illustration of
more involved. Today we’ll look at a few common varieties.
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VI D EO MA K ER >>> fEbRu A Ry 20 12
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47
basic training
us. It’s not uncommon that the director, the
videographer and the talent live far enough
apart that physical meetings aren’t practical and
who come together on a weekend to bang out
a final product. You might not need a great deal
of detail. You might just send out a narrative
storyboard like this:
• Medium Shot, Janet reaches in her purse for
her keys.
• Closeup of door knob from slightly above
doorknob height and to the right, the door is
already slightly ajar!
• Closeup of Janet looking worried from low
angle.
• Closeup of Janet’s hand pushing open the
door.
• Medium shot, over Janet’s shoulder as she
looks into the room.
• Medium shot, reverse, Janet looking through
the open door, she enters.
Basic Panels
Basic Panels are a step-up from narrative only
storyboards, as well as a brief description,
they’ll have a very basic drawing, this can help
camera operators and lighting designers know
in advance exactly what the director is looking
for. These can be in the “slightly above stickfigure” range.
Scene Cards
Scene cards are like basic panels, but more
elaborate – the drawing usually takes up one
entire side of the card with a description written
on the back.
If you’re looking on eBay for scene cards,
you’ll find something completely different. In
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Kickstarter is a website dedicated to fostering creativity and is one avenue where
storyboards may be a deciding factor of whether your project gets funded or not.
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basic training
February 2012
the early days of cinema, a “scene card” usually
referred to a still from a completed film with a
description or caption on the back or underneath
– a lot like the collectible bubble-gum trading
cards popular in the 60s, 70s, and 80s. Collectors’
scene cards became superfluous when it became
easy to own an actual copy of the movie, this
seems a little sad.
february 2012
FrameForge Previz
Studio is on the
higher end of storyboarding software
and provides freedom
for camera placement, movement, and
focal length.
These can be in The ‘slighTly
above sTick-figure’ range.
Animatic Storyboard
To make an animatic storyboard you can scan
sketches, use photographs you’ve taken, or
even tear images out of magazines, put them
into your favorite video editing software and
add narration or music. The idea of an animatic
storyboard is often just to get the idea or feel of
your project across.
Many of us tend to think of ourselves as
not the sort who will ever have the need or the
opportunity to approach financial backers and
because of this don’t think too deeply about
things like storyboards. One great example of
a successful use of storyboarding was Christopher Salmon’s animatic storyboard for an adaptation of Neil Gaiman’s short story The Price.
Salmon drew still images from an animation he
wanted to produce and uploaded it to kickstarter.com – a crowd source funding website.
Enchanted by his narration and still images,
more than 2000 backers around the world invested almost $162,000 in his venture, spurred
along by the author who also got involved after
seeing the storyboards. You can read about it
on his website, www.theprice-movie.com.
3D Pre-visualization
If you’re trying to prize millions out of potential backers or explain a complicated escape
sequence involving Bruce Willis, 40 explosions,
and a hedge maze, you may want to create a
3D walkthrough of your scene or movie before you start working on it. Using storyboard
software like FrameForge’s Previz Studio 3
(www.frameforge3d.com) you can show virtual
camera angles and scaled sets to your backers
before they plunk down their cash. The 3D will
allow you to see the relationships between your
actors, your scenery and your camera. This can
be an enormous help if you want to see how
adding additional lights to a scene
may change the shadows or light
characters moving from one place to
another.
Storyboarding Software
There’s lots of storyboard software,
along the gamut from freeware to
relatively expensive software that
can help you put your story together
– freeware like Atomic Learning’s
StoryBoard Pro to 6sys’s Springboard
Storyboard which retails for about
$40, to PowerProduction Software’s
StoryBoard Quick which starts at
$300 and finally to powerful tools
like FrameForge’s Previz Studio
who’s full featured software ranges
between $400 and $900 and will
allow you to add things like multiple
light sources and even output in 3D.
But remember, video production isn’t
about equipment as much as it is
good stories — Hitchcock did it on
index cards.
Conclusion
While it may seem at first glance
that only big Hollywood productions
can benefit from storyboarding, it’s
often true that much smaller projects can run much more smoothly
from pre-planning camera placement and framing. Frequently, in
a world connected by the Internet;
directors, camera operators and
talent separated by long physical
distances can still work together.
The more planning you do ahead
of time, the easier things will be in
the very limited amount of time you
may have together.
Today’s directors and creatives
may think that they have no interaction with producers, in the traditional sense of the word, but crowd
sourcing has given everyone with an
Internet connection the opportunity
to raise money to make a video. The
better prepared you are going in, the
more money you’re likely to raise –
this was true of Orson Welles, and it’s
true now.
For more information, there are
a number of books about making
storyboards, which you can find in
bookstores or online. There are also
a number of collections of storyboard art such as The Unseen Art of
Hollywood: A Retrospective of Film
Storyboards compiled by storyboard
artist Trever Goring who has storyboarded films such as The Cell, The
Italian Job, and The Lion, The Witch,
and the Wardrobe.
Next time you find yourself planning for a large, complex production,
consider adding storyboards to see
if they can improve your workflow.
And when you’re flipping through the
special features section of the next
DVD you rent, be sure to check to see
if there are examples. These are wonderful training tools that can save you
the cost of a film school class!
Contributing editor Kyle Cassidy is a visual artist who
writes extensively about technology.
