June 2012 - Videomaker.com

Transcription

REVIEWED: NIKON D800 DSLR SONY BLOGGIE LIVE POCKET CAMERA iBUYPOWER PROFESSIONAL SERIES
WORKSTATION SACHTLER ACE TRIPOD VINPOWER DIGITAL AERO VI ROBOTIC AUTOLOADER DUPLICATOR
Dell recommends Windows 7 Professional.
®
®
Imagine working as fast
as you think.
Dell Precision M4600 shown
above. Available with 2nd gen
Intel Core processors.
™
®
™
6
STEPS
to Making Your
YouTube Videos
LOOK THEIR VERY BEST
See page 17 for details
We can make better creative
‘‘decisions faster than ever before
with the Adobe Creative Suite 5.5
and Dell Precision Workstations.
’’
- Erik Horn, Creative Director at Arts+Labor
®
®
In creative fields like video production and animation, every
day is another deadline. You need software that works on a
professional level, and the hardware to run it. You need Dell
Precision Workstations.
TM
Dell Precision Workstations feature Intel Core
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®
TM
Each one is certified for performance and peace of mind, and
or Intel Xeon processors.
features Intel Core or Intel Xeon processors, great rendering
speed and reduced production time, and a professional selection
of NVIDIA graphics cards. For creative solutions that work as
hard as you do, look no further than Dell Precision Workstations.
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Unleash your potential › dell.com/smb/imagine
or call 1-877-965-3355.
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Trademarks/Copyright Notices: Ultrabook, Celeron, Celeron Inside, Core Inside, Intel, Intel Logo, Intel Atom,
Intel Atom Inside, Intel Core, Intel Inside, Intel Inside Logo, Intel vPro, Itanium, Itanium Inside, Pentium, Pentium
Inside, vPro Inside, Xeon, and Xeon Inside are trademarks of Intel Corporation in the U.S. and/or other countries.
Microsoft, Windows, and Windows Vista are registered trademarks of Microsoft Corporation.
n
o
k
i
N
D800
JUST RELEASED!
REVIEWED INSIDE
TURN A PROFIT WITH VIDEO
FREE DOWNLOAD
YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO JUNE 2012
SHOOTING
EXTREME
VIDEO
EDITING
WEDDING
VIDEOS
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Contents
JUNE 2012
www.videomaker.com
Features
20 Blank Media Buyer’s Guide – More
than Just Media
Although many people are still capturing images using videotape-based camcorders, more and more are picking up hard
drive and memory card technology. However tape is still available, and viable for archiving as well as many other options.
by Dave Thunder
26 Carrying a Tune: Music Libraries and
32 Protect Your Script and Video
What is copyright? Originally designed to protect printed material
from being copied without permission, the copyright laws have now
extended to include any original work created by an individual, giving
that creator exclusive rights to control that material.
by Mark Levy
36 As Seen on TV: Citizen Journalism Worthy
of Your Local News
So Much More
When news happens are you ready to record it? Used to be, just traditional professional news jockeys got the story on the air. Now anyone
with a camcorder can cover news as it happens...
by Dave Sniadak
Make your movies sing with the sound of music, a powerful
way to add life and enhance the visual art.
by Dave Sniadak
20
On the Cover
Nikon D800 DSLR
36
48
Columns
2 Viewfinder
Storyboard Examples
by Matthew York
44 Profit Making
Shooting Extreme Video for Profit
by Wolfgang H. Porter and
Jackson Wong
48 Lighting
Editing Wedding Videos
by Mark Jensen
Audio Multitool - Portable
Recorders
by Hal Robertson
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On Sale June 26, 2012
4 Reader Profile
62 Ad Index
Reviews
6 Nikon
D800 DSLR
10 Sachtler
Ace Tripod
12 iBUYPOWER
Professional Series Workstation
by Lance Olinger
59 Audio
Cinematography Techniques
Your First Amendment Rights
How to Find Clients
Gear for Shooting Outdoors
Departments
6
by Colin Marks
53 Editing
contents
53
by Dan Bruns
Portable Lighting Gear
by Terry O’Rourke
Next Month
Volume 26 • Number 12
14 Vinpower Digital
Aero VI Robotic Autoloader Duplicator
by Mark Holder
18 Sony
64 New Titles
Bloggie Live Pocket Camera
Media Reviews
by Morgan Paar
by Mark Holder
contents
Free ad
o
Downl
VI D EO MA K ER >>> J UN E 20 12
6 Steps To Mastering Compression:
making your YouTube videos look
their very best
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See page 17 for details
1
VIEWFINDER
Videomaker empowers people to make video in a way
that inspires, encourages and equips for success. We
do this by building a community of readers, web visitors,
viewers, attendees and marketers.
by Matthew Y or k
Storyboard Examples
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2
Richard Ober
Jennifer O’Rourke
Mike Wilhelm
Jackson Wong
contributing editors
Kyle Cassidy
Earl Chessher
Mark Holder
Mark Montgomery
Hal Robertson
advertising director
Matthew York is Videomaker's Publisher/Editor.
For comments, email: [email protected],
use article #15380 in the subject line. You can
comment and rate this article by going online:
www.videomaker.com/article/15380
advertising representatives
telephone (530) 891-8410
senior account executive
account executive
marketing director
marketing coordinator
marketing coordinator
Melissa Hageman
Susan Schmierer
Terra York
INTRODUCING THE D800
36.3 MP FX-format CMOS Sensor with EXPEED 3 Image Processing
91,000 Pixel RGB Sensor with Advanced Scene Recognition System
Full HD video at 30/25/24 FPS with Full Manual Control
Wide ISO sensitivity range from 100 to 6,400; up to 25,600 in still and video
Isaac York
Tyler Kohfeld
Dawn Branthaver
Joseph Ayres
Mike Rosen-Molina
manager of
information systems
web developer
IT assistant
Andy Clark
director of finance
accounting assistant
customer service
fulfillment assistant
Stephen Awe
Sandra Wells
Tammy Lynn Hettrick
Bree Day
Tai Travis
Seth Hendrick
NIKKOR versatility includes: over 60 FX/DX lenses
For more, visit nikonusa.com/D800
subscription information
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P RINTED IN USA
V IDEOMAKER >>> JUNE 2012
SORRY, BUT YOU’RE GOING TO
WANT TO RESHOOT EVERYTHING
YOU’VE EVER SHOT.
S:9.75”
full screen
executive editor
managing editor
associate editor
associate editor
production director
art director/photographer
excellent way to compose a shot without a camera. This is where you use
the rule of thirds and choose a wide,
medium or closeup shot. Panels can
be used to plan depth of field.
On location, storyboards help direct
the talent as to where they should
place themselves properly to appear
in the video frame as pre-visualized.
Make several copies to distribute to
everyone involved in the shoot prior to
arriving on location and possibly bring
more copies to review on location.
Storyboards are just a guideline. It is
OK to veer away from the storyboard
once you are shooting. Storyboards
are simply a guide – not a rule. You
will find that these comic strips will
help you to separate the creative
process of pre-visualization from the
complex (and sometimes stressful)
and technical part of the process of
making video.
For those of you who are using
storyboards regularly, thanks for your
patience in reading this. The next time
you are near other video producers,
tell them just how useful storyboards
have been to you.
Matthew York
Patrice York
Nikon ® and D800™ are registered trademarks of Nikon Corporation. ©2012 Nikon Inc.
contents
I am relatively sure that many of you
are not spending enough time making
video with the help of a storyboard.
For some, this seems either intimidating or an excessive amount of work, or
both. Proper use of storyboarding will
save you time while shooting and perhaps even during editing. When you
look at storyboard examples you will
see that they can be easy to create with
minimal effort. Some good storyboard
examples that use stick figures (very
simple type of drawing made of lines
and dots) will help you to understand
that storyboarding is worth the time.
A storyboard is an organizational
tool for pre-visualizing. Before you
shoot any video, you probably have a
visualization in your mind’s eye. Storyboarding helps you to convey this to
others and also enables you to see how
your imagination translates to paper
(or a tablet). A storyboard is essentially
a collection of large comic strips, also
known as panels. A single panel is an
individual frame or drawing, within
the multiple-panel sequence of a
comic strip. The sequential nature of
the pictures and the predominance of
pictures over words are two traits that
help define a comic. These storytelling
panels have much in common with
other media. Film, animation and comics were established as art forms in the
late 19th and early 20th century.
Storyboards in the form of comics
have been around for a very long time.
Early precursors of comics, as they are
known today, include Trajan’s Column
(a Roman triumphal column, which
commemorates the Roman emperor
Trajan’s victories in wars.)
Storyboards have long been storytelling tools and they can be easy
to create as a revisualization tool for
video production, so why are some of
you reluctant to draw them? Perhaps
you are shy about your artistic skills.
Well this isn’t about art, most storyboard examples simply show the
framing of each shot. Panels are an
publisher/editor
associate publisher
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READER PROFILE
Behind the Lens - Frank Breen
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: Frank Breen.
Cameras: Canon XH A1 (2).
DTE Recorders: Focus FS-H200 and Focus FS-4.
Editing: Adobe CS5 Master Collection running on a Quad-Core PC home
build with GPU acceleration, a second PC - Dell Studio XPS 435T/9000 running Adobe Premiere Pro CS4.
Microphone: wireless lapel - Sony UTX-B1 and URX-P1, shotgun - AudioTechnica AT897, concert - Realistic 33-1080, soundboard - Soundcraft
Spirit Folio.
Support Gear: tripods, monopods, on-camera LED light, scanner, label
printer, laser printer, inkjet printer, DVD duplicator, Canon EOS 50D still
camera.
Website: www.CarlisleVideo.com
I
t all started for me in 2004 when I
read a story in the suburban weekly
newspaper. Comcast was getting
out of community access TV and a
local committee was taking over. I
had been searching for a new career
ever since I had been laid off from a
dot-com company two years earlier. I
joined the local station with the idea
of learning the business and working
in community TV. I quickly learned
how to shoot and edit but I was never
able to convince station management
that they should hire me to produce
programming. They prefer to rely
on volunteers and that usually does
not work because videography is
hard and mostly boring work. Once
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4
volunteers find out how much work
in involved in producing a video they
move on to other activities.
I make most of my money as a
wedding videographer. I think that I
have mastered what is most important in wedding videography, keeping the bride happy, but weddings
I MAKE MOST OF MY
MONEY AS A WEDDING
VIDEOGRAPHER.
are far from all that I do. To make
a living in this business a videographer must be able to shoot and edit
any video that a customer might request. I have shot almost every type
of competitive sport there is. Coaches and college bound athletes need
video for various purposes. I also do
theater, dance recitals, conferences,
and lectures and when a customer
drops by with a handful of old DVDs,
Mini DVs, and/or VHS tapes looking
for a five-minute edited video on
DVD within a day, I can do that.
I was lucky to be stepping into vidV IDEOMAKER >>> JUNE 2012
eography just as lower priced digital
camcorders became available and
at the same time powerful PCs were
coming on line. This allowed me to
immerse myself in digital editing and
produce good quality videos on DVDs
very quickly.
With the help of my friends on the
Adobe's forums, I was able to purchase the parts and assemble a stateof-the-art PC that takes advantage of
Adobe Premiere Pro CS5’s GPU acceleration feature. As powerful as this
machine is I still hate to work with
HDV and HD video. I prefer to work
with widescreen, standard definition video that still looks nice on flat
screen TVs.
Within a year I plan to buy two
new HD camcorders that will end my
need for Mini DV tapes and external
DTE recorders, but I will still have the
problems of editing highly compressed HD files. I am hoping that the
next generation of PCs and graphics
cards will make editing HD video as
easy as it was to edit SD video seven
years ago.
Frank Breen – Covering all bases
The best broadcast quality mini converters
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The world’s most popular converters are now available in two families,
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Mini Converters are even available as OpenGear cards for when you need
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Mini Converters include the latest 3 Gb/s SDI technology,
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Standard 1/4 inch jacks are included for professional
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Mini Converter Audio to SDI
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Mini Converter Optical Fiber
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Mini Converter UpDownCross
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Mini Converter SDI Distribution
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Mini Converters feature a redundant input and loop
through SDI output. Connect a redundant SDI cable
to the second input, and if the main SDI input is lost,
Mini Converters will automatically switch over in an instant. That’s great for
mission critical tasks such as live events.
Learn more today at www.blackmagic-design.com/miniconverters
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REVIEWS
REVIEWS
Nikon D800
Nikon D800
DSLR
The Wait is Over
b y D a n B runs
F
rom the dawn of time, humankind
has had an insatiable appetite
for more. The need to build taller
skyscrapers, drive faster cars, and
make more money all result from
this overwhelming desire. So it comes
as no surprise that with every passing year, cinematographers have also
been asking their cameras to do more.
This is typically a tall order for DSLR
manufacturers to fill but with its new
feature packed D800, Nikon may have
done just that.
Nikon Inc.
www.nikonusa.com
STRENGTHS
• Full frame sensor
• Convenient button placement and
functions
• 36.3MP photographs
• Manual audio controls
• Dual card slots
• Uncompressed video via HDMI port
WEAKNESSES
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• Small grip
• Slow still image shooting speed
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$3,000 (body only)
$1,890 (lens only)
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6
The Stills
Though most of us tend to get excited
about the video features of a DSLR
camera, it’s undoubtedly first and
foremost a still camera. To that end,
Nikon has given the one-two punch to
those in the megapixel war by including a sensor that can record images at
a whopping 7360x4912 pixels. That
translates to a 36MP image. With resolution that dense, you can zoom into
near-macro levels on a frame and still
have enough pixels left to print a magazine quality photo. Unfortunately, the
ridiculously high megapixel count also
means that you’ll need both an incredibly fast and beefy flash memory card
to write your images to. Two-gigabyte
cards just won’t cut it here. Thankfully,
it’s more than possible to set the camera to take photos at a more reasonable
resolution of either 5520x3680 or even
2400x1600.
High pixel counts are great but the
truth of the matter is that they’re not
what makes a photo great. The real
test of a good image is found in its
sensor and processor. Nikon covered
its bases here by including a full
frame 36x24mm sensor in the D800.
By having one of the largest sensors
on the market, the D800 can achieve
an incredibly shallow depth of field
with almost any lens. Additionally,
the increased space on the sensor
means fewer light leaks from one
photodiode to the next, which will result in less noise in the image. As for
the processor, Nikon includes its new
EXPEED 3 image processing which
can crunch photos (even 36.3MP
ones) at breakneck speed without
giving up detail or color accuracy. In
our tests with the camera, we found
the image processing time to be quite
appropriate, given the size and crispness of the image. Nonetheless, the
top speed of four frames per second
may be a bit too slow for sport and
news photographers.
You can increase the speed and
space requirements of the camera by
writing your photos in the JPEG rather
than TIFF or the lossless NEF format
that Nikon offers. However that comes
at the cost of limiting your options
for retouching the photo in post. As a
result, most photographers will find
the cost of buying a card in the 32GB
range or greater more than worth it.
Speaking of cards, Nikon took a
page from Canon’s EOS-1D Mark II
by including the ability to record to
either an SD or CF card on the D800.
This allows you to use the second slot
in the camera in one of three ways: as
a backup to photos being written to
the first card, as an overflow when the
first card becomes full, or even to use
the first card for your RAW image and
the second card to write the JPEG version of the same image. This is a great
option for those annoyed with sifting
through folders that include two versions of the same image.
That’s not the only convenient
feature of the D800. We found the bevy
of external buttons and controls to be
extremely helpful when shooting on
Nikon AF-S NIKKOR 24-70mm f/2.8G ED lens
the fly. There’s the usual front
wheel and rear wheel for quick
iris and shutter speed changes,
but there’s also a circular selector for the menu, a dedicated
switch to toggle video and stills
in live view mode, a mode selection button, and best of all - four
buttons on the top of the picture
mode dial that allow you to
quickly change ISO, white balance, picture quality, and bracketing settings. Though some of
these buttons are found on competing
It can take up to 999 photos during
DSLRs, the convenience of the button
a period of days, hours, or seconds
placement stands out the most with
through its menu system giving video
this camera, giving us a very controlled
producers an inexpensive way to add
shooting experience.
yet another classy element to their
One of the most undervalued
shooting repertoire.
features of Nikon’s cameras is their
ability to set up time-lapse shots withThe Video
out having to buy an external shutter
Besides renting or buying a $20,000
control. The D800 is no exception.
camera, there are few devices that
Image controls above the picture mode dial
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7
REVIEWS
Nikon D800
TECH SPECS
Sensor: CMOS
Sensor Size: 35.9x24mm
Effective Pixels: 36.3 million
Maximum Still Image Area:
7360x4912
Still Image File Format: JPEG, NEF
(RAW), TIFF
Maximum Still Frames Per
Second: 4
Movie Frame Size and Frame Rate:
1920x1080 (30p/24p), 1280x720
(60p/30p)
Movie File Format: MOV (H.264/
MPEG-4), Linear PCM audio
Maximum Movie Record Time: 20 min.
Storage Media: CompactFlash, SD,
SDHC, SDXC
can do a better job of making your
video look like film than a DSLR. With
extremely large sensor sizes and high
quality lenses, DSLRs have taken the
indie market by storm. Even so, DSLRs
have had their fair share of drawbacks. One of those drawbacks has
been the extreme amount of compression that DSLRs tend to apply to video
files. In most cases, it leads to artifacts,
moiré, and false colors. Though the
D800 keeps the standard lossy H.264/
D800 rear with monitor cover
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8
Maximum Shutter Speed: 1/8000
Minimum Shutter Speed: 30 seconds
or bulb
ISO: 100-6400, expandable to 50 – 25600
equivalent
White Balance: auto, color temperature,
fluorescent, incandescent, preset
LCD Monitor: 3.2" (921,000 dots)
Interfaces: HDMI (Type-C), headphone,
NTSC, USB 3.0
Microphone: Yes
Manual Audio Level Controls: Yes
Battery Type: EN-EL15 Lithium-ion
Accessory Shoe: Yes
Built-In Flash: Yes
Lens Mount: Nikon F mount
Weight: 31.75oz.
MPEG-4 codec, it goes a step further
than most video capable cameras
by allowing an uncompressed video
feed via HDMI. Doing so gives serious
videographers the chance to record
a much higher quality image in their
chosen format on an external device.
For a camera that costs $3,000, this is
an incredible feature.
Uncompressed recording alone
makes the D800 worth every penny
but Nikon didn’t stop there. They also
solved another common
gripe about DSLR shooting
by including manual audio
controls and a headphone
jack. This means that video
enthusiasts can finally get
consistent audio levels
from either the internal
mono microphone or from
an external mic hooked
up to the D800’s mic jack.
Better yet, the D800 also
leaves a graphical volume
meter on the left side of
the screen when shooting
video in live view mode,
making peaks much easier
to see. We’re still waiting
for a DSLR to include an
assignable dial for changing volume
in real-time, but with all the features
of the D800, it now makes recording
audio on a DSLR a tempting prospect.
We took the camera out for a spin
and found that it does a good job keeping moiré to a minimum. However, we
weren't impressed with the amount of
image noise in the dark areas of our
scenes. Even so, the camera was very
responsive, felt decently comfortable
in our hands and did a great job of
keeping our colors accurate. These,
along with a full frame sensor make
the D800 a force to be reckoned with
in the DSLR world.
On the other hand, the D800 doesn’t
hold too many surprises on the resolution front. It records video in full HD
1920x1080 in 30, 25, or 24fps. For
those who need higher frame rates for
slow motion scenes, it can record at
1280x720 at 60, 50, 30, and 25fps as
well. One surprise is its ability to transfer files using USB 3.0 which allows for
transfer speeds of 5Gb/s, making it at
least 10x faster than USB 2.0, meaning
that DSLR shooters can save a lot of
time ingesting footage.
The Bottom Line
Many DSLR enthusiasts have been
waiting patiently for Nikon’s first truly
competitive video-capable DSLR. Well,
that wait is over. With it’s full 35mm
sensor, myriad external buttons, solid
design, uncompressed video out, and
superb audio controls, the D800 is
poised to be the new camera to beat in
the DSLR video world.
SUMMARY
With an astounding 36.3MP sensor,
uncompressed video output over
HDMI, and full frame sensor, the
D800 has become a top contender
for the best DSLR for video on the
market today.
Dan Bruns is an award-winning videographer and editor.
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REVIEWS
REVIEWS
Sachtler Ace
Sachtler Ace
Tripod
Ace 75/2 aluminum tripod
TECH SPECS
SACHTLER ACE M FLUID HEAD
Weight: 3.7lbs
Payload: 0-8.8lbs
Sliding range – plate: 4.1"
Counterbalance: 5-step
Grades of drag: horizontal and
vertical (3 each)
Tilt range: +90°/-75°
Temperature range: -22°F/+140°F
Pan bar(s): 1, Type: Ace
Level: yes, bubble
Smooth Moves
SACHTLER ACE 75/2 D TRIPOD
Weight with floor/mid-level spreader:
6.4lbs/5.7lbs.
Payload: 44lbs
Height with floor spreader: 15.9 - 59.1"
Height with mid-level spreader: 25.2
- 60.6"
Tripod/Pedestal fitting: 3" bowl (75mm)
Extensions: 2
Transport length with floor/mid-level
spreader: 27.7"/27.2"
b y Co lin Marks
F
rom humble beginnings in a garage
workshop more than half a century ago to the far corners of today’s
video production world, Sachtler has
built a solid reputation for innovation
and quality. Higher quality equates to
higher price and unless you’ve been
blessed with particularly deep pockets
Sachtler quality has most likely been
well out of your reach – until now.
Available together as the System Ace
M MS, the new Sachtler Ace 75/2 D
tripod and Sachtler Ace M fluid head
are both affordable and especially well
suited to users with smaller camcorders or video DSLRs.
Sachtler
www.sachtler.com
STRENGTHS
• Great performance for the price
• Lightweight
• Very smooth action
• Drag and counterbalance features
WEAKNESSES
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• Legs can’t spread out for very low
shots
• Plastic feet may slip on some surfaces
$615
10
What’s Not To Like?
The tripod/head kit comes with a
shoulder strap equipped, Sachtler
logo-emblazoned carry-bag by Petrol.
Spreader options are either midlevel, as with the one we received, or
ground level (System Ace M GS). The
Ace M is a true fluid head that allows
for near frictionless movement resulting in jerk-free tilts and pans. Beware
of heads touted as “fluid-like” or
“fluid-effect” which are not true fluid
heads at all and can produce less than
satisfactory results over time.
Testing... Testing
To test out the various features of
the Ace M head, we attached the
mounting plate to a heavy-ish 7.8lb
Canon XL2 camcorder. The head
is rated up to 8.8lbs so we thought
this would provide a good test of its
upper limits. The added length of
the 4.1-inch plate aids in achieving
proper camera balance atop the tripod. Markings on the plate itself as
well as on the top of the mounting
platform assure reproducible results.
A pair of spare camera screws (1/4inch and 3/8-inch) are stored away
discreetly in the underside of the
platform. We discovered too, that the
Ace plate and the adapter plate from
our Manfrotto 501 tripod and 561B
monopod are interchangeable. If you
happen to own one of these, there
is an added bonus in not having to
swap out plates as you switch from
your mono to your Ace.
Leveling is quick and easy as the
Ace M is a bowl mount head. Loosen
the center column and adjust until
the single bubble level is centered
then retighten the center column
and you’re ready to go. With the
camera mounted, we wanted to see
how securely the lock downs hold
and were happy to note that once
the locking levers are in place your
positioning is secure and the camera isn’t going anywhere. In fact, the
horizontal lock was so secure that the
head actually began to unscrew itself
from the bowl before the horizontal positioning gave way. With both
locking screws backed off, horizontal
and vertical movements are extremely smooth. The weight of the
XL2 however, made it a bit unwieldy
and difficult to control. You definitely
would not want to lose control of the
pan bar because the camera would
come crashing forward or backward
depending on its center of gravity at
the time. With a tilt range of +90 to
-75 degrees, a sudden crash in either
direction would surely not be a good
thing for your very expensive equipment. Thankfully the clamp and lock
Ace M vertical fluid drag dial
Ace M bubble level
mechanism holding the adapter plate
to the mounting platform is very
secure and will prevent the camera
from taking a dive onto the ground.
A given amount of drag could be
created by tightening the pan and tilt
locking screws but this is an extremely clumsy solution with mixed
(usually poor) results. Fortunately,
this is not at all necessary, as the Ace
M is equipped with a drag system
called SA Drag (Synchronised Actuated Drag). Two wheel mechanisms
provide three levels of drag both
horizontally and vertically with a zero
setting for disabling drag altogether.
Properly adjusting these wheels will
achieve an appropriate amount of
drag and smooth out the camera’s
movement, resulting in greater
control. In addition to the drag system, the Ace M features a five-step
counterbalance. Set-up is quick, easy
and more than sufficient to control
an unwieldy beast such as the XL2.
With a combination of its drag and
counterbalancing features, the Ace
M is capable of producing extremely
smooth pans and tilts with a wide
range of camera sizes and weights.
The unit is constructed using a glass
fiber reinforced composite material to
keep the price affordable. While not
metal, the material is sturdy, light and
especially well suited to the needs of
run and gun DSLR users.
The Ace 75/2 D tripod is a twostage tripod with aluminum legs and
spreader bars. The spreader is of the
rigid, mid-level type and does not
allow the legs to spread out enough
for those nice low angle shots. Plastic components join the leg tubes
together with leg lengthening and
shortening chores accomplished using
plastic knobs rather than any sort of
quick release mechanism. At the bottom of it all, a set of plastic feet may
be quickly spun up or down a threaded rod to reveal or hide the integral
pointy feet, which are so useful in the
great outdoors.
Parting Thoughts
Very smooth action with nice, professional features, the Sachtler Ace tripod
system is hard to beat in this price
range.
SUMMARY
It’s a Sachtler, it’s affordable and
it’s a perfect fit for DSLR and small
camcorder users at every level.
Colin Marks is a Video Producer and Trainer.
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REVIEWS
REVIEWS
iBUYPOWER Professional Series
iBUYPOWER
Professional
Series
Workstation
Power Series
b y L a n ce O l i nger
i
BUYPOWER specializes in building
customizable workstations and gaming computers using only name brand
parts to ensure high quality and reliability. Unlike many manufacturers,
iBUYPOWER offers many customizations to ensure you get the computer
that’s right for you. The latest Professional Series lineup features the new
Xeon E3 CPU; not the fastest Xeon but
the best bang for your buck.
What’s It Made of?
The pro-series offers six different
computer case options. The workstation we looked at was built with the
CoolerMaster Silencio 550 gaming
case. Out of the available options is
perhaps the sleekest in design. The
case is plain black with a magnetic
swing-open front door to access the
iBUYPOWER
www.ibuypower.com
STRENGTHS
• Fast and reliable
• Three-year standard warranty
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WEAKNESSES
• Monitor and speakers not included
$3,000
12
Inside the Silencio 550 Mid Tower Case
most storage mediums
that video cameras use,
CPU: Intel Xeon E3-1270 (4 X 3.4GHz)
including: CompactFlash
Memory: 16G DDR3 1333Mhz
Type I/ II, SD/SDHC Card,
miniSD, MultiMediaCard
OS: Windows 7 Pro 64-Bit
(MMC), RS-MMC, MemVideo: NVIDIA Quadro 4000
ory Stick/PRO/Duo/PRO
Audio: Onboard 8 Channel
Duo, SmartMedia and
OS HDD: Kingston HyperX 120GB SSD
xD-Picture. To top that
off this machine is ready
Data HDD: Dual Hitachi 2TB in RAID 1
HDD AVG Read/Write Speed: 120/119 to finish your work to
just about anything a
MB/s
client would expect, if
Network: 2 Gigabit (125MB/s)
4.7GB isn't enough and
you need to turn out
Motherboard: ASUS P8B WS
more than 20GB on a
Power Supply: 650W Corsair
single disc, a Blu-ray burner is also ofbut place this computer better than
Warranty: 3 Year Standard Warranty
fered at an additional cost.
most mid-range computers. More
scores can be found at www.3dmark.
DVD: Sony DVD-RW
Performance
com. Our system didn't get the best
Front I/O: USB 2.0 (2),USB 3.0, HeadSolid state drives are by far the fastest
Windows experience index scores,
phone, Microphone, SD/MMC/MS/CF/xD
hard drives available on the market.
but it did have a good overall score.
Card reader
The Kingston HyperX SSD boasts
Most previously reviewed computers
555MB/s read and 510MB/s write
have had bottlenecks in hard drive
Rear I/O: DVI, Display Port (2), SDI,
speeds. When bench-marked, howevperformance which can slow down
USB 2.0 (8), USB 3.0 (2), PS/2, Audio
er, it only achieved 375Mb/s read and
response time in file-heavy programs
(6), 2 Network(RJ45), eSATA, SPDIF,
113 MB/s write, which is still plenty
like Adobe Premiere Pro.