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49
Editing
Editing
market place
february 2012
tHe
Music Video Editing
editing
Editing music videos isn’t too
hard... all you need is a band, a
camera or two, some editing software and a lot of patience! Music
video editing is all about the pacing
and the genre, and is the one place
where you get creative and crazy!
Many great directors today got their
start doing music video editing. Director Spike Jonze,Where the Wild Things
Are, was a well know music video
maker, creating various Beastie Boys
music videos long before he started
directing feature films. With the rise
of viewership of music videos when
MTV began in 1981 and the somewhat ease of digital video editing, it
seems nearly all bands have at least
one member with a few music video
editing techniques up their sleeve.
Let’s look at what it takes to become a
better music video producer.
Music Video Editing Software
Let’s start with the gear—aren’t musicians gear heads, too? Well, so are
video editing dorks like us. The good
news is that you don’t necessarily
need the best music video editing
software money can buy. In fact, most
digital video editing software will do
the trick for beginners. However, as
you climb the ladder into more difficult productions, you’ll probably want
to look for more advanced tools. Let’s
take a closer look at the free video
editing software first.
Windows Live Movie Maker
The latest version of Windows Live
Movie Maker is free for the Windows
users out there. It has plenty of features to do basic music video editing.
The truth is, music video makers don’t
need much to make the most of music
video editing software. The reason is
that the core principle of music video
editing technique is cutting to the beat
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Using a picture-in-picture effect (PiP) gives your audience multiple points of view, and you can
highlight more band members or other details.
50
of the music. It’s all about pacing and
to do that all you really need is a program like Windows Live Movie Maker
that can make simple cuts. If you’re
on a Mac, you can do the same music
video editing techniques with Apple
iMovie. Any version of iMovie will do,
although make sure your version is
compatible with HD video if you have
an older Mac computer and will be
cutting your production in HD video.
Advanced Video Editing Software
Some of you may want to jump ahead
of the class with more advanced
music video editing software. Digital
video editing software for the PC like
Adobe Premiere Elements 10 ($100),
Sony Vegas Movie Studio HD Platinum 11 ($95), and Pinnacle Studio HD
Ultimate Collection ($130) are noteworthy upgrades from the previously
mentioned freeware. On the Mac, you
can go straight to the big-boy digital
video editing software, Final Cut Pro
X ($300). All of these options give you
a lot more bang for your buck: more
video controls, more video effects,
more audio controls, more audio effects, etc. These additional features
may also include more options of
the type of video and audio you can
import into your project and many
more choices as to what types of files
you’ll export. Actually, you don’t need
most of this stuff unless you’re going
to be cutting a lot of music videos,
but two features to keep in the back
of your mind as you learn are multicamera editing and timeline markers.
Multi-camera editing is perfect for the
editor who wants to edit live music
events with multiple points of view
(cameras). This feature will save you a
bundle of time if this is the nature of
your work. Look for the more expensive options, Adobe Premiere Pro
CS5.5 ($800), Final Cut Pro X ($300),
and Sony Vegas Pro 11 ($600). Lastly,
keep an eye out for timeline markers.
As we mentioned previously, one of
the more important music video editing techniques is editing on the beat
of the music. Timeline markers help
you visualize where those beats occur
and streamline this technique greatly.
We’ll revisit this topic in more depth
later into this story.
Working with Musicians
Artists are a finicky bunch, am I right?
Luckily, we’ve got some simple tips
for working with these visionaries.
Get to know their music, first. Not just
the music video you’re editing, but
also songs from the entire album. It
will help you better define their style
and may help guide your work when
you’re a bit lost. Ask questions about
their own musical decisions. Why is
this song in a major or minor key?
What would you say the mood is?
Why did you open the song in this
way? A deeper understanding of the
song is always good. Be a good listener, the director or band leader will
have a vision for the video itself and
you have to carry the vision to the
viewers’ eyes. If you have any doubts,
discretions, or creative input, it’s a
good idea to frame it as: “If I were the
viewer this is how I’d imagine seeing it...” This helps put your creative
input in the context of the end users,
which at worst will help the visionaries realize that you’re acting in their
best interest.
Shooting the Music Video
What? I thought I was only editing
this production. No, it’s crucial you’re
around for the shoot if you can make
it. This is especially true of the low
budget variety as you’ll probably be
needed (hey, you can pick up a gig as
an extra). But more than that, a lot
of creative decisions and discussion
happen on set and you don’t want
to be out of the loop of the music
video’s direction. You may also need
to be present for any special effects
planning on the shooting days.
If you’re doing a multi-cam production make sure your shooters
sync up. A simple clapboard will
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Editing multi-audio tracks
requires some finessing. Set
your view to show the waveforms, and line up both tracks
by the spikes of audio.
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51
editing
february 2012
The playhead keeps going and you can press the
same key again to place another marker, and so
on. You can also select the audio track with the
mouse so the audio is highlighted, then hit the M
key to place the markers on the audio file itself.
Try doing this to the beat of the music.
If you mess up, remove the marker and move
the playhead back and try again. It doesn’t have
to be deadly accurate at this point. Once you’ve
done the whole song, you’ll have a great visual
cue of where all the potential cut points will be
for the beat of the music. Caution: don’t move
your audio file on the timeline if the markers
are set to the timeline’s timecode and not to the
audio file or you’ll lose their place in relation to
the song. Another great way to help visualize the
audio characteristics of your song is to turn on
the waveform view for audio files. Note that not
all digital video editing software has this feature.
Markers on the audio file can
signify key moments or events in
a video. In many editing programs,
you simply press the M key while
the video is playing to get markers
- then tweak them to fit.
work. Have all the cameras roll footage pointing at the same clapboard. Snap the clapper
down with the audio of all the cameras’ ideally
capable of recording the “snap.” If you can’t
capture the actual audio, you’ll have to sync
up based on the visual clap as best as possible
(it won’t be easy, but it’s doable). Multi-camera
shoots should continue to roll constantly from
that point forward, without turning off the
cameras. Some cameras have running timecode
settings which would mean that you could
omit this procedure, but that feature is usually
reserved for the best of the best cameras. When
in doubt, just keep rolling.
Music Video Editing
In the editing studio, import your footage, pour
yourself your favorite caffeinated beverage and
get ready. Music video editing techniques pay
off with a lot of caffeine - so my experience has
proven. If you’ve been diligent this isn’t the first
time you’ve heard the song. In fact you could
have the audio track already imported in your
project even before the shots are in the can.
Maybe have a read-out copy of the song lyrics,
especially if editing for a rather raucous band
whose lyrics might not easily be understood.
Now, with the music track and some intermediate-level music video editing software, you
can begin to lay down timeline markers. For
example, in Final Cut Pro, you can press play on
the timeline video and press the M key to place
a timeline marker at that exact moment in time.
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52
Cutting to the Pace of Music
So you have a ton of markers on your timeline
now. Just cut to them and save, right? Wait, no.
Use the timeline markers as a guide, not a rule.
You’ll find points in the song where it feels right
to cut to the pace of the music, and then you can
use the markers. Then, you’ll find parts, perhaps
a bridge where the mood of the song changes,
where you’ll want to change the pacing on the
music. You’re the editor, you decide the pacing.
Just make sure it matches the mood and changes
when you want to add emphasis to certain areas
of the song. “Cutting to the pace” doesn’t refer to
just the sound of the music, but also the visual.
One thing to consider is the closeup shots. If you
have a close up shot of the drummer banging his
head to the beat of the music, a close up of the
guitar strumming, make sure they match the beat
and the music, or it’s a poor edit.
Effects Like Distortion Pedals
Inevitably, the lead guitarist is going to ask for a
star wipe or an explosion of some sort. Be prepared to try one of our tips to work through that
creative challenge. Effects in music videos are
not a bad way to separate your production from
the pack, but they should always add meaning to
the production and ideally not be a distraction in
and of itself. Most importantly, they can’t be the
only music video editing technique you rely on.
Nonetheless, we’ve got a few old standbys that
are powerful yet subtle.
Try good ol’ black and white video and push
up the contrast level for a nitty-gritty style.
editing
Rap, Punk and any genre with a healthy dose
of angst will work nicely here. Slow motion
is always a tasteful addition to a music video
when used in the right moment. If there’s a
moment of great symbolism in your video,
consider slo-mo effects to greater emphasize
the moment. Emotional peaks in the song
also lend to slo-mo video. This technique
works well in ballads and slower-paced songs,
but they can also work just fine in quicker
numbers. For live music events, consider doing a few window-in-window (also called PiP,
or picture-in-picture) effects. This effect has
become more popular. There are lots of variations, where you can have multiple frames up
at the same time: a stream of the drummer,
the bassist, the lead guitar and the lead singer
all in their own frames. Also try something
simple like editing a PiP with the lead singer
and a shot of the crowd. This is great way to
give the video a unique value by showing different POVs (point of view) at once.
february 2012
Shine On, You Crazy Diamond
Our last and perhaps best piece of advice is to go
out and do it. Friends and musicians can use the
help to make their vision become a reality. And
while you’re enjoying some downtime, watch
music videos, as many as you can. The average
length of a music video is three minutes, so you
could watch ten in the time you watch an episode of TV and you’ll enjoy 10 unique visions.
With time, patience, exposure to new ideas and a
refinement of your own creative thoughts, you’ll
be quickly on your way to Hollywood or MTV.
Want more tips? Videomaker just finished a
premium series on making music videos. Check
it out.
Contributing columnist Mark Montgomery is a web content specialist and
produces instructional videos for a leading web application developer.
You're Ready to Make a Documentary.
Now All You Need is the Money...
Unfortunately, that's the stage where too many would-be
documentarians falter. Because this isn't why they got into
filmmaking! Finding funding for a documentary is no fun it's tedious and confusing and who knows where to start?
After all, you're a filmmaker, not an accountant!
Don't panic! Fundraising doesn't need to be a chore;
Videomaker's Documentary Funding DVD will break
Videomaker
it down for you, so you'll know exactly where to go,
what to say, and how to get the funds you need to
realize your vision.
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53
LIGHTING
Lighting
LIGHTING
FEBRUARY 2012
b y M i k e F i t ze r
Let There be Light… for Less
Why use a light other than the sun
or your house lights? Proper lighting will give depth and clarity to
your subjects, and soften objects
you don’t want in the scene.
With the image-capturing power of
today’s cameras, available light that
comes from that bright ball in the
sky, or an interior office lamp to help
separate your subject from the background should be enough, right?
Truth be told, you don’t need to
light every occasion. Today’s cameras
are indeed more powerful than ever.