FireWire(1394a)
fast. The biggest advantage is their
access time, which is a mere 0.2ms. A
Should I Buy This?
fast access time means programs and
The iBUYPOWER professional series
files open more quickly so there is
workstation line offers everything a
backup of all your work with RAID 1
less time waiting for the computer to
video editor would need. At $3,000
in case of a hard drive failure.
respond. In comparison, the dual 2TB
the price is also reasonable when
No editing workstation would be
hard drives pulled in 116MB/s read,
compared to other reviewed workstacomplete without a way to transfer
115 MB/s write, and 16ms access time.
tions. In addition, all units come with
and store your video. As you might
a three-year labor and one-year parts
expect from a gaming-focus company, Though not as fast as the SSD they
more than make up for it with their
warranty. The warranty is upgradable,
the pro-series makes every effort to
storage capacity and data redundancy
but usually if something is going to
be inclusive of a multitude of media.
for video files.
fail it will be in the first year. With the
The 12-in-1 card reader supports
In 3D modeling benchvarious available customizations, this
marks this computer
workstation has a cost range of $1560PRIMARY HDD AVG SPEED
beat almost all previously
$5000+. iBUYPOWER offers a similar
Model
READ
WRITE
reviewed computers and
core i5 setup starting at $899.
came in tied with the HP
HP Z400
106.4 MB/s 76.7 MB/s
SUMMARY
EliteBook 8760w. These
HP Z200
74.5 MB/s 66.6 MB/s
scores are primarily driven
The professional series from iBUYHP Z210CTM
119.3 MB/s 120.6 MB/s
by the video card and
POWER offers everything you would
changing to a more expenneed in a workstation.
HP XW6600
60.9 MB/s 50.8 MB/s
sive card would likely put
DV Apprentice
213.3 MB/s 212.9 MB/s
Lance Olinger is an IT Professional and Web Developer.
this machine over the top.
ADK i7-DVC
190.6 MB/s 207.9 MB/s
More scores can be
found at www.spec.org. The
HP Elitebook 8760W
73.2 MB/s 66.6 MB/s
3DMark Vantage scores
IBUYPOWER Pro-Series
375 MB/s
113 MB/s
are not the best recorded
TECH SPECS
DVD drive. On top of the case are USB
2.0/3.0, headphone/mic jacks, and an
SD card slot. The only thing missing
up front is an eSATA port which can
be found in the back. A unique feature
that iBUYPOWER offers is a sound
reduction system; the sides of the
case are padded with noise-reducing
foam and quieter fans are installed.
If you prefer LED lights and a fancy
case, those are available as well but
for a professional look, stick with the
CoolerMaster Silencio 550.
The staple components of the pro
series are the ASUS P8B WS motherboard and Intel Xeon E3-1270 CPU.
Though the CPU can still be beat by
some of the six-core Xeon’s, it comes
in a close second. The eight thread
quad Core Xeon
E3-1270 clocks
EXPERIENCE INDEX
in at 3.4GHz
Model
and is capable
of 3.8GHz with
HP Z400
turbo boost. The
HP Z200
motherboard
HP Z210CTM
that the CPU is
plugged into has HP XW6600
just about every
DV Apprentice
onboard feature
there is and four ADK i7-DVC
PCI-express 16x
HP Elitebook 8760W
slots!
IBUYPOWER Pro-Series
The NVIDIA
Quadro 4000 video editing card is the
most expensive component in this
computer. The card has two DisplayPorts and a Dual-link DVI for connecting your monitors. The card supports
a maximum resolution of 2560x1600
and has 2GB of video memory. If you
are using 3D modeling programs this
is an excellent card. If you only plan
on editing 2D video, iBUYPOWER offers 25 other graphics options.
An important consideration for
video editing is having multiple hard
drives to distribute your work load.
The primary drive is a Kingston HyperX SSD and the data drives consist
of dual two terabyte hard drives in
RAID 1. The end result is fast rendering, fast program execution and a
Processor
Memory Graphics Hard Disk
7.7
7.8
6.9
5.9
7.3
5.9
5.9
5.9
7.5
7.6
7
5.9
7.7
7.7
6.9
5.8
7.5
7.5
7
5.9
7.7
7.8
7.9
7.8
7.5
7.6
7.5
5.9
7.6
7.6
7.4
7.7
13
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REVIEWS
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Vinpower Digital
Aero VI Robotic
Autoloader
Duplicator
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Videoguys.com is your source for video editing software
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Pro I/O Plus Faster than Realtime H.264 Encoding!
requires a sturdy bit of real estate
upon which to sit. A stack of six disc
burners, each capable of handling a
plethora of CD, DVD and Blu-ray formats, dominates one corner. Opposite
the drives is the control panel, con-
www.vinpowerdigital.com
first make a list of your needs before
settling on a particular model. Are
you primarily interested in speed?
Do you need to produce 500 discs
or 50? What about printing? Do you
need a duplicator with integrated
LightScribe, inkjet or thermal printing capabilities? What sort of discs
will you be duplicating? Once you
have your list, search for models
that meet your needs and compare
them to your budget. You may find
yourself having to trim back on that
list a bit.
STRENGTHS
Test Subject
sisting of an LCD display and membrane keypad, and rising out of the
center of the unit is a rotating tower
that houses the robotic arm. Situated
around the tower are a number of upright rods for holding as many as 660
discs. Tucked away inside the case is a
500GB hard disk drive.
The Aero VI is a standalone duplicator and does not require a computer for operation. Our machine,
however, came with the optional USB
3.0 with Multi-File CopyConnect &
Copy Protection software. CopyCon-
As with any purchase, you should
Vinpower Digital
• High capacity
• Fast, efficient operation
• Multiple disc formats including Blu-ray
• Use with or without a computer
• Multi-Master Recognition Technology
WEAKNESSES
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• Might be too costly for non-commercial
users, however other versions at lesser
prices are available.
$6,750
14
Recently, we had the opportunity to
test one of Vinpower Digital’s Aero
series of duplicators. The Aero VI is a
six-target, or six-burner, automated
SATA Blu-ray/DVD/CD duplicator. As a
robotic autoloader, it allows you to set
up a project and walk away. And while
it doesn’t have an integrated printer,
it does make short work of several
stacks of discs while you’re off taking
care of other business.
Just shy of two feet square and
weighing in at 50lbs., the duplicator
THE STANDALONE AERO VI
DOESN'T REQUIRE A COMPUTER TO OPERATE.
1,49500
$
Matrox MXO2 LE MAX
Know Your Needs
599
84900
$
ccasionally, a panicked client may
call with a request for 500, 1,000
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Vegas Pro 11 offers
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Includes DVD Architect Pro & Dolby Digital AC-3 encoder.
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file-based formats and industry-standard codecs. Matrox
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Motu HDX-SDI
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AJA IoXT Professional Thunderbolt I/O
With the blazing speed of PCI Express, the HDX-SDI
Io XT connects to your Mac with a single Thunderbolt
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cable & provides another Thunderbolt connector for
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daisy-chaining other devices, such as storage, making it
workstation equipped with all the I/O you need. For the
perfect for on set, or in the edit suite. Compact, portable & best-possible image quality, capture uncompressed video
powerful, it’s loaded with high-end features including 3G/ via HD-SDI or HDMI with 4:2:2 10-bit color depth and fullDual-link/HD/SD-SDI, Component Analog, and HDMI.
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with ATTO
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14995
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Compact 4-Fader Control Surface
Take deep, hands-on control of your favorite
This bundle
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Matrox Convert DVI Plus
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Matrox MC-100 Mini Converter
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The 6 Basic Steps to Compressing
Clean, High Quality YouTube Videos
That Leap off the Screen
Vinpower Digital Aero VI
TECH SPECS
Operating Type: Standalone Automated
Maximum Disc Capacity: 220 (2 or 3 Targets),
660 (4 or 6 targets)
Display: 20x2 blue LCD
Featuring Recorder: 12x Blu-ray/DVD/CD Writer(s)
Hard Drive: 500GB (as configured)
Copy Speeds (depending on format): Blu-ray:
2x and 12x; DVD: 6x, 8x and 16x; CD: 24x and 40x
Firmware Upgradeable: Yes
nect allows you to connect the Aero VI to a
computer via USB cable. The computer recognizes the duplicator’s hard drive, making it easy
to drag and drop files onto it for later burning.
The Aero VI will not duplicate copy-protected
discs; however, the copy protection software
lets you add copy protection to your own original material, which the unit will then recognize
as okay to copy.
As a standalone duplicator, you can copy from
a single master disc or from multiple masters.
In single master mode, the disc’s contents are
loaded onto the hard drive before duplicating.
Using the control panel, select single master,
load the master onto a new or existing hard
drive partition, set the counter for a specific
number of discs and copy away.
When using multiple masters, place the
unit in multi master mode. Load blank discs
onto the input media bin, followed by the first
master. Next, add more blanks followed by
the second master and so on. The final master
disc should be at the top of the stack. When
you start the duplication process, the robotic
arm will load discs into the drives beginning
with the final master. The unit will copy the
master onto the hard drive and all the successive discs until it finds another containing
existing content. It will recognize this as a new
master, copy its contents onto the hard drive,
overwriting the previous master, and begin
the process all over again until the input bin
is empty. Successful discs go onto the output
media bin and any bad discs are placed on the
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16
Burn Proof Support: Yes
Capacity Discs Per Hour: Six
Target: 350MB CD at 40x: 78; 2.5GB DVD at 16x:
48; 12.5GB Blu-ray at 6x: 30
Support: Optional USB 3.0 w/Multi-File
CopyConnect & Copy Protection and five licenses $599
Size: 22" W x 20" D x 20" H
Weight: 50lbs.
optimistically small spindle at the base of the
drive tower.
Using the Aero VI was a pleasure. We found
setup to be quick and easy and the control panel
fairly intuitive. The user’s manual was very useful in explaining the unit’s many functions and
clearing up the not-so-intuitive areas. Transferring files with the CopyConnect feature was a
breeze, though we did discover that it is necessary to switch the unit out of external mode
before attempting to duplicate content. Copying
from both a single master and multiple masters
was a simple task with the machine doing all the
hard labor; the actual operation was smooth, efficient and fun to watch – a veritable symphony
of motion.
Conclusion
If you need to deliver large quantities of accurately produced CDs, DVDs or even Blu-ray discs
then check out the Aero VI; it will definitely get
the job done.
SUMMARY
For professional users who need to knock out
large quantities of discs in a hurry, the Aero VI
from Vinpower is a media publisher’s dream.
Contributing editor Mark Holder is a video producer and trainer.
For comments, email: [email protected], use article
#15612 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15612
Video formatting is the key to sharing your videos and getting them online. Choosing the
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REVIEWS
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REVIEWS
REVIEWS
Sony Bloggie Live
Sony Bloggie
Live Pocket
Camera
TECH SPECS
Wi-Fight it? Bloggie Takes
To The Cloud
b y Ma rk H ol der
W
ith the ever-growing multitude of
small format recording devices
on the market today, it becomes increasingly more difficult for companies
to develop unique products that stand
out from the crowd. Sony certainly
seems to have accomplished that however, with its Bloggie Live, capable of
streaming live video via Wi-Fi.
The Unveiling
Accompanied by few extras and no
assembly required, the Bloggie Live
comes straight out of its box pretty
much ready for action. Charge the
Sony Electronics Inc.
www.store.sony.com
STRENGTHS
• Live streaming
• Capture full HD video
• Simultaneous streaming and internal
recording
• Video and still capture above average
WEAKNESSES
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• Non-replaceable battery
• No media card slots
• Streaming only as good as the Wi-Fi
connection
$250
18
internal battery by connecting the
device’s swing-out USB arm to a computer with the included USB extender
cable and you’re ready to go. The
only other accessory is a wrist strap
- its use is highly recommended. The
Bloggie Live has a curved shape with
a smooth, brushed metal surface and
we found it a bit tough to hang on to
and might easily be dropped.
The Tour
Roughly the size of a cell phone, the
exterior of the Bloggie Live is fairly
simple, with a minimum of buttons
and controls. The front is home to
the lens and video light with the back
dominated by the 3-inch LCD touch
screen. Beneath the display is the video
record button and speaker. The Wi-Fi
receiver lives at the top of the device
while the bottom hides the flip-out
USB arm for charging the battery and
directly connecting to a computer.
Alongside the USB arm is a standard,
threaded, 1/4-inch tripod mount. Its
location is unfortunate, however, since
widescreen video capture requires the
Bloggie Live to be held in the horizontal position. Including a swivel-ballmount tripod adapter with future units
would solve this situation nicely.
Facing the display, the left side contains
the HDMI port and wrist strap tie-down
hook while the right side has the stereo
microphone, power button, charge
lamp and still photo shutter button.
When switched on, icons appear
across the top of the screen indicating
information such as resolution and
battery status. Along the right side is a
touch-activated zoom slider and across
the bottom are the video light on/off
toggle, viewing/record mode toggle and
menu icon. Activating the menu brings
up several options for sharing and a few
configurable settings. The main setting's
sub-menu, among other things, lets you
tinker with Wi-Fi settings, select HDMI
output, format the device and set the
date and time. The shooting setting's
submenu allows you to select among
three different photo sizes: 12M at 4:3;
8M at 16:9 and 2M at 16:9. Movie size
may be set to full HD (1080 30p); HD
Sport (720 60p) or HD (720 30p). Images
are stored on the unit’s 8GB internal
flash drive. There are no media slots for
expanding the storage capacity.
Sharing options include 1) live
streaming, which streams live video
to an account you create at Qik.com;
2) post and share to upload, to sites
such as Facebook, YouTube, Picasa
Web Albums, Flickr or Dailymotion;
PlayMemories Online - Sony’s own
upload and share online service and 3)
on a compatible smartphone or tablet.
Still Image Size: 4:3; 12.8M
Audio Format: MPEG-4 AAC
Media Type: 8GB internal flash memory
Recording/Playback Times: MP4
format: 12M 1920x1080 - 75min; 6M
1280x720 - 135min; 4M 1280x720 190min.
Still Image Max Effective
Resolution: Approx. 13MP
Still Image Mode: JPEG
Video Format: MP4 (MPEG-4 AVC
(H.264))
Aperture (Max.): F2.8
Minimum Focus Distance: 4"(10cm)
ISO: Auto, 80-1600
White Balance Mode: Auto
Image Stabilization: Steadyshot
Battery Type: Internal
The Result
Still photo and video capture with this
camera are quite good, particularly
when both the camera and the subject
remain relatively still and considering
that the record functions are automatic, with no options for controlling
white balance, exposure, focus and
such. The auto white balance appears
to be accurate while the auto focus is
a bit slow to respond. Low light conditions yield quite a bit of noise. All-inall though, in a fairly calm, well-lit
environment, performance is impressive, with good color reproduction and
crisp, detailed images. Audio is typical
small-camcorder fare – adequate, not
exceptional – with a faint clicking
sound in the quiet places, presumably
from the auto focus feature.
Of course, the main feature of this
camera is live streaming, which it does
quite well, but only as good as the WiFi signal it can lock on to. This is true
with many Wi-Fi dependent devices. To
help this situation, optimized, low-res
videos are streamed, while high-resolution versions are simultaneously stored
locally on the device’s memory.