They can capture better images with
less light and these cameras continue
to improve. However, when you’re
working for that all-important client
or if you’re putting everything you
have into telling that thought-provoking story, put your best foot forward
and shed some light on the subject.
In this article we will cover why
lighting is so aesthetically important,
which types of fluorescent lighting
you can pick up without breaking
the bank, and how to make those
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Better
70 - 80 CRI
Best
80 - 100 CRI
Choosing a Light That Will Work for You
When choosing a bulb, a major consideration is
color temperature. If you do a lot of shooting inside
office buildings you want to make sure to have
lights that complement standard office fluorescents
which typically have a midline Kelvin temperature
of around 4800 degrees. If your camera is balanced
for daylight or for tungsten, 4800 degrees Kelvin
will give off a greenish cast. So, look for bulbs that
hover close to this fluorescent temperature and
then rely on your auto white balance setting in your
camera to find a happy medium.
discount lighting solutions work in
various situations.
When to Light and Why
Common sense usually dictates when
to light and when not to light. Capturing footage of your kid’s baseball
game or birthday party are situations,
which don’t typically lend themselves
to a bulky lighting setup. In fact, lighting a situation like one of those would
probably be far more trouble than it’s
worth. However, if you’re working to
create a mood
or attempting
to give a scene
the professional
touch, you can’t
ignore the value
that good lighting
brings. Sometimes, it might
seem like more
trouble than making do with natural light, but it's
much nicer than
down-grading
family memories.
Good lighting
The best lighting will create a mood and focus viewer's attention to
not only has the
details that you want seen, and can hide details you might not want to
power to create
reveal just yet.
54
Fair
50 - 70 CRI
now on the shelf, you’re not just limited to the
old Edison 100-watt tungsten bulb you grew up
with, or the long tube fluorescents found in a
typical school or office building. Plus, CFLs draw
significantly less power than standard filament
bulbs. This makes it easier for you to change the
light or match the light in a variety of locations
using energy efficient materials found in your
local hardware store.
a mood, it can also work to focus the
viewer’s attention, or simply give the
scene you’re shooting extra depth and
dimension. In short, a good lighting set-up should be considered as
another character in the scene. If done
well, it is one that helps propel the
scene forward without drawing attention away from the central character.
Fast, Easy, and Cheap
Click through any number of film and
video equipment supplier websites,
and you will quickly realize that this
is an expensive business. Lighting for
professional film and video applications can range anywhere from just a
couple hundred dollars, to well into
the thousands for a single fixture, not
to mention the bulb itself (also known
as a “lamp”.) Depending on your situation, though, you can find just the
right lighting rig to give your video
that professional look, without relying
on one of those expensive options.
Remember… cheap light is still light.
Check out your local hardware store
and you’ll discover a wide variety of
bulbs and fixtures that you can use
to light your way through almost any
situation. Plus, with the wide range
of compact fluorescent lights (CFL)
The Color Rendering Index (CRI) is a measure of how accurately a
light will maintain its color temperature.
When purchasing a consumer-grade bulb
also check the packaging to find the light’s
Kelvin rating and its color accuracy or its Color
Rendering Index (CRI). The CRI, on a scale of 1
to 100, tells you how close the bulb will match
the degrees in Kelvin stated on the packag-
Too many beginners think that
a documentary is easier to
make than a fiction film.
Don't make the common
mistake of thinking you
can point a camera at the
street and by pure luck
the next "King of Kong"
or "Thin Blue Line" will
unfold right before your
eyes. The truth is that
great documentaries
don't just happen; they're
meticulously crafted.
Find your story and your
documentary will fall into
place; Videomaker’s
Documentary Storytelling DVD will help.
@johnoconnell: @SynthEyesHQ you're saving a lot
of asses on a new HBO series. We like your program.
@LinusHofmann: @SynthEyesHQ Loving the
new tutorials, really great work!
@duberstudio: I love SynthEyes. The most affordable,
high-end, tracking software on the market. Anyone
should have a license!
@BeetleCarDriver: Syntheyes 2011 has very impressive
texture extraction tool. Just pulled out virtually noise
free texture. This is going to be very useful.
@lesterbanks: just tracked a shot in syntheyes 2011
in 2 seconds where two other apps weren't able
to get even close to a solve yesterday - Russ rocks!
Learn more at:
videomaker.com/story
#140reasons to try...
SynthEyes Tracking
@SynthEyesHQ
Doc-Storytelling_DVD_square.indd 1
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55
Lighting
February 2012
Call Toll Free: 1-800-793-2237
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• 30 Day Money Back Guarantee*
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ing. Make sure you stick with lights rated at
80 or higher and your bulb should be able to
closely match whatever lighting situation you
walk into. These are important considerations
if you’re looking at discount lighting since the
fluorescents typically found in the retail stores
aren’t designed to work with the spectral sensitivity of digital video.
Another thing to consider when purchasing fluorescent lighting fixtures and bulbs from
retailers rather than specialty suppliers or making your own fixtures is that fluorescents don’t
dim like Edison bulbs. Therefore, controlling
the throw of your light when using fluorescents
is tricky unless you have the right ballast made
specifically for this function. If you want to
affect the intensity of your light, simply try moving it closer or further away from your subject
or incorporating diffusion such as a piece of silk
or maybe a cotton bed sheet between the source
and the subject. Trying this simple workaround
will give you a good deal of latitude.
What to Buy?
So you’ve done the homework on your bulbs
but you still need to make them glow. You could
Building Your Own Fluorescent System
If you’re looking for a bit of a challenge and want to build your own
fluorescent system, it’s a lot easier than you might think. In fact
the manufacturer of the fixture has done most of the hard work for
you. Just go to any hardware retailer and pick up a two or four light
fluorescent fixtures along with the appropriate bulbs. Next, you will
want to consult with someone in the electrical department on how
to install an electrical cord so you can plug your fixture into the wall.
Since fluorescents use a ballast, they have a lot of electricity running through them when powered. Therefore, if not wired correctly,
you could seriously injure yourself, so please, ask a professional.
Another thing to consider is that most consumer-grade low
frequency ballasts can and will cause a light to flicker. This isn’t
normally visible to the naked eye, but it can be an issue with high
shutter speeds. Incorporating a high frequency ballast in your
design of a fluorescent lighting system will help to eliminate this
problem.
To continue, take the box that the fixture came in or any other
appropriately sized cardboard and cut it into barn doors and attach
them to the fixture using gaffer’s tape. Spray paint the inside of the
barn doors and the fixture silver to help reflect light and use heavygauge wire taped at the top and bottom of the barn doors to give
them stability and flexibility. You can also attach a ¾-inch T-joint to
the back of the fixture using heavy-gauge wire which will allow you
to use a traditional light stand or something you make at home.
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56
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A parabolic reflector with a CFL should be easy to
obtain and give you a good fill light.
build an elaborate DIY solution, or you could
easily find some ready-made lighting options
at the local hardware store. One example is a
parabolic clamp light. You’ve seen them hanging
around in art studios, garages and all places in
between. Most are around 8-12" in diameter and
they project a nice amount of reflective light. You
can typically use up to a 150-watt bulb and plug
into any wall outlet, all for around $25. Due to
their sheer intensity, these lamps aren’t a good
choice for directional lighting. However, if you
want to bounce one directly into the ceiling of a
room to bring up the overall brightness, this type
of reflector is an excellent tool to have in your kit
and at a price that is easy to manage.
There are a variety of other ready-made options on the market, from halogen work lamps
that usually come with their own stand to folding, LED portable lights that, in some cases, last a
lifetime. No matter what you use, just make sure
that if you’re going to employ certain video lighting techniques using discount lighting, have your
bases covered. Know your desired color temperature and how the lights you use will work
within your given environment. Be open to using
CFLs that draw low amounts of power and allow
you to expand your range, and just as important,
be creative with the tools in your box. Now let
there be light - for less!
Mike Fitzer is an Emmy award-winning commercial and documentary
writer/producer.
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PROFIT MAKING
PROFIT MAKING
February 2012
ABE’s Of Maine |__________________ 57
b y Ma r k J e n se n
Adorama |_________________________ 5
Finding Film and Video Insurance
Adorama |________________________ C4
Don’t put your livelihood and
Andersson Technologies LLC |______ 47
creativity at risk. Film and video
Andersson Technologies LLC |______ 55
insurance is a must for most video
Azden Corp. |_____________________ 13
Michael Moore was met with a case of liability for using home video in the documentary
"Sicko." The long legal battle was settled with undisclosed terms.
and your product.
The use of insurance to hedge against
risk is commonplace in our society,
yet many video production artists and
technicians are risk-prone, never having heard of, let alone used, industryspecific insurance like film insurance
or Media Liability Insurance. If these
terms are new to you or only vaguely
familiar, chances are that you and
your video production business may
be under-insured.
Categories of Risk
You may first ask yourself — why?
Whether you’re a hobbyist, sole proprietor or own a full-blown video production company, why would you want to
incur additional expense by looking for
industry-specific insurance in the first
place? The simple answer: To ensure
your creative future in video production from two basic categories of risk.
• Risk of Loss/Damage: Odds are that
you already have, or plan to invest,
many thousands of dollars into your
video production equipment. Protecting your investment against loss or
contents
print
The value of your equipment may hinge on a
small piece of glass and protecting it isn't
always possible, but insuring your equipment
sure is.
58
damage is the most basic of all reasons
to evaluate your insurance needs.
• Risk of Liability: Beyond the basic
protection of your video production
equipment is protection from the notso-basic risk of liability. Liability isn’t
about protecting your equipment from
loss or damage. It’s about protecting
you and your long-term ability to do
what you love — video production.
Just as the implications of liability are
much broader than those of simple
property loss or damage, the cost to
limit your liability is equally broad (i.e.
more expensive).
Risk in the real World
• Property Loss: Examples abound of
videographers losing equipment from
accidents or theft. Several upgrades
into my own video production career,
my first HD camcorder along with
some RØDE sound equipment were
stolen from my vehicle in broad daylight. Thankfully, the equipment was
insured. To this day I still have and use
the pro-level camera I upgraded to,
thanks to a down payment made possible by the insurance claim.
Another example is from wellknown film and video DP, Philip
Bloom, who reportedly lost his new
Panasonic Lumix “beloved GH2." on a
shoot in Sydney. A freak gust of wind
lifted the camera, with 3D lens, timer
and tripod, four feet into the air and
over a wall into the water of Sydney
Harbour. This brief moment likely cost
several thousand dollars. Needless to
say, property insurance against loss
or damage is always worth the rather
minimal cost of coverage — more on
that later.