Image Sensor: 1/2.5" (7.35mm) Exmor
CMOS sensor
LCD Type: 3.0" TFT LCD touch-screen
(230k) with full-screen playback
Shutter Speeds: Auto, 1/30 - 1/4000
Self-timer: off /10sec
HD Output: HDMI mini
USB Port: Flip-out USB
Supplied Software (via download): PC
- PlayMemories Home v.10; Mac - ShareIt-Later for Bloggie
Operating System Compatibility: Windows XP SP3 (32-bit only)/Vista SP1/7;
Macintosh OS X v10.5, v10.6
Focus Area: Center weighted AF
Still Image Playback Options: Playback
zoom
Dimensions (Approx.): 2.25" x 4.50"x .63"
Weight (Approx.): 4.8oz
During tests we found that when
our signal and upload speeds
were insufficient, we experienced
dropped connections, difficult logins and choppy video streams. When
the signal was strong and the upload
speed fast enough, we had our anticipated “whoa…” moment, as quality HD video streamed live across the
airwaves. This feature reminds us
sort of the early days of cell phones
when dropped calls were common,
and we know as Wi-Fi becomes
more prevalent, so, too, will the
abilities of live broadcasting cameras
like the Sony Bloggie Live.
SUMMARY
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.
If you’d like to share life’s events
with friends and family, as they happen, then the Bloggie Live camera
may very well be the device for you.
Contributing editor Mark Holder is a video producer
and trainer.
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®
www.azdencorp.com
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19
More Than Just Media
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Blank Media Buyer’s Guide
contents
BY DAVE THUNDER
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Although many people are still capturing images using
videotape-based camcorders, more and more are
picking up hard drive and memory card technology.
However tape is still available, and viable for archiving
as well as many other options.
I
f variety is the spice of life, the
media management industry offers the ingredients for the perfect
video dish. Media management
is going to be key in the video
producers’ world with non-tape
recording cameras. With dozens
of manufacturers offering everything from DVDs to flash drives,
knowing which media is best for
your operation is key to making
video magic.
For the novice video producer,
your blank media purchase can
be the easiest or most difficult
decision you have to make in
the production process. There’s
just no getting around this one.
Depending on your needs, your
raw stock selections can range
from blank videotape to Blu-ray
discs. As technology continues to
evolve, producers may ask themselves “why blank media?” Just
trust us, the need will always be
there. Maybe you’re not shooting
on videotape or disc anymore, but
you’re going to have to archive
your content at some point. We’ll
look to answer a few burning
questions: what is blank media,
why blank media is good for you,
and what the future holds for the
blank media industry.
Blank Media Matrix
We all have blank media built into
our bodies. The brain serves as
an internal organ hard drive with
an infinite amount of storage. But
we haven’t quite figured out how
to download human memories
into a digital form. Camcorders
and cameras serve as the technological brains behind every video
or film that has been, or will
be, created. Until scientists and
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blank media buyer’s guide
Manufacturer’s Listing
Active Media Products
Lexar Media, Inc.
ADATA Technology Co.
MAM-A Inc.
www.activemp.com
www.adata.com.tw
Advanced Media Inc.
www.ritekusa.com
Alera Technologies LLC
www.aleratec.com
Apacer Technology Inc.
http://usa.apacer.com/us
Blu-ray Disc Association
www.blu-raydisc.com
CD Technology, Inc.
www.cdtechnology.com
Corsair
www.corsair.com
Crystal Clear Media Group
www.crystalclearcds.com
Cypress Media Inc.
www.cypressmediainc.com
DANE-ELEC MEMORY
www.dane-memory.com
Delkin Devices Inc.
www.delkin.com
Deltamedia International Inc.
www.deltamedia.com
Disc Makers
www.discmakers.com
Dynex
www.dynexproducts.com
EMTEC
www.emtec-international.com
Eye-Fi, Inc.
www.eye.fi
Falcon Technologies Int. LLC.
www.falcon-media.net
Fujifilm
wwwfujifilm.com
Hewlett-Packard Company
www.hp.com
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www.lexar.com
www.mam-a.com
Maxell Corporation of America, Inc.
www.maxell.com
Memorex Products, Inc.
www.memorex.com
Microboards Technology, LLC.
www.microboards.com
Millenniata
www.millenniata.com
Nashua Media Products
www.nashuamedia.com
Optical Quantum Inc.
www.opticalquantum.com
Optodisc
www.optodisc.com
Panasonic Corporation of North America.
www.panasonic.com
Raw Stock Rock Stars
Patriot Memory LLC
www.patriotmemory.com
Philips Electronics North America Corporation
www.usa.philips.com
PNY Technologies, Inc.
www.pny.com
PQI
www.pqigroup.com
PRODISC Technology Inc.
www.prodisc.com.tw
SF Global Sourcing
www.sfvideo.com
Samsung Electronics Inc.
www.samsung.com
SanDisk Corporation
www.sandisk.com
Smart Buy Digital Media, Ltd.
www.smartbuydisc.com
Sony Electronics Inc.
www.sony.com
Hoodman Corporation
Super Talent Technology Corporation
www.hoodmanusa.com
www.supertalent.com
Imation Corp.
TDK U.S.A. Corporation
www.imation.com
www.tdk.com
JVC Advanced Media U.S.A. Inc.
Transcend Information, Inc.
www.jvc.com
www.transcend-info.com
Kingston Technology Company, Inc.
Verbatim Americas, LLC.
www.kingston.com
Lead Data Inc.
www.leaddata.com.tw
22
engineers can find a way to sync up our brains to
our machines, we’ll have to settle on using blank
media to serve as the storage bins for our digitally
captured memories, stories and experiences.
Depending on the camcorder you use to
capture your footage, your raw stock needs can
range from blank videotape - predominately
in Mini DV format, as VHS has been aggressively phased out on the consumer front, while
Betamax is being replaced by digital media, like
memory cards and side-by-side (SxS) formats or
direct capture devices.
Once the footage is captured, the tools you use
for your digital media management can range
from, again, blank videotape to Blu-ray discs to
external hard drives. Each format offers users
a wide range in terms of shelf life, so which
products you choose as your media management
tools comes down to a matter of personal preference. Let’s take a look at a few types of blank
media available to video producers.
www.verbatim.com
Compiled by Jackson Wong
Since the beginning of video production, tape
has been the backbone of the industry. This
magnetic strip of visual magic has captured some
of the most memorable historical moments of
the past 60 years. From VHS to Mini DV, tapes
have shrunk in size, while delivering incredible
improvements in picture quality.
Companies like Sony, Panasonic and TDK are
industry leaders in the Mini DV field. All content
shot in the Mini DV format is captured as digital
video, but not all tapes deliver the same quality. A majority of Mini DV tapes feature multiple
recording speeds - SP for 63 minutes, LP for 90
minutes on most brands. Some tapes are labeled
as premium, or feature an HDV distinction on
them, and generally provide greater resolution,
and come with a premium price. For instance,
Panasonic’s AY-HDVM63MQ tapes ($15) are
professional grade and feature high quality tape
that captures a more secure signal, without
the risk of numerous dropouts or unnecessary
noise in your recordings. You’re paying more up
front, but not running the risk of compromised
content should you choose to reuse your tapes
in the field.
Delkin Devices Inc.
www.delkin.com
life in stunning visual quality, while
offering far greater storage capabilities
than blank videotape.
Walk the aisles of any big box
consumer electronics store and you’re
sure to find stacks of DVDs and Blu-ray
discs. Even drugstores tend to carry a
selection of blank discs. Deciphering
which brand is right for you depends
on your needs. If you’re looking for
blank media DVDs that fit your camcorders, be sure you find the right size
– 4.75-inch is the industry standard.
Eye-Fi, Inc.
www.eye.fi
Need blank media discs to solidify
your digital media management process? You may want to explore doubleor triple-layer discs.
MAM-A has developed the ‘gold
standard’ of DVD authoring - literally. The company’s line of MAM-A
24-karat Gold Archive DVD-R discs
(10-pack for $27) are universally
compatible with DVD burners and
players around the globe, while offering ample storage space - 4.7GB - per
disc. The gold discs offer increased
SanDisk Corporation
www.sandisk.com
resistance to corrosion and chemical
breakdown, while promising a long
shelf life. That means your content
will likely outlive you.
Verbatim has a line of Blu-ray
discs that leave its competition green
with envy. What is Blu-ray and how
is it better than standard DVD products? For one, increased storage. The
company offers its BD-R LTH line
(20-pack/$45) of Blu-ray discs that
can store up to 25GB, dramatically
increasing your digital media manage-
Burning Success With DVDs
As streamlined production improved beyond
tape-based capturing technology, video producers found themselves asking for raw stock options that gave them near-instant access to their
files. Introduced in the mid-90s, DVD authoring
gave media creators the opportunity to capture
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blank media buyer’s guide
He Who Delivers First,
Wins the Race
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Professional broadcast outlets, sports
franchises and high-end production
companies have embraced advanced
flash memory resources. The technology is affordable and durable, and
gives video producers instant access
to their content. In a world where the
news cycle is 24 hours, the outlet that
delivers the video first - tends to win in
the ratings battle.
Mark Anderson is a multiple Emmy
award winning video producer based
in Minneapolis. As a former news photojournalist who shot predominately
with tape for several broadcast affiliates, his personal video business has
transitioned to a tapeless workflow.
“I shoot on gear that’s 80 percent
lighter and 80 percent less expensive
compared to my old gear,” Anderson
said. “The kicker is that the picture
quality looks even better at a fraction
of the cost.”
Anderson says in his business
today, which creates multimedia
projects to support public relation
campaigns, he’s able to drastically
reduce the time and cost of producing
his projects, which saves his clients
money in the long run.
“When you ingest files right into
your computer, the upload time goes
by much faster as compared to rewinding your tapes, grabbing cords, etc.
When I travel, my gear package is a
22-inch bag that I carry onto the plane.
It used to be four or five large cases
that weighed hundreds of pounds.
The lighter gear has been a blessing
- to my back and my clients’ pocket
books!”
When video needs to be delivered
in a flash, the future of this highly competitive industry will continue to deliver
content in - you guessed it - flash
format.
Anderson added, “It’s a techie world
out there, so we may as well embrace
it. If we creatives don’t embrace technology, the geeks will rule the world.”
ment capabilities. The crisp image
and audio quality offered by Blu-ray
means your content will continue to
shine for decades. And as your project
demands increase in the HD and 3D
realm, Blu-ray will be right there to
support every format coming down
the line.
Thanks for the Memories
There’s no denying that camcorders
are getting smaller as our demand for
picture quality is getting bigger. What
was once a shoulder mounted behemoth of a camera, is now not much
bigger than a business card. Camcorder manufacturers have embraced
flash technology and found a way to
incorporate it in the most interesting
of ways.
The benefits of SDHC, or secure
digital high quality, memory cards run
the gamut of instant access to files, to
interchangeability between capture
ports in camcorders and longer continuous recording times. Tape was limited to one hour, not so with memory
cards. SD memory cards come in a
variety of storage sizes, ranging from
2GB to 128GB. Recordings are broken
into individual files, making the editing tremendously efficient, as producers can select which files they want to
keep, while deleting those they don’t
at the push of a few buttons.
Kevin Shader from the SD Association likens the future of flash memory
to the transition from analog to digital
tape, as SDHC is giving way to SDXC
technology.
“The products using SD technology
are numerous and gives video producers more flexibility in using the same
card in multiple devices,” Shader said.
“And as SDXC technology, introduced
in 2009, expands, the memory capacities will continue to grow - 40GB,
60GB, 128GB are all on the market
today. SDXC is designed to offer massive storage capabilities, all the way up
to 2TB.”
SanDisk is leading the charge on
the SD front. The SanDisk Extreme
Pro SDHC/SDHX UHS-I memory cards
(64GB, $300) are the top of the line
professional choice for performance
and punch in the field. The blazing
95MB/s speed means videographers
can capture every moment. Large
video files will be written at near
ultra-high speeds, much greater than a
typical high speed of 25MB/s. Continuous burst mode records files as
RAW+JPEG, which means minimal
format conversion for use in most
editing software programs.
For the novice video producers,
Adata’s line of SDHC products offer
precision capturing without the high
price. The company’s 32GB SDHC Class
10 cards ($55) feature read and write
speeds starting at 13MB/s, which will
deliver near-instant response times
both in the field, and in the edit bay.
Shader was mindful to point out
that you can only use the advanced
cards in devices properly marked to
support SDXC cards.
Back to the Future
Looking forward, as less and less
tape-based camcorders are released
and more and more card cams hit
the market, you’re going to need a
lot of room to record your footage.
At this year’s Consumer’s Electronics
Show in Las Vegas, we were introduced Lexar’s Professional 1000x
CompactFlash card. This card is the
first to hold a minimum sustained
read speed of 150MB/s and it comes
with Lexar’s Video Performance
Guarantee support and image recovery software. In addition to that, they
showed off a new USB 3.0 Dual-Slot
Reader and Triton 3.0 JumpDrive.
The Whole Package
Verbatim, a well-known company
in recording media and data storage
technology since 1969, has products for storage from USB drives and
solid state drives to recording media
products like discs and memory cards.
Their SSD devices have fast transfer
rates so you can get that footage off
your card or camera’s hard drive and
into your computer for either editing
or freeing up your card for further use.
Besides the recording media, you can
wrap your video masterpiece with a
lovely label using LightScribe silk-
Maxell Corporation of America, Inc.
www.maxell.com
screen discs without needing to own a
special disc printer.
Embrace the Blank
Many of us in the video world tend to
think we’re indestructible, but the sad
reality is that we, just like our blank
media discs and tapes, will eventually break down. Unless you prefer to
create disposable content that won’t
ever be seen by viewers in the future,
archiving is the “A” in the A-to-Z definition of media management.
Tim Clatterbuck, an optical product
manager with Verbatim, points out
that while the new trend is to save
our content to flash drives, the future
of guaranteed archival lies in the
disc. “There will always be a needed
physical method of storing your data.
Although the optical market is a mature market, it is positioned well for
storage and archiving.”
Regardless of what your digital
media management needs are, you
simply can’t go wrong when backing
up your content. The future is going to
be in media management, and backing up with be top on everyone’s list.
Unlike in old age where our minds
might gray, depending on the blank
media we use, our videos might not.
Dave Thunder manages the video production division of
a marketing and public relations agency in the Midwest.
SynthEyes
3-D Match-Moving and Stabilization
Amazing New
Texture Extractor
“A high-end tracker for a
price even us little guys can afford”
WARNING:
Please come visit our website at ssontech.com to learn
how SynthEyes can help make your next project even
more amazing. Watch our many video tutorials, and try our
shots and yours using the free SynthEyes demo.
Applications: virtual (green-screen) sets, set
reconstruction and extension, stabilization, CG character
insertion, product placement, face & body capture, head
replacement, talking animals.
Recent credits: Avatar, Game of Thrones, Hugo,
Hunger Games, Mission Impossible: Ghost Protocol,
The Girl with the Dragon Tattoo, The Muppets, Red Tails
Runs on PC & Mac. 32 & 64 bit versions available.