• Liability: On the other side of the
risk spectrum are examples of loss
due to liability. A report of a wedding
videographer being sued by his clients
for a “bad wedding video” recently
made national news. The couple
was awarded nearly $1,000 from
the videographer who produced the
unacceptable video. (For the record,
I’ve seen the video. Let’s just say, it’s
not good.) All parties suffered loss in
this case. The couple lost what should
have been a keepsake video of their
wedding. The videographer lost the
money he would have made, his time
and most importantly, his reputation
as a video professional.
High profile and high dollar insurance claims go hand-in-hand with
cases of liability. In another recent
case, famed director Michael Moore
was sued for using 71 seconds of
home video in his documentary film
Sicko, allegedly violating copyright
and privacy rights. After a long and
expensive legal battle, the two sides
settled, for undisclosed terms.
In a final example of liability,
a southern California production
company was successfully sued for a
video production gone awry. The film
and exercise were to be used as training for soldiers serving in Iraq and
Afghanistan. During the production,
the plaintiff suffered injuries from a
staged interrogation using actors as
interrogators and weapons loaded
with blanks. The production company
and the actor were ordered to pay the
plaintiff $91,000.
These examples of loss and liability in video and film production have
one thing in common. Insurance was
either used, or could have been used
to replace, make restitution or defend
the legal rights of parties in each of
these varied situations.
First Line of Defense
• Homeowner's Insurance: The first
line of defense against risk in terms of
insuring your video production equipment is also the weakest. Homeowner
policies, the least expensive and most
common types of insurance, can add
a limited degree of risk management
to your video production pursuits. The
key word here, however, is “limited”very limited. In fact, if you consider
your video production a for-profit
business, the most ample homeowner’s
insurance policy, will have “business
exclusions” that will leave you out in
the cold during the heated investigation of an insurance claim. Insurance
companies can and do rightfully deny
claims of loss and liability in cases
where basic homeowner’s protection
tries to extend its coverage into the
realm of for-profit business.
Second Line of Defense
• Commercial General Insurance: CGI,
also known as a Business Owner
Policy, is a close runner-up to Homeowner’s Insurance in terms of coverage
and cost. However, Business Owner’s
Insurance is broader in scope; coverage
for both property and liability are extended into the film and video production workplace. Coverage limits can be
tailored to cover all of your production
equipment and property, including real
property, while also increasing your
liability coverage. A small production
company, run from a home office, may
pay as little as $300 to $400 annually
for entry-level business insurance.
Commercial insurance, compared to
homeowner’s insurance, is a far better
risk reduction tool for any video production professional, however, it too
has limitations. Changes and additions
known as riders or endorsements
are common, and in each case, bring
added expense to the bottom line.
Examples of common endorsements
used to augment coverage are cost replacement endorsements, scheduling,
unique or expensive pieces of production equipment, and clients that may
also require you to name them as
“additional insured" parties on your
policy. Any one of these many riders
and endorsements, if overlooked, can
become a limitation of your video
productions’ business insurance.
B&H Photo/Video & Pro Audio |__ 33-35
Blackmagic Design |________________ 7
GlideCam Industries Inc. |__________ 21
Kino Flo |_________________________ 17
Kino Flo |_________________________ 39
LCD4Video |______________________ 49
Lowepro |_________________________ 31
Sony Electronics Inc.|____________ C2-1
The Tiffen Company |_______________ 25
Video Guys |______________________ 15
Videssence |_______________________ 47
Videomaker Documentary
Funding DVD |_____________________ 53
Videomaker Documentary
Storytelling DVD |__________________ 55
Videomaker Instructional DVDs |_____ 36
Videomaker Subscribe |____________ 20
Videomaker Subscription Alert |_____ 43
Videomaker Tips and Tricks DVDs |__ C3
Videomaker Workshop |___________ 40
the
business people, to protect you,
full screen
AdveRTIsING INdex
contents
marketplace
Eartec |__________________________ 51
full screen
print
59
profit making
Last and Best Line of Defense
•Liability Video and Film / Production / Media Liability Insurance: You’ve now entered the realm of
specialty insurance for film and video
production. Video and Film Production Insurance and Media Liability
Insurance are terms used for insurance sought by both media outlets and
production companies of all types.
Film and Video Production Insurance refers to “packaged” business
insurance with added industry-specific
coverage for items unique to the world
of film and video production. Some
examples of the unique types of coverage: special event liability, multiple
locations, multiple vehicles, multiple
cameras, cranes, film stock, re-shoot
coverage, etc. These “DICE” policies
(Documentary, Industrials, Commercial, Educational) are for video
production companies or a “Producers” policy for feature films and other
time-limited productions.
Media Liability Insurance is a type of
professional, industry-specific “Errors
& Omissions” insurance. E&O Insurance is intended to limit your risk
from professional errors that violate
the rights of others. Its laundry list of
liability coverage is impressive as it applies to copyright, trademark, and patent infringement, as well as invasion
of privacy, liable, slander, defamation
of character, unfair competition, and
extended personal injury liability.
Film and Video Production Insurance
is a type of business insurance, and
is therefore more common. However,
it is often used in tandem with Media Liability Insurance. While each of
these production insurance types has a
similar entry-level cost of around $500
annually, Media Liability Insurance is
typically the more expensive of the
two, with an average annual cost closer
to $1,500 to $2,500 depending on production volume. Although relatively expensive when compared to their lesser
Insurance Hierarchy for Video and Film Production
In talking with your insurance agent about video production insurance you may notice your
agent making calls to other agents, heavily using a number-crunching-option-offering business computer, or both. It can be complicated. Here is a brief breakdown of the hierarchy
of insurance for your video production equipment and business.
Groundhog Day Insurance
AKA: No insurance. You’d rather repeatedly step in a pothole of cold slush than talk to an
agent face to face about insurance. We jest – no coverage should NOT be an option.
Homeowner’s Insurance
Property, content and personal liability insurance for home and family.
Commercial General Liability
Business Owners Policy for property structure and contents, and general liability insurance.
Video and Film Production Insurance
Business insurance with unique coverage for video and film production.
Media Liability Insurance
A type of Errors and Omissions insurance for digital, print and broadcast media.
contents
full screen
Common Riders/Endorsements/Additional Policies
• Cost Replacement Endorsement
• Commercial Inland Marine Policy /
• Scheduled Personal Property Endorsement
All Risk Floater
• Home-Based Business Endorsement
• Excess Limits Liability Policy
• Additional Insured Rider /
• Personal All-Inclusive Umbrella Policy
Additional Named Rider
• Special Events General Liability Policy
print
60
Audio
February 2012
Disclaimer:
Legal Information Is Not Legal Advice
This article provides information about the law
designed to help video producers cope with their
own legal needs. But legal information is not the
same as legal advice — the application of law to an
individual’s specific circumstances. Videomaker
does not provide legal services or legal advice.
Although we go to great lengths to make sure our
information is accurate and useful, we recommend
you consult a lawyer if you want professional assurance that our information, and your interpretation of
it, is appropriate to your particular situation.
insurance counterparts, they often prove
to be worth many times their cost. They
can be tailored to meet the needs and
budgets of both the sole-proprietor and
the largest of film studios.
To best determine how much
production insurance you need, you’ll
need to speak to experienced insurance agents. Making an informed decision is the goal. Where comfort levels
of risk intersect with budgets and
needs, is where the reality of “how
much is enough” is determined.
Getting it Right
In the film Groundhog Day, Bill Murray’s character, Phil Connors, had to
relive the same day over and over
until he got it right. “Getting it right”
included purchasing insurance from
his former classmate-turned-insurance
agent, Ned Ryerson. Unlike Phil, in the
event of a dropped camera, a lawsuit
from errors and oversight, or any
number of potential mishaps, we can't
reverse the clock to get it right. In that
moment, for better or worse, our loss,
liability and options will have been
largely determined for us based on
our levels of video production insurance, or lack thereof. There is no cost
whatsoever associated with evaluating
your video production's industryspecific insurance needs. Conversely,
the cost of not knowing and the result
of “risky” business-as-usual could
have the potential of jeopardizing your
future ability to shoot, edit and create
for both you and your clients.
Mark Jensen is the owner of a video production company specializing in commercial and industrial video.
He is also a freelance technical writer.
by H al R oberts on
Audio Levels
It’s a simple question: How loud is
too loud? The answer is a bit more
complicated. Setting correct audio
levels, and monitoring and mixing
audio can be perplexing nowadays.
The popularity of HDSLRs, GoPros
and other compact video cameras
come with a new surge of interest in
audio recording. Since many of these
cameras record meager audio at best,
it’s become common to go the extra
mile and record audio on another
device such as a portable recorder or
computer. With new gear comes new
questions and this renewed focus on
audio may have a few people scratching their heads about proper audio
levels, monitoring and mixing. Good
audio practices are important whether
you use professional editing software
or just record audio for YouTube.
By The Numbers
Audio recording equipment and
software comes with its fair share of
numbers and letters. Measurements
are usually in decibels - abbreviated
dB - but there are different reference
levels, depending on your gear and
where you are in the signal chain.
You’ve probably seen the label 0dB on
home recording equipment, a cheap
audio mixer or your music editing
software, but 0dB can be measured in
different ways.
For instance, if you found an old
analog audio recorder, it would probably have one of those retro needlestyle meters. And, sure enough, there’s
0dB on the scale. But, depending on
whether that recorder is consumer or
professional, 0dB could be one of two
actual signal levels. On consumer gear,
it references a .775 volt signal while the
professional level is referenced to 1 volt.
Now, a quarter of a volt may not seem
like much, but in the audio world, it’s
pretty big - 14 decibels big. If you suddenly added or subtracted 14 decibels
from your audio signal, you’d notice it.
Back in analog times, we recorded
on magnetic tape and could push the
recording level past the 0dB setting
on a regular basis without any serious
consequences. In fact, many recording
engineers did just that to achieve “tape
compression” - a mild overloading of
the recording that usually provided
a nice sound. This technique pushed
the limits of the recorder and medium, but in the controlled circumstance of a studio, it was a calculated
risk. If you’d like to hear an extreme
example of analog tape overload,
just listen to Led Zeppelin’s Whole
Lotta Love. Around the four minute
mark, you’ll hear a pre-echo of Robert
Plant’s voice just before he sings. This
wasn’t done in post. His voice was recorded so strong on the tape that the
signal actually magnetized other tape
layers below it on the reel.