Andersson Technologies LLC
verbatim.com
24
Verbatim Americas, LLC.
www.verbatim.com
Memorex Products, Inc.
www.memorex.com
May Cause Sensory Overload!
6x BD-R
Blu-ray™
6x BD-R LTH Type
Blu-ray™
16x DVD-R
8x DVD+R
Double Layer
16x DVD+R
Only Verbatim® has the cure to prevent any optical ailments.
Verbatim optical media is designed to safeguard your digital files without compromising
your sound and visual experience. Our Hard Coat technology protects your digital
life – exclusively brought to you by Verbatim. Eliminating the disc symptoms of dust,
fingerprints and scratches, prepare for the SENSORY OVERLOAD of sharper images
and crisper tracks.
verbatim.com
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Buyer’s Guide
Music Libraries
BY DAVE SNIADAK
Carrying
a Tune:
Music Libraries
and So Much More
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Music
Libraries
There’s a tried video industry cliché that says, “If a picture can tell a thousand words, imagine what video can
do.” Video alone can, indeed, be a powerful medium, but
it’s the supplement of audio, music, graphics and special
effects that can really give your video a powerful voice.
Much like Dorothy’s initial reaction to landing in the
land of Oz, when it comes to music libraries, we’re not
tied to the proverbial constraints of Kansas anymore. The
multitude of media available to a video editor is virtually
limitless – and growing exponentially nearly every day.
Whether it’s a stock footage library for your marketing
business, sound effects for your animations or graphics
for your wedding video business, the content available
today can meet just about any demand that producers
face. How much do you need to spend on music? Where
is the best place to find good stock footage libraries?
Who makes the music and how do they feel about video
editors using it? The answers to these questions are out
there, all you need to know is where to look.
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Beyond iTunes
In our tech-savvy world, a wide majority of our
population tends to rely on Apple’s iTunes as a
place to find the music that moves us through
our days. The online music store hosts millions
of songs from nearly every genre, and in early
2010, saw its 10-billionth download. You do the
math: on average, at just less than a dollar per
track, that’s some pretty serious dough.
Video producers have come to rely on iTunes
as a holding bin for content that helps boost their
productions. Do a search for ‘royalty free music’
and you’ll find more than 400 tracks available
for purchase. With new content being added on a
regular basis, iTunes stands to reign as a supreme
multimedia holding bin for years to come.
That doesn’t mean other sites aren’t carving
into Apple’s market share. Pond5 is a true video
FirstCom Music
www.firstcom.com
editor’s playland. With millions of files available
in its stock media, Pond5’s online marketplace
offers editors an expansive variety of video
libraries, photos, music libraries, sound effects,
pre-made animations and graphics for post-production and a slew of other savory selections.
Tom Bennett, Pond5’s co-founder and CEO,
talked to Videomaker about the benefits of using
Pond5 – both as a consumer of content and
creator of content.
“We are an open marketplace, so any creator
of professional quality content can upload and
sell it on the site,” Bennett said. “We are very
artist-friendly, in that they set their own price
and earn a split each time it licenses.”
Pond5’s business model of letting content
creators name their own asking price allows the
end user to benefit from reasonable fees to purchase clips, and puts more money in the pockets
of the creators. With more than 1,060,000 video
clips available, Pond5 stands tall as an industry
leader for video libraries.
Making Music Matter
Stock footage libraries like Pond5 have established themselves as valuable resources for
video editors, but it’s the ‘little guys’ that are the
driving force behind websites like Pond5.
Beth Thornley is an edgy, eclectic musician
from California who never thought of herself as
anything other than a girl who wanted to create
great music. As luck would have it, her music
caught the ear of producers from networks like
HBO, MTV and CBS. Thornley’s music was recently featured on an episode of MTV’s Jersey Shore.
She understands how music can impact the
emotional interpretation of a scene, and appreciates the opportunities to work with a video editor
trying to incorporate her tunes into their tracks.
“It’s exciting to see how a song can take on
a different meaning when set against certain
storylines,” Thornley said. “It’s a huge deal for
me because there’s so much music out there so
I’m always very grateful and happy. It’s always
an exciting, hold-your-breath moment, I never
know what to expect.”
Thornley recalls that when video producers
approach her about using her music, she always
tries to afford them the opportunity.
Global Cuts
GMP MUSIC
Greg Maroney
IB AUDIO
Image-Line
iStockphoto
Jamendo
Jeco Music
JewelBeat Corporation
Jupiterimages Corporation
Jupiterimages Corporation
Killer Tracks
Laurel Hill Recordings LLC
licensemusic.com
LSM-STUDIOS
MAGIX
Manchester Music Inc.
Mark of the Clark, Inc.
MarkMusic Production
Massivetracks.net GbR
Megatrax
MelodyLoops.com
MOTU, Inc.
Music 2 Hues
Music Bakery Publishing
Music For Productions
Music for video
Music Loops
Musicleads
Narrator Tracks
Naxos Digital Services Ltd.
NEO Sounds LLC.
Nightingale Music Productions Inc.
Non-Stop Music
OGM Production Music
Omnimusic
One Light Music Productions, Inc.
Opus 1 Music Library
Opuzz Inc.
Organic Music Library
Partners In Rhyme Inc.
PG Music Inc.
Phoenix Clips
Pond5
Premiumbeat.com
Pro Sound Effects
Production Garden Music
Publitek, Inc., dba Fotosearch
Radio Mall
www.globalcuts.com
www.gmpmusic.com
www.gregmaroney.com
www.ibaudio.com
www.image-line.com
www.istockphoto.com
www.jamendo.com
www.jecomusic.com
www.jewelbeat.com
www.crankcity.com
Www.flyinghands.com
www.killertracks.com
www.venicesoundeffects.com
www.licensemusic.com
www.royaltyfreeheaven.com
www.magix.com
www.manchestermusiclibrary.com
www.iamusic.com
www.allmusiclibrary.com
www.massivetracks.net
www.megatrax.com
www.melodyloops.com
www.motu.com
www.music2hues.com
www.musicbakery.com
www.musicforproductions.com
www.music-for-video.com
www.musicloops.com
www.musicleads.net
www.ntracks.com
www.naxos.com
www.neosounds.com
www.nightingalemusic.com
www.nonstopmusic.com
www.ogmmusic.com
www.omnimusic.com
www.productiontrax.com
www.opus1musiclibrary.com
Www.opuzz.com
www.organicmusiclibrary.com
www.partnersinrhyme.com
www.pgmusic.com
www.phoenixclips.com
www.pond5.com
www.premiumbeat.com
www.prosoundeffects.com
www.productiongarden.com
www.fotosearch.com
www.radio-mall.com
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Music Creation Software
The idea of online file sharing has come a long
way since the Internet attained global implementation. What was first considered an underground, secret society of sharing has become
big business for online market places that offer
everything from website codes to photos to medical records.
Napster was one of the first sites to offer peerto-peer file sharing, allowing multimedia files to
change hands between users. At the time, this
revolution in the music industry was frowned
upon and led to legal battles that eventually set
the stage for content creators to enter the arena
and make a name for themselves by offering
music and files for mass consumption.
However, video producers needed to find a
way to incorporate original creative content into
their works without being tied down with paying
huge royalty or licensing fees. Music libraries
and video libraries were pipe dreams, until the
programmers from Apple set the groundwork for
what would become one of the largest file sharing market places the world has ever seen.
Sound FX Libraries
Mass Media – The Early Days
Music Libraries
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www.pond5.com
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www.2b-royaltyfree.com
www.300monks.com
www.5alarmmusic.com
www.615music.com
www.8118music.com
www.ableton.com
www.airpowerstock.com
www.airbornesound.com
www.americanmusicco.com
www.animationfactory.com
www.apple.com
www.apple.com/itunes
www.arturia.com
www.apmmusic.com
www.audiobrandcentral.com
www.audiojungle.net
www.audiomicro.com
www.audiosparx.com
www.avid.com
www.bigscoremusic.com
www.blastwavefx.com
www.cakewalk.com
www.capitaldvstudio.com
www.capoproductionsmusic.com
www.cartoonsolutions.com
www.comparisonics.com
www.lazertrax.com
www.cssmusic.com
www.davenportmusic.com
www.dewolfemusic.com
www.digitaljuice.com
www.stockmusic.net
www.dittybase.com
www.doschdesign.com
www.downrightmusic.com
www.dubturbo.com
www.2496sfx.com/
www.elitevideo.com
www.extrememusic.com
www.buystocksound.com
www.firstcom.com
www.jeffreypfisher.com
www.footagefirm.com
www.freeplaymusic.com
www.freesfx.co.uk
www.freesound.org
www.freshmusic.com
www.garylamb.com
www.gettyimages.com
Sound FX Libraries
2b Media Services
300 Monks
5 Alarm Music
615 Music Companies
8118 Music
Ableton AG
Air Power Stock Library
Airborne Sound
American Music Company, Inc.
Animation Factory
Apple Inc.
Apple Inc.
Arturia
Associated Production Music LLC
Audio Brand Central
AudioJungle
AudioMicro, Inc.
AudioSparx
Avid Technology, Inc.
Big Score Music
Blastwave FX
Cakewalk, Inc.
CapitalDVStudio.com
Capo Productions
Cartoon Solutions
Comparisonics Corporation
Creative Digital, Inc.
Creative Support Services
Davenport Music Library
De Wolfe Music UK
Digital Juice, Inc.
Digital Sound Media
Dittybase Inc.
Dosch Design GmbH
Downright Music
DUBturbo.com
electro-illuminations
Elite Video
EXTREME MUSIC LIBRARY LTD.
Fantero
FirstCom Music
Fisher Creative Group
Footage Firm, Inc.
Freeplay Music LLC.
freeSFX
Freesound
Fresh Music
Gary Lamb Music
Getty Images, Inc.
Music
Libraries
Company
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Music Libraries
manufacturers
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www.rampantdesigntools.com
www.revostock.com
www.riovista-media.com
www.royaltyfreemusiclibrary.com
www.royalty-free.tv
www.royaltyfreemusic.com
www.rumblefish.com
www.sfxsource.com
www.shockwave-sound.com
www.sigmusic.us
www.smartsound.com
www.songfreedom.com
www.sonicproducer.com
www.sonnyboo.com
www.acidplanet.com
www.sonycreativesoftware.com
www.soundeffectswarehouse.com
www.sound-ideas.com
www.soundvisionlibrary.com
www.sounddogs.com
www.soundfx.com
www.soundsnap.com
www.soundtraxxmusic.com
www.stockmusicboutique.com
www.stockmusicstore.com
www.stock-music.com
www.stock20.com
www.stockmusic.com
www.studio1productions.com
www.tele-music.com
www.hollywoodedge.com
www.sound-effects-library.com
www.third-coast-music.com
www.triplescoopmusic.com
www.tunepresto.com
www.twistedtracks.com
www.uisoftware.com
www.uniquetracks.com
www.tvmusic.com
www.vcefilms.com
www.videocopilot.net
www.videoblocks.com
www.videohelper.com
www.videostockvault.com
www.instantroyaltyfreemusic.com
www.whisperaudio.com
Sound FX Libraries
Music Libraries
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Rampant Media Design Tools
RevoStock
RioVista Productions, Inc.
Royalty Free Music Library
Royalty-free.tv
RoyaltyFreeMusic
Rumblefish Inc.
SFXSource.com
Shockwave-Sound.Com
Signature Music, Inc.
SmartSound Software, Inc.
Songfreedom.com
SonicProducer.com
Sonnyboo Productions
Sony Creative Software Inc.
Sony Creative Software, Inc.
Sound Effects Warehouse
Sound Ideas
Sound Vision library
Sounddogs.com, Inc.
SOUNDFX.com
Soundsnap
SoundTraxx Music Library
Stock Music Boutique
Stock Music Store Inc.
Stock-Music.com
Stock20.com
StockMusic.com
Studio 1 Productions Inc.
Tele Music
The Hollywood Edge
The Sound Effects Library Ltd.
Third Coast Music
Triple Scoop Music
Tunepresto
Twisted Media, Inc.
U&I Software LLC.
UniqueTracks Inc.
Valentino
VCE Films
Video Copilot
Videoblocks.com
VideoHelper
Videostockvault
Webtones Ltd
Whisper Audio Ltd.
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Music
Libraries
“If the concept sounds good and they have
a music budget, we’ll talk nuts and bolts. But
if they’re kids or students who want to use my
music for a personal photo slideshow, I’ll usually
let them use it.”
Thornley shares the sentiment of a lot of
artists, who simply want the exposure of being
featured in videos, but ensuring that the project
is a good fit for their style of music.
“It all comes down to editing,” Thornley said.
“They could call me and my producer and we
could edit something seamless for them. I just
wish that they wouldn’t chop it up too much.”
Lesson being that if you have the budget to
work directly with the artists, they can usually
produce amazing original scores that will help
your video projects stand out from the crowd.
License and Registration, Please
At some point in your life, you’ve probably
pressed down on the pedal a bit too hard and
heard the line we all dread: “license and registration, please.” While you may not get read
your Miranda Rights for violating the terms and
conditions of a copyright clause in your online
video, you can run the risk of dealing with legal
action should you not take the proper steps to
protect yourself.
Music libraries have become very good at
protecting original content. Similar to how blank
checks from your bank have watermarks; music,
video and visual effects have tracking codes
embedded within the files. TuneSat is a company
that has created audio fingerprinting technology
that monitors online use of an audio file. TuneSat’s programming can detect when a piece of
music was played, where it was played and how
many seconds it was played.
If your video editor is producing a piece that
will be shown in public, or broadcast to an audience, securing the rights to a particular audio or
visual element is crucial to keeping yourself out
of trouble. The demand for original, effective music is growing, but with that demand comes an
inherited cost. You can pay the rights fees for a
particular file – which can run upwards of several
thousand dollars – or you can try to develop your
own original content.
There are several types of licenses that are applied to original content. For example, a buyout
license – often referred to as royalty free - allows a
producer to pay a one-time fee and use that content as many times as he or she likes. An industry
term for this is a lifetime synchronization license,
which simply means you can use the content and
not have to worry about renewing licenses or paying additional compensation to the artists.
Needle drop licenses benefit the content
producers, as it means you pay every time you
use the content. Think of this as a lease for this
content – you can use the music however you
like, but it’s going to cost you.
Music By The Disc-Full
The great thing about online music stores like
FirstCom Music, iTunes, and Pond5, are the
sites’ ability to offer almost every genre of music
at a price that’s affordable for video editors of all
levels. And depending on your video editing program, almost every format of music file will play
‘nice’ with your project. While .mp3 and .wav
files tend to be the trending format, most music
video editing can be done on the fly without too
much manipulation of the files.