Digital Days
Of course, today we record digital
audio and it comes with its own set of
rules. Digital audio has a hard ceiling
that is measured as 0dBFS or 0dB full
scale. Once you hit that level, there’s
nowhere else to go. Think of it this
way. Let’s assume we’re recording in
16-bit resolution. That means that each
digital sample is 16 digits long. At any
given time, any of those digits can be
a one or a zero. When all 16 become
ones, you can’t add any more. That is
0dBFS. When you push the audio level
beyond that point, digital clipping
The CALM Act
In the past year, the FCC has implemented the Commercial Advertisement Loudness Mitigation or CALM
Act. To boil it down, the CALM Act
basically says that audio in commercials can’t be any louder than the
audio during normal programming.
Television stations and cable operators are responsible for ensuring
compliance. So you can still make
your commercials as loud as you
want, but the broadcaster has equipment in place that will turn it down to
meet the new rules. Better to create
your content with more realistic levels
and preserve the quality of the mix.
contents
full screen
print
61
AUDIO
Classified Network
FEBRUARY 2012
occurs. This produces nasty distortion that effectively ruins your recording during the clipping.
To avoid digital clipping, it’s good practice to
keep your recording levels well below the ceiling. A common setting is -10dBFS. This gives
you some headroom for inevitable peaks and
still keeps the signal loud enough to avoid noise.
It’s not exactly intuitive at first, but by standardizing on this level, you’ll record consistently
clean audio that is easy to work with in post.
As an added safety measure, dig through the
audio menu of your camera or digital recorder.
Many devices include a signal limiter of some
kind. Normally, you want to record audio without any kind of processing - reserving that for
post - but applying a limiter can save the day
from time to time. Limiters only work when the
signal reaches a certain level - usually 0dBFS.
Any incoming signal level above that point is
lowered to eliminate clipping. Most built-in
limiters don’t sound as good as their postprocessing cousins, but they’re only working on
extreme levels and won’t affect normal audio.
A lower average recording level and a safety
limiter is a powerful combination.
Back In The Suite
The term edit suite used to mean a dedicated
space for editing audio and video. Things are a
little fuzzier these days. An edit suite might be
a laptop in the front seat of your car or a desk
in the corner of a bedroom. In the corporate
environment, your editing computer might
be primarily used for word processing and
spreadsheets. In any of these situations, audio
monitoring is a secondary concern. However, if
you have the convenience of a dedicated editing space, a proper audio monitoring setup is
essential.
A real edit suite would be set up much like
a recording studio, with acoustic treatment,
specialty speakers and equalizers to match the
speakers to the room. But you can still get good
results without spending a boatload of cash. If
we rule out $20 media speakers from your local
office supply store, or the freebies that came
with your desktop, pretty much anything else
could work. Your main criteria is trustworthy
sound; something that sounds good with familiar
material and won’t wear you out after extended
listening sessions. If possible, mount your speakers on stands, away from walls. This minimizes
audio reflections and gives you a more accurate
audio image. Stereo speakers should be set up
in a triangle - with equal spacing between the
speakers and your mix position. Whether you
mix your audio using speakers or headphones,
use conservative volume levels and compare
your mix to “real” television shows. This is a
great reality check. Finally, if you can route your
video mix to a TV, listen on those speakers too.
Yes, they sound terrible, but this is how most
people watch video. If your mix sounds good on
the monitors in your edit suite and ordinary TV
speakers, you have created a great mix.
And the Answer Is...
A lot of people have spent a great deal of time
and money defining how loud is too loud. These
standards are primarily for delivery - either
through acoustic output or electronic measurement. But the concept carries all the way through
the production process - from acquisition to
final product. If you can keep your capture levels
lower, monitor properly and deliver a product
that plays well on all systems, you’ve pretty
much answered the question already.
Contributing Editor Hal Robertson is a digital media producer and
technology consultant.
contents
full screen
print
Speakers in your edit suite should be set up away from walls and oriented toward
your mix station. Place them at equal distances from each other and the station to
provide the best possible monitoring.
62
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headings: Cause, Consequence, Catch it, Correct it
on set and Cure it in post. The explanations and
solutions found in these sections are sure to save
many a headache for those entering this blossoming field. The value of the work is enhanced
further with the inclusion of case studies and
detailed interviews with professionals already
working on the front lines. A discussion of the
history, development and future of this medium
makes for a well rounded, interesting and highly
informative read. If you have but a passing interest in 3D technologies or are looking for material
pertaining to the new generation of consumer
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Cinema by Bernard Mendiburu will be enjoyed by
anyone looking to learn more about this topic.
Highly recommended. 5 5
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by steve stockman
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64
Not only easy, but a joy to read, Steve Stockman’s
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a humorous style that will keep you chuckling,
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between the pages of this highly informative, yet
entertaining book. In an introduction entitled,
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bad video simply doesn’t get watched. In spite of
one’s intense desire to inspire or inform, bad video
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With advice such as, “think in shots”, “don’t shoot
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proper techniques for focusing, zooming, composition and more. Information about shooting special
projects, editing and what happens after the edit
completes the book. Chapters are short, some as
few as one or two pages and each includes a “Try
This” section which is an exercise you can do to
practice the techniques discussed. An education in
itself, How to Shoot Video That Doesn’t Suck, by Steve
Stockman should reside on the shelf of, …well,
everyone! Very highly recommended. 5
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February 2012 - Videomaker.com

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