FirstCom requires customers to purchase a
licensing agreement, after which they can purchase individual tracks or entire albums from
artists who create content specifically for video
editors. FirstCom’s site is easy to navigate and
allows producers to search for specific genres;
the site recommends a variety of uses for the
music like style, mood, tempos and eras.
Traditionally, music libraries have been sold
in bulk on CDs, but as online technology has
expanded, users can simply pay for the tracks
they want and download them right into the video editing program. Whisper Audio is another
online resource for royalty free music. This site
offers instant downloads of selected tracks from
artists, or you can commission them to create
original content for your project. Either way,
Whisper Audio’s music libraries are expansive
and can deliver the right sound at the right moment in your video project.
Custom Creations
While FirstCom Music, Pond5, and Whisper Audio
all offer unique content for video editors, the
truth is, at times you’ll need something that adds
a unique touch. While hiring a musician like Beth
Thornley may not be in your budget, working with
tracks and loops from Musicians Media might just
do the trick. With more than 20 genres of music,
you can use their loops and tracks to create your
615 Music Companies
www.615music.com
original scores. By paying an annual membership fee ($70), users get access to more than 2,500
loops and sound effects that can be combined to
create the perfect sound you need to seal the deal
on your sweet sounding track.
Programs like Soundtrack Pro and GarageBand are also great ways for video editors to
build their own music, without having to pay a
premium price to access content.
Magical Musical Tour
Whether it’s music you create, pay for from a
music library, or receive on loan from an up-andcoming musician, how you use music in your
video projects is important to keep in mind. If
you’re creating content that will live on your wedding video business website, you can expect only
those people who are looking for a wedding videographer might see your creation. If your independent feature will be entered into film festivals
and, with any luck, gets picked up and shown in
theaters across the world - millions of eyes might
see your work. Music is such an important element in video so ensuring you’ve taken the steps
to protect yourself is also important.
Stephen Arnold, founder and president of
Stephen Arnold Music, creates sonic brands
for television networks and ad agencies across
the globe. His music is heard by millions of TV
viewers every day, and he tells Videomaker that
knowing the proper context for the music you
choose will help make the investment easier.
“Will it live on a webpage, the radio, television or a handheld device?” Arnold pondered.
“That understanding contributes to the right
piece of music, one that creates an instant topof-the-mind awareness and has a long shelf life.
It might seem obvious, but sometimes overlooked, is the importance of choosing music that
helps the visuals.”
Music Matters
As you move forward with your video editing program, much like Dorothy felt when she
first glanced out over the colorful landscape of
Oz, keep your eyes wide and ears open to new
experiences.
According to Arnold, music is the one driving force behind making your video a success.
“Nobody hums the announcer, nobody whistles
the animation or sings the graphics. The melody
often lingers long after the show is over and, in
many cases, the product is gone. Music makes a
powerful, direct connection to human emotion.”
Dave Sniadak is an award-winning video producer based in Minneapolis. His clients include several Fortune 500 companies, professional
sports franchises and small businesses.
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n original work of art, such as a
video, music, screenplay, or script,
is automatically protected by the laws
of the U.S. Code, title 17 as soon as
you create the work. However, for
added protection, you should place a
copyright notice on your script and
register it in the U.S. Copyright Office
because that registration is necessary
to bringing a lawsuit for copyright
infringement. The so-called “poor
man’s copyright” – mailing a copy of
your work to yourself to obtain a postage date – is not adequate to secure
registration, and cannot be used in
a court of law to support a case of
copyright infringement.
Once you’ve created your work,
only you as the copyright owner, can
give permission to others to copy the
work, to distribute copies of the work
by sale, rent, lease, or other transfer
of ownership, to prepare derivative
works based upon the work (i.e., make
a movie, say, derived from your script),
or to perform the work publicly. You
also have the rights to deny anyone
copying your work by refusing to
license it, therefore exclusively keeping all copyright rights for yourself. If
someone copies your work without
your permission, you can bring a
lawsuit against them for copyright infringement. The court, using its discretion, can award you up to $150,000 in
statutory damages if someone willfully
infringes your copyrighted work.
Now, a friendly word of advice:
copyright law is serious business. Do
not copy another’s script or play or
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any part of it or make another work
that is derived from it (a “derivative”
work) unless you have the copyright
holder’s permission. Just because it’s
easy to copy the works of others, via
computers, video and audio recording
devices, photocopiers and the Internet, doesn’t make it lawful to do so.
The Copyright Symbol and Notice
- What, Where and When
Even though copyright law automatically and immediately protects your
work, it is a good idea to place a
copyright symbol and notice on it as
soon as you create it. If you provide
this notice on your script, an infringer
will be liable for all actual or statutory damages before receiving actual
notice of your copyright registration.
Make sure to place the copyright
notice on your work when you create
it and make sure the copyright notice
appears on all of your copies, too.
You do not need special permission
to print the copyright notice on your
script. Do it yourself when you write
the first version and every subsequent
version of your script. The notice
should contain 1) the encircled “c”
(“©”) symbol or the word “Copyright”
or the abbreviation “Copr.”; 2) the
year of first publication of the script
or the year you wrote the script; and
3) a form of your name or the name
you wish to use. Simply choose one of
these forms of the copyright notice:
• © Mark Levy 2012
• Copr. M. Levy 2012
• Copyright Mark Levy MMXII
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What is Copyright?
Originally designed to
protect printed material
from being copied
without permission,
the copyright laws
have now extended
to include any original
work created by an
individual, giving that
creator exclusive rights
to control that material.
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BY MARK LEVY AND AMY MANZER
You must use all three components
of the notice (the copyright word,
abbreviation, or symbol; your name;
and the year date) on one line for the
notice to be effective. Using the copyright symbol © by itself is incomplete
and defective notice and does you no
good at all.
The copyright notice is just that.
It gives notice to the public that you
own your script. There is no such
thing as providing too much notice.
For videos, you should place the
notice onscreen at or close to the beginning of the video or at the end, not
hidden somewhere in the middle. You
should also include the notice on your
DVD labels and on the jewel box, case,
or sleeve that holds your video.
How to Copyright a Script
You have a number of options for
registering your copyright. You will
need a copy of your work to submit
for registration. If your work is a written script or a treatment, for example,
send a written copy of it; and if your
work is a complete video, send a videotape or DVD. You can register online
using the electronic Copyright Office
(eCO), you can prepare the application online and mail in the copy of
your work to be registered or you can
register by mail. More information
can be found on the Copyright Office
website: www.copyright.gov.
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International Copyrights
U.S. copyrights do not automatically
protect your scripts internationally,
but in many cases, they are effective. Protection in foreign countries
depends on the laws in those countries. If you wish to obtain protection
in a particular country, you should do
so prior to publication. You can find
more information regarding International Copyright at www.copyright.
gov/fls/fl100.html.
What is Not Protected by Copyright Law
Wondering how to copyright a name
or how to copyright a phrase? You
can’t. The United States copyright law
does not protect titles, names, short
phrases, slogans, symbols or designs.
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forms/formrequest.html. Prepare
the forms following the instructions
provided and mail the form, payment, and a copy of your work to the
address provided on the form. Since
the Copyright Office receives more
than 50,000 copyright applications
each month, you may wish to send
your envelope certified, with a return
receipt requested, so you know when
the Copyright Office receives your
materials.
These are covered under trademark
law. Works that are not fixed in a tangible medium of expression – such as
improvisational works or spontaneous
speeches – are not protected under
copyright law.
Now that you have everything you
need to know about protecting your
original work under the Copyright Act,
you’re all set. You can start copyrighting your work. That’s the good
news. The bad news (for us copyright
lawyers) is that you no longer need an
attorney’s services.
Writers Guild of America (WGA)
Registrations
The Writers Guild of America is a
group made up of two different labor
unions: The Writers Guild of America,
East (WGAE) (www.wgaeast.org),
representing TV and film writers living east of the Mississippi River, and
the Writers Guild of America, West
(WGAW) (www.wga.org), representing TV and film writers living west
of the Mississippi River, including
Hollywood and Southern California.
The WGA helps creators in establishing the completion date of material
written for audio and video, such as
scripts and video specifically intended for radio, TV and film, video
cassettes/discs, or interactive media.
The WGA also registers stageplays,
novels and other books, short stories,
poems, commercials, lyrics, drawings, music and other media work.
Registering with the WGA records the
creator’s claim to authorship of their
work. Registrations are valid for five
years, and then can be renewed for
additional five-year increments.
The fee for registration with the
WGAW (West) is $10 for members
and $20 for nonmembers. The fee
for registration with the WGAE (East)
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Form CO caution
users of one of
the few times your
identity will be put
on public record.
U.S. Copyright Office provides pretty
clear instructions
throughout.
Joining one of the writing guilds of
America can be a major step in collaborating with industry professionals.
Registering scripts costs about $20
and half of that for members.
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.
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form is universal: it is the same form
used to register any sort of copyrightable material. Fill out the form, then
print the completed form and a shipping slip to be attached to your work
for sending through the U.S. Postal
Service (USPS). The fee for this hardcopy filing is $50.
Finally, you can prepare the application on a paper (hardcopy) form and
mail the application and your work
through the USPS. The Copyright Office has separate divisions for different types of works. Various types of
copyright forms exist to simplify the
job of registering the different types of
works. Here are the most frequently
used forms and their purpose:
Form TX (Text): Includes stories,
novels, poems, treatments and outlines in written form on paper. Titles,
names, slogans and short phrases are
not protected under the copyright
law but are protected under trademark law.
Form PA (Performing Arts): This
form is used for dramatic works,
plays, scripts, motion pictures and
other audiovisual works on videotapes and DVDs.
Paper forms are not accessible online, but can be requested by contacting the Copyright Office by telephone
at (202) 707-5959 or 1-877-476-0778
(toll free), or you can request the
forms online at www.copyright.gov/
CO
CO
Registering online is
available for basic works
that are published electronically, such as literary works,
visual arts works, performing
arts works, and sound recordings. Go
to www.copyright.gov to register online and click on “eCO Login,” follow
the links to the eCO Login page, and
then click on the link for a new user.
You will then be required to set up an
account and log on to the eCO system.
Once you are logged into the system,
click on “Register a New Claim.” You
will then navigate through a series of
screens that will require you to enter
information. Once you have completed the form, you will be prompted
to submit payment online and upload
a digital copy of your work. The fee
to file the application online is only
$35 and protects your script for your
entire life plus 70 years, making this
one of the best legal bargains imaginable. Filing online provides the fastest
processing time and allows you to
track the status of your application.
You can also prepare the application online by going to www.copyright.gov and clicking on “Forms,”
clicking on “Form CO” under option
2, and then clicking on “Download
Form CO.”
The instructions for filling out the
form can be found at www.copyright.
gov/forms/formco2d-ins.pdf. This
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Disclaimer: Legal Information Is Not Legal Advice
There are different
forms to file for different works that you’ll
want to copyright.
The Form TX is for
literary works like ads,
textbooks, fiction and
nonfiction. The Form
PA covers audiovisual
works, whether the
audience is viewing
it on a computer or
smartphone.
is $10 for members, $22 for nonmembers, and $17 for students. You
can register online at the appropriate WGA website for the corresponding region, or you can register by
mail or in person.
To register by mail or in person with
the WGAW, you can send one unbound copy of your material printed
on paper no larger than 8.5x 11-inch
with a cover sheet attached and the
appropriate fee to the mailing address below. The cover sheet should
contain the title of the material, the
writer’s full legal name, social security
number, email address, and phone
number, along with a return address:
WGAW Registry
7000 W. Third Street
Los Angeles, CA 90048
Upon receipt, the WGAW will seal
your submission in an envelope and
record the date and time. A numbered
certificate which serves as the official
registration document will be returned
to the address provided.
To register by mail or in person
with the WGAE, you can request a
registration envelope by sending a
9x12-inch self addressed stamped
envelope with $1.08 postage to the
address below. You will then place
one unbound copy of your material printed on paper no larger than
8.5x11-inch into the registration envelope. The envelope should be marked
“Registration envelope sealed by:”
and signed by the writers using their
legal name. The envelope should then
be put into a larger envelope with the
appropriate fee attached to the front,
and then may be either mailed or delivered in person to the WGAE office
at the address below:
Writers Guild of America, East, Inc.
250 Hudson Street
New York, New York, 10013
Attn: Registrations
Upon receipt, the WGAE will date the
envelope and assign a registration
number, and then issue you a receipt.
It doesn’t cost much to protect
yourself, and the assurance is worth it!
Contributing editor Attorney Mark Levy specializes in
intellectual property law. He has won many amateur
moviemaking awards. Amy Manzer is a paralegal at
Hinman, Howard & Kattell concentrating in intellectual
property rights.
35
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Y
our local newsman implores
you to do it; the morning anchor asks you to share your special
moments with her on Facebook;
the weatherman isn’t just calling
for severe weather, he wants to see
your best tornado footage. The local media has become increasingly
reliant upon its viewing audience to
help tell the stories of the day. The
only question is: will you be ready
to roll when news breaks?
The news cycle has evolved into
an around-the-clock intake process
for media outlets. With the prevalence of affordable camcorders,
smartphones equipped with HD
video capabilities and mobile access from coast to coast and across
the globe, regular citizens can share
their stories - in real-time - with a
content-hungry online audience.
But just because nearly everyone has access to video technology,
should be considered potential
citizen journalists? What exactly is
citizen journalism? What are ways
the average Joe can shoot like a
pro? And what exactly is considered
“film at 11” material? Videomaker
talked with some seasoned shooters
to find out how anyone can improve
their chances of getting their footage seen by the masses on local - or
network - news channels.
BY DAVE SNIADAK
When news happens are you ready to
record it? Used to be, just traditional professional news jockeys got the story on
the air. Now anyone with a camcorder
can cover news as it happens...
The Glory Days of Storytellers
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Storytellers come in all shapes,
sizes and ages. From grandpa retelling the battles of his times served
overseas, to the toddler telling the
tale of adventures at preschool,
how we craft and deliver a message
is limited only by our own imaginations. Citizen journalism could be
interpreted the same way.
For decades, a credentialed TV
film crew was held in very high
esteem. Their skill set was unique,
requiring the finest education and
experience. While anchors and
reporters were the faces of newscasts from sea to shining sea, there
was an elite force of behind-the-
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37
scenes laborers who made the talent
look their best. Television production
professionals rarely got the credit they
were due, but true skill shone through
every night with featured stories,
scheduled events, spot news and during the most important times of the
year for broadcast outlets - sweeps.
It was the amazing visuals, captured
by the best of the best photojournalists, punctuated with the emotional
elements edited with just the right
copy writing that usually elevated
media outlets to the top of the ratings
food chain, feasting on the viewers
insatiable desire for good stories.
But the glory days of broadcast
news have been forced to give way
to less glitz, slashed staffs and an approach where quality has conceded
to quickness and quantity, where
story count is more important than
story content.
The Times, They Are a-Changin’
Twenty years ago, Kevin Kjergaard
was a wide-eyed novice news photographer. He started working at
KELO-TV in Sioux Falls, S.D. , as a
way to get his hands on the latest
video equipment. He covered all sorts
of stories, and met people from all
walks of life. When news broke in
South Dakota, there was a lot of real
estate that needed covering. From his
perspective, covering everything with
one camera was great - but there was
always the need for more.
“I remember when major events
would happen and we’d think how
cool it would be to have had a camera
there,” said Kjergaard, now Chief Pho-
tographer at the CBS affiliate. “Now,
we do. Technology has made gathering news and images so quick.”
Keith Yaskin, owner of The Flip
Side, a media and video production
company, once roamed the deserts of Phoenix covering news as
a reporter and videographer. With
more than 17 years of professional
experience under his belt, he has
seen just about every kind of story
you can imagine. With the changing
landscape of broadcast news, he’s
seen a shift in attitudes in the way
news stories are covered.
“It seems like much of broadcast
TV is just tossing darts and seeing
what stuck,” Yaskin noted. “With the
audience craving social media content, viewers would rather watch their
favorites shows on their DVRs than
watch the 5p.m. news with stories that
aren’t interesting.”
“Some of broadcast TV is adapting
to viewers habits, finding their niche
in this new landscape, while other station managers are like the guy about
a century ago trying to sell a horse to
someone who just bought a car.”
What is a Citizen Journalist
With the expansion of social media
being an acceptable form of news
gathering, media outlets have leaned
more heavily on user-generated content to deliver not only timely updates
from breaking news events, but to offer first-person perspectives of topical
moments in our lives. Anyone armed
with a camcorder - or cell phone for
that matter - can deliver real-time
content to anyone willing to watch.
CNN is a global news outlet that
routinely incorporates footage submitted by viewers. Whether it’s cell
phone footage, or pocket cam video,
if it captures news happening and the
chaos or reaction that follows, they
want it. The global news network
started it’s iReport program back in
2006 and has seen contributions grow
substantially since then.
Many major network news outlets
have followed CNN’s suit. FOX News
has its uReport, MSNBC encourages
viewers to submit photos and videos
via e-mail and social media, while
ABC News has its i-CAUGHT franchise.
Contributors typically grant the networks the authority to use their content, and the fine print eliminates the
chance for monetary remuneration.
For most, however, simply sharing
their perspectives to historical moments is compelling enough reason to
submit their footage.
News doesn’t dictate when or if it’s
going to break. How it’s captured depends on who’s around to capture it.
Armed with few of these simple suggestions, you can be prepared to stand
in as “TV Crew On the Spot” and get
your proverbial 15 minutes of fame,
thanks to content that rocks.
Red Light Realities
We live in a ‘looky loo’ society: when
there’s a car crash, we slow down and
take in the scene; if there’s a house on
fire, we’ll stop and watch; if a storm
is approaching, our instincts have
become such that we stand and ingest
instead of seeking shelter. Blame the
media, blame an egocentric ‘noth-
ing bad will
happen to me’
psychology of
society, blame
the president...
whatever the
ridiculous reason, a majority of the
global population tends to absorb the
realities of the moment, instead of
turning away from them.
Either we’ve become so immune
to tragedy and destruction that we’ve
been rewired into thinking it’s okay to
look, or we just have become so desensitized to it that we aren’t affected
by it. Whatever the reason, there’s
a good chance that at some point in
your life, you will be witness to some
form of breaking news. Be it a hitand-run, or impromptu tight-rope act,
you’ll need to be ready. With these
tips, you will be.
• Stay Energized - Much like the
persistent pink bunny pounding on
its drum, it’s important that your
camera - be it a cell phone or highend professional camcorder - has
enough juice to capture the scene.
Never leave home without a fully
charged battery, or make sure you
have a car charger or backup power
source. Spare batteries are generally
easy to find, and really make your life
easier when you can also acquire a
standalone charger.
• Respect the Scene - In the moments following an accident or
serious news event, the crush of
activity and panic will reach extreme
levels. If emergency responders aren’t
on scene, assess the situation and
respond accordingly. No one needs
to rescue you trying to play hero, nor
should you get in the way of those
who are, so use common sense. A
medical emergency may require
your first aid knowledge or director
experience to ensure that help is on
the way.
• Safely Get As Close As Possible “Video does not ‘zoom’ well after it’s
been shot,” said Sean D. Elliot, president
of the National Press Photographers Association. “If you can safely and legally
get closer to what you are documenting,
do so. The less zooming you do with the
camera, the easier it will be to steady
your shot.” However, if an official tells
you to back away from a scene, respect
their commands - or you could make
news of your own.
• Stabilize Your Shot - “Keep your
camera steady,” Yaskin said. “If you
have a tripod, great; if not, lean or
prop your camera against something.
Don’t wave your arm back and forth
like a windshield wiper. This way, if
there are several people shooting the
same event, your video has the highest chance of getting picked up.”
• Composure While Composing - If
the scene you’re shooting involves
lots of action - fire, gunshots, severe
weather, fast moving action - the
temptation to get ‘everything’ will
make your heart race. By maintaining
the basic fundamentals of composition: steady shot, good framing, clear
Videomaker’s managing editor, Jennifer
O’Rourke, has had
her footage seen
worldwide as a
news shooter. It
used to be an elite
job using massive
gear. Now with
the right skills and
knowledge, anyone
can do it!
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38
images, sequential shooting, variety of
shots - you’ll be sure to capture everything the viewers at home will need to
follow the story.
• Talk to Witnesses - “TV film crews
are desperate for eyewitnesses,” said
Yaskin, who worked on both sides of
the camera. “Walk up to people at the
scene and ask them questions. People
tend to talk first, without asking who
you are.” You’ll have your answers
that way, then get their permission for
inclusion in your completed video.
Follow good TV interview techniques
and keep the number of questions to a
minimum. Often times, the more witnesses you find, the closer you are to
reporting a more factual story.
• News Desks on Speed Dial - Having
contacts who you can rely on to take
your footage will go a long way towards
getting your footage aired. “Instead of
just saying, ‘here’s your news for the
day,’ we work with our viewers,” said
Kjergaard, who says KELO-TV viewers
engage with the outlet because the TV
video production staff embraces citizen
journalism. “We let them become part
of the team, they feel it. They want to
be a part of something that so many
people take to heart.”
• Release It to the Masses - If your
content is compelling enough, a
broadcast outlet can give it international television distribution. With
affiliates and wire services, like the
Sometimes the
difference between
legal video and
illegal video is
a few paces.
Respecting private
property and
sensitive areas can
ensure you won’t
be bothered.
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39
1500
Associated Press, Reuters and CNN’s
Pathfire feed, video can be sent across
oceans and borders instantly, where
TV film crew decision makers will
ultimately pick it up and run it during
a newscast.
Jennifer O’Rourke, Videomaker’s
managing editor, was a news shooter
during the glory days of broadcast TV.
Working at several California stations
for two decades, she says she had an
uncanny sixth sense about being at
the right place at the right time when
events unfolded - and because of that,
many of you may have seen some of
her footage at one time or another.
“I covered many actions that
no other news crew caught which
elevated my footage right away to
national and international broadcast,” she says. “The key is keeping your wits about you, staying
emotionally focused on the tasks
of good framing, proper coverage
and illustrating the event correctly;
and being very alert and aware of
what is going on all around you, not
just where your camera is focused.”
O’Rourke adds that if consumer
cameras captured those same events
back then, the footage would have
had to be extremely unique, because
the camcorder quality was so poor.
“But now, anyone with a small digital camcorder who captures clean,
focused and stable footage can get
their work seen on TV,” she says,
“It’s a wonderful way of democratizing a once elitists-only world.”
Content Comes Before Quality
As a citizen journalist, it’s hard to
travel with television production
gear, let alone afford shooting with
it. Your handheld camcorder or
smartphone - whether it shoots SD,
HD or 3D - will generally be accepted if it captures the moment.
Producers and editors will want
visuals that are compelling, captivating and emotive. Don’t worry about
not having the best equipment, just
focus on how to use a camcorder in
a way that will help paint a picture
of what you’ve just witnessed.
Additionally, there are some rules
and regulations that could impact
how to shoot videos. According to
both the Federal Communications
Commission (FCC) and the American
Civil Liberties Union (ACLU), which
outlines citizen journalist rights,
videographers are legally allowed to
shoot photos and videos at crime and
accident scenes, as long as it doesn’t
interfere with the work of law enforcement officials.
FCC rules state that citizen journalists and TV film crew alike cannot
break any laws while shooting video if you are standing on private property, and the landowner asks you to
leave, you need to leave. You can (and
just might) be arrested for trespassing.
Business owners may also interact
with you in this territory since their
image is like that of a public figure,
and they won’t want to be misconstrued. However, at no time can
law enforcement officials take your
camera, unless they have a warrant,
or you’ve broken - or are in the act of
breaking - a law.
Additionally, the ACLU points out
To increase the
chance that you’ll
record usable and
desirable footage,
go for stabilized
shots. Even your
camera bag can
be a source of
stability.
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40
that producers will want to check their
state wiretapping laws if they plan to
use the audio portion of their video.
These laws vary from state to state,
so educate yourself before pressing
record. It is not an easy read by any
means, but it does refer to eavesdropping and may come into play for your
footage. The table in the following
link shows whether photos or video is
included for your state. www.videomaker.com/r/605
“Know when to back down, regardless of your legal rights,” added Elliot.
“Your video won’t do you any good
if the camera is in the impound and
you’re in the lockup. Don’t get yourself arrested if you can avoid it.”
Film at 11, Notoriety for You
What makes good “made for TV”
video? There’s an industry saying:
“If it bleeds, it leads.” However, as
Kjergaard noted from his two decades
of telling stories across South Dakota,
it’s not always the flashing lights that
capture the viewers’ attention.
“Good content is the unexpected.
What happens right before, what happens immediately after, how people
respond, expressions, body language,”
Kjergaard said, adding that tragedy
sells but, “good things happen everyday that people just take for granted.
Challenge yourself to share those moments as well.”
And while chasing ambulances may
get your story on the news, sometimes
it’s the reaction to the story that generates the most interest.
“Build a relationship” with local
television production staff, Yaskin
added. “Communicate with them
about life’s everyday things. Don’t be
a salesperson (with your video). Be a
person. Prove that you understand the
difference between what’s newsworthy and what’s nonsense.”
Dave Sniadak is an award-winning video producer and
former news shooter. His clients include Fortune 500
companies, professional sports franchises and small
businesses.
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VIXIA HV40
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PROFIT MAKING
PROFIT MAKING
JUNE 2012
SubScriber
Alert!
b y H. Wo lf g a n g Po r t e r a n d J a ck so n Wo n g
Shooting Extreme Video for Profit
Starting a video production business
requires more than just composition
and framing skills, or a large bank
account. It requires thick skin and a
plan to fulfill your vision.
A skateboarder gets big air during a
half pipe run, while a skydiver gets
bigger air when an airplane hatch
opens. A surfer shoots the tube at
the North Shore and a BMX biker
takes on a full-pipe at a custom made
park. These are just a few scenarios
from the diverse and exciting world
of action sports. All the cool clothes,
gear and tricks mean nothing without
those beautiful slow-motion shots
made by dedicated videographers.
Think this could be the gig for you? It
could well be!
Why shoot action sports? Simple
answer: because it’s cool! You know
how you test your camera's capabilities just to try it out, or apply every
transition or filter in your new editing
program? Video and action sports
are buddies that share the common
thought: why climb the mountain?
Because it's there.
Stock media can get you the right music to cover your montages of tricks and crashes. Graphics
will help you reach the cutting edge audience that comes with the territory of action sports.
What makes this type of work so
much more possible today is the
gear. Video cameras are now smaller
and of higher quality than ever
before. With small camera mounts,
it’s possible to get camera angles
which were impossible 10 years ago.
Now videographers can send viewers
along with the action sport’s enthusiast as they defy gravity!
First Things First
Before you start picking out camera
gear, it’s a good idea to first learn
what options are
available within
the surprisingly
vast industry.
Underwater video,
aerial cinematography, BMX bike
video in addition to the sports
mentioned earlier
are specific types
of video work you
can jump into.
However, in order
Your main camera will need to have more control of iris, shutter and
to do this kind of
zoom than your crash cams. Use your plan for shooting outdoors and
work for profit,
assign sportcams like the HD Hero2 for closeups.
you’ll need learn
the basics of how
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44
to start a video production company
or start a video production business,
as the two are different in their size
and scope of services offered. Prior to
learning those business aspects, you
should already have a firm grasp on
how to shoot and edit videos. Knowing how to shoot and edit will make
the work easier for you to pick up
assignments shooting sports videography and sports stock footage or selling
stock footage clips.
When you’ve got a handle on
the basics of shooting, editing and
compiling a good story, look into what
area of action sports video shooting
you’d like to get started with. Much
as you’d like to cover everything, that
is unlikely. It's tough to get started
covering big wave surfing when you’re
land-locked. Covering sky diving or
underwater diving requires specialized
training and a willingness to put yourself in dangerous situations. Other
sports won’t require such personal
commitment, but you’ll need to be
near the action. Once you pick a likely
sport, take time to learn the lingo of
the sport. Another rite of passage
that action sports and video have in
common is the knowledge of exclusive terms, even when their common
meaning is said by average people
everyday. A word like cutback may
have financial implications when used
in offices worldwide, but on the water
it's a reversal of direction; then there's
grip which might be used as a verb by
construction workers the world over,
but to videographers, it's title and occupation! Do you know what a ‘Flair’,
‘Abubaca’, ‘Quarter-pipe’, ‘Amoeba
Bowl’, ‘A-Frame’, ‘Cutback’, ‘Angle of
Attack’, ‘B.A.S.E.’ or ‘Ride it in’ mean?
You better if you want action sports
participants to let you gain access and
get those awesome shots! (See Talking
the Talk sidebar.)
Understand The Gear
After picking out your sport, start
looking at camera gear next. As always, your initial budget will determine what you start with. The other
factor will be the sport you've chosen
to cover. The thing to remember
about shooting action sports is; they
are uncontrolled events. Often you’ll
only get one chance to get your shots,
so that will mean extra coverage.
Having two or more cameras should
be planned for in your budget. One
main camera which will be operated directly by you and one or more
small crash cameras which will operate independently. Your main camera
should be relatively lightweight with
a reasonable amount of control over
focus, exposure and framerates. Look
into finding cameras that have a fast
boot up time, going from resting
mode to shooting mode in seconds
or less. Crash cameras are usually
small inexpensive cameras which get
placed or mounted where potential damage may occur. Numerous
choices are available for your cameras, but keep in mind you’ll want
more control over your main camera.
The main cam should have a zoom
lens with a good range for wide and
tight shots. It should also allow you
some control over scene exposure
and color. Your main cam will also
be your primary source for natural
sound and interviews.
Crashcams should be small enough
to be mounted in places where they
won’t interfere with your subject’s
activity. Again, there are many options available from tiny Point-ofView cameras (POV), dedicated sport
cameras (sportcams) to your everyday
point-and-shoot, or pocket cameras.
Each option has its advantages and
weaknesses. For example, POVs are
very small and can be placed in many
places to get unique camera angles.
Yet, POVs can be expensive and the
professional-grade versions often have
wires attached to the recording unit.
Sportcams are larger than POVs yet
small enough to be mounted almost
anywhere. They are less expensive
than POVs and often come with waterresistant capability or housings. Acces-
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45
subALERT.indd 1
9/19/2011 8:24:27 AM
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PROFIT MAKING
Paying attention
to the legal side of
sports videography
is especially important since you
and your gear have
a good chance of
sustaining injury
or damage. Having
basic liability is a
must.
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sories are where sportcam’s tack on
the expense. Though some brands of
sportcams come with basic mounting
kits, additional mountings and functional add-ons will add to the overall
cost. Both types have wide-angle fixed
focused lenses that allow only wide
shots which create the ‘fisheye’ effect.
Pocket cameras are often an overlooked option as they are the least
expensive potential crashcams. Most
pocket cam models allow for more
control over the image than POVs or
sportcams. Unlike the other types, a
pocket cam typically has a built-in
zoom lens which allows control over
focus and depth of field. Pocket cams
are also compatible with standard
consumer-grade camera mounts and
inexpensive generic batteries are
available. Their primary advantage
is being able to view the scene and
clips on location with a built-in LCD
monitor. The main disadvantage of a
pocket cam is that it's not designed
for strenuous work, though some
models have surprisingly durable
bodies. You’ll also need to purchase
a specific waterproof housing which
may cost more than the camera and
protection for the LCD screen. The
most important factor for crashcams
is to absorb enough damage to protect your recording media. Crashcams are replaceable. Valuable video
footage isn’t.
Now who exactly will pay you the
most for your action sports video?
Take a look at GoPro, they sponsored
the Winter X Games 2012, so we
figure their cameras are doing some-
46
PROFIT MAKING
JUNE 2012
thing right. They accept video shot by
their customers to use in commercials,
so that sets a benchmark. The question is, how do you want to emulate
their success? The easiest trick to pull
is the perspective you take on action
sports, GoPro goes prone - getting
low angles, above-the-athlete angles
and all with a little fisheye twist at the
edges. The key here, is being able to
get the same variation of shots that
you would conventionally use in a
shoot. Except that for your medium
to close shots, your camera operator
will need to be able to keep pace with
the athlete. Another trick is the right
gear, yes you might want to fasten a
sport camera to the athlete, but many
shots would do well to use a handheld
device such as a boom pole or cage.
Another issue is the color balance on
the sportcam might vary greatly from
your main cam. GoPro just released
ProTune, a firmware upgrade for Hero
2 to increase bitrate and give you better image control, check it out.
Three Legs
Before you get into your safe and
climate controlled studio, it is important to note, a sense of documentarian-ism in your storytelling.
Think access, character and story.
The right combination of legality,
gear and swagger you carry to an
event can provide the access. The
audience that is willing to go surfing
or skiing but can't is substantial.
Your goal is to give them access. If
you have any means of getting good
shots, do it and don't be afraid to go
guerilla style (www.videomaker.com/
article/13381/). If you have pull with
the organizers, you'll be allowed on
the course in a tucked-away place.
The athletes often times provide
plenty of character since they risk
their well-being for fun. Getting such
unique individuals to sit still for an
interview may be impossible, so don't
bring them into a studio; interview
them on location, it'll remind your
audience exactly why they want to
watch this person. Meeting the athletes at their level also can gain you
some respect, after all, if you know
what it's like to hang five - the one
who can hang ten is more likely to cooperate with you. It is also very likely
that action sports athletes will have
other interests or occupations because
few will get featured in commercials
like Shaun White, and that means
affording such a demanding hobby is
another factor.
Another similarity of action sports
and videography is contests, though
the fierceness in a skateboard competition often far outweighs what you'll
see during a 24-hour video challenge.
Telling that story in a compelling way
should be close to chronological.
Follow a team, whether their points
count together or act as a pit crew for
one individual. Having those people
to interact with on the sidelines will
be invaluable. If you are fortunate
enough to locate a winner, showing
the behind the scenes of each step it
took to get there can be a great joy,
then arrange your scenes in a way that
builds up to the awards ceremony or
celebration.
Now let's say you bought in with
the team that finished second, you'll
need to build your storytelling skills
by finding what will draw an audience
in. Knowing that the team had an
undying spirit might be one storyline,
or there could be less sporty conventions, like the demographic of your
competitor or another social message,
as this commercial demonstrates:
www.videomaker.com/r/603/. It has
become more and more apparent that
sponsors play a big role in the sports
industry as a whole, so expect them
here with action sports too (another
story to tell all together.)
Handling Post-Production
Once you have those great shots
recorded, editing (post-production)
will be your next challenge. Whether
you decide to edit or not (raw video
is more appreciated than usual by
the action sports crowd,) figuring out
the pace for your edited videos will
determine their impact. In case you
couldn't catch the best part of the
trick, it's common to see the climax
of a run on the half pipe slowed
down for both drama and clarity.
Consider your interviews, will you be
able to get the athlete while they're
both excited but calm enough to
speak coherently? For those who are
unfamiliar with the tricks being performed, slow motion or even freeze
frames can emphasize the impact
of a trick that lasts just one second.
You'll need to build up to these
points, and it may benefit you to use
B-roll of the space in which the action sport will take place, you're sure
to have an eye-catching visual here,
be it a dirt bike course, snowy moun-
JUNE 2012
tain, or beach. Then in editing, you
may find the practice runs very valuable in the way of spills and goofs.
Don't worry about slow-motion here,
it'd be too painful. Instead focus on
the reaction in the aftermath - it is
quite a redeeming quality for athletes
to carry on after a big fall. Music,
stock video and graphics will help
you create the look and feel of your
projects. The graphics will be one avenue to channel more information to
your audience, such as which run the
athlete is on, time, name and more
that will play into your story. Having
heart-pumping music helps, and free
stock music could fill the bill nicely.
There are many sources for stock
music, video and graphics be they
free, pay-per-use or royalty-free. (See
page 26 in this issue).These valuable
tools can save you time and money
during post-production.
The Business and Legal Stuff
Finally, be knowledgeable about the
legal side of the video business and
video production. Yeah it’s boring,
but the alternative of not paying attention to the legal stuff can cause
you to ‘wipe out’ in an instant. Get up
Talking the Talk
Whether it’s shooting terms for a video producer or jump terminology for a
skateboarder, you need to know the lingo to capture the action. Here’s the
answers to terms posed in this story (some may apply to multiple sports):
A-frame - Surfing term for the cross-section of a wave that creates waves perfect for barrel surfing.
Abubaca - BMX term for when a rider goes up a ramp, touches the back tire to
the coping (edge) and then rides back down fakie.
Amoeba Bowl - Skateboarding term for a non-symmetrical pool with curved
edges.
Angle-of-Attack - Skydiving term for the angle with the parachute or ‘wing’ is
presented to the apparent wind.
BASE - Acronym used by Base Jumpers which stands for Building, Antenna,
Spans and Earth which are the means to jump from a fixed object instead of an
aircraft.
Cutback - Surfing term for reversing your direction in one fluid movement.
Flair - BMX term for a back flip with a 180-degree turn.
Quarter-Pipe - Skateboarding term for a ramp or pool that has a horizontal
deck, a cement or steel coping (edge) and a curved transition with a flat-bottom.
Ride-it-in - Term used by pilots and parachutists meaning crash or unsuccessfully deploy a parachute.
to speed on legal forms like model/
talent agreements, location releases,
work-for-hire agreements and so on.
Consulting with an attorney about
these things and how to start your
company may sound like an extra
expense, but knowing what’s up will
keep you in business! Speaking of
covering one’s assets: insurance...
you’re going to need it. Even if you
don’t plan on going into the water or
jumping out of a perfectly good aircraft, your gear always has a chance
of finding itself in harm's way. Accidents happen, gear gets broken,
camera mounts fail and incidental
damage occurs. What if your gear
causes an injury? At the minimum
you’ll need to cover your gear with
basic liability and short-term policies
are available to cover the duration
of a project. Some standards are
outlined for general liability, namely
the amount of people in attendance,
duration of the event and location.
www.videomaker.com/r/604.
Shooting action sports can be an
adventure-filled way to make a living.
You’ll need to learn the lingo of the
sport, network with action sports participants and then pick out your gear
according to the environment you’ll
be working in. Next, decide whether
to bring on an editor or do your
own editing along with finding stock
music, video and graphic resources.
Last and absolutely not least, become
familiar with the legal side of the
video business to learn about what
you’ll need to operate. Though there
will be quite a bit of work to accomplish before and after you get those
fantastic shots of extreme daredevils,
it’s worth the effort for the ability to
make a living shooting action sports
for profit.
Writer-producer-director H. Wolfgang Porter is a former
U.S. Naval Combat Cameraman who now produces
independent film and shoots a lot of extreme video.
Jackson Wong is an associate editor for Videomaker.
47
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LIGHTING
LIGHTING
JUNE 2012
b y T e r r y O’ R o u r k e
Portable Lighting Equipment
When you think of assembling a
portable lighting kit, you need to
consider what you need to complete a job, and also how to get
that kit to your location.
The best equipment in the world isn’t
any good if it’s too big or too heavy to
take with you. It is with this in mind
that we are going to learn about a location kit that includes enough equipment to shoot a full blown production
but that can separate into component
groups that allow you to trek into
parts unknown whether by car, bike,
plane, boat or even on foot.
Not Your Average Grab Bag
Consider a portable lighting kit that will
be transported to you location in your
car. It may include several lights with
light stands along with all the support
equipment that accompanies it such as
power cords and splitters so you can
plug in more than one light. You may
also have a boom with a counter-weight
for overhead lighting and maybe a cart
to carry it all so you can look professional because you'll get your gear from
A compact light stand will be
able to fit more places than
large C-Stands. Attaching a
portable light can reduce the
space it'll take and cut down
on cords and sandbags.
your car to your location in one easy
trip. Throw in a laptop and monitor and
you’re good to go.
But what happens if your director
gets a sudden wave of creative inspiration and without your knowledge
arranges an interview with a “sky view”
shot from the catwalk above a factory
floor and the only way to get there is
by way of a series of ladders? The good
news is that the director understands
that your billing for the job has just
increased but the bad news is that all
that great gear you brought along is
just a bit too big, heavy and cumbersome to carry up the ladders. Perhaps
all you brought along is that old metal
tripod because you don’t like packing
your nice carbon tripod on the cart. Or
maybe you only packed two 15-pound
sandbags and the shot from the catwalk
calls for a total of four bags, well... the
shoot was pretty conventional and you
thought you were more than ready.
Love-Hate Relationship
This is one of the most frustrating
situations you will encounter and
as you grow into your career as a
videographer you will find that this is
quite common. As a professional you
are expected to deliver great imagery
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48
under all conditions and the better
the director, the greater the chances
of a situation like this occurring. It’s a
love-hate relationship. The challenges
of a great location can be so rewarding while at the same time drive one
to complete hysteria! So let’s start with
exactly what went wrong with the
scenario above.
You came prepared for the location that everybody agreed on but
things changed. The operative word
here is “changed” and as we all know
change is good except when it happens to you. So the first thing one
must consider when packing a kit
for location is “change.” Perhaps the
lighting will change, such as the room
you are shooting in is on a timer and
the lights go out at 6 p.m. and you
are shooting until 7 p.m. Or maybe
the location with those beautiful
blue walls you saw in the photograph
are now beige. Perhaps the location
photos were taken in another season,
and the greenery you were counting
on is brown and lifeless. Whatever - It
doesn’t matter! Everything changes
and it’s your creative interpretation
of each situation that will carry you
through and keep the clients coming
back for more.
Weapons of
smart production
FIELD RECORDER,
MONITOR, PLAYBACK
& PLAYOUT DEVICE
Pack Light
When packing a video production lighting kit the first thing
to consider is how much can you carry by yourself without a
cart and still be able to light an interview. With this in mind
always have two very portable lights as well as an on-camera
light available. By very portable, I mean no cords to plug in
and preferably a case you can sling over your shoulder. Very
portable lights don’t weigh much so they require only small
light stands and small sand bags or if you're lucky, no sand
bags at all. Opting for the battery offering on your portable
light will give you versatility here since you eliminate bulky
cords and won't be relying on wall sockets or generators.
Frequently you are called on to record an interview as the
sun sets or the subject has only time for one take which
means there is little time to plan a set, find electricity to plug
in your lights and set up your camera, all while listening
to the director tell you what he or she wants. The obvious
advantages of small portable lighting are described above,
but there are some drawbacks which include limited power
and reach which means you generally need the lights closer
to your subject in order to be effective. Smaller lights offer
fewer options for modifiers so you must be able to adapt
your vision to these limitations.
Manfrotto makes a nifty little light stand (5001B Nano, $62)
which would be perfect for the “factory catwalk” situation
described earlier because the legs lay flat. This stand, with
one battery powered light, such as the Flolight MicroBeam
128 ($299), will allow you to put a back-light on your subject
while your on-camera light provides fill. The nice thing about
the MicroBeam 128 is how flexible the battery system is. You
can use an extra battery from your Sony or Panasonic camera
or the standard Li-ion battery. If you have some extra hands
at your disposal, have someone hold a reflector and bounce
some of the back light onto the subject for some soft fill and
Reflectors are about as portable
a light tool as you'll find. Some
like the Photoflex MultiDisc (DL42MULTI) have a gold, silver and
mixed side and double as scrims.
HD/SD-SDI PLAYOUT
Playout to any external
HD/SD-SDI device
5.0” MONITOR
& TOUCHSCREEN
Full-Res HD Playback
16:9 / 800 x 480px
Choice of codec
Avid DNxHD
PULLDOWN REMOVAL
Record native 24p
FIELD RECORDER,
MONITOR & PLAYBACK
DEVICE
HDMI PLAYBACK
Instantly review your
HD footage on screen
4.3” MONITOR
& TOUCHSCREEN
Full-Res HD Playback
16:9 / 480 x 272px
Recording
Apple ProRes®
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connectivity, internal and
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test pattern generator and
pulldown removal.
2 models available: H2S/S2H.
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© ATOMOS Global Pty. Ltd. trading as ATOMOS under license January 2012. All trademarks are the property of their respective owners.
LIGHTING
JUNE 2012
Travel-Ready
How about “re-purposing” a Coleman Quad LED Lantern to create a cheap lighting kit! Yep, Coleman - yes, the camping company - has a classic lantern style light ($80) that can be split into four
separate lights each of which is self contained and battery powered! Each light has its own little
handle which provides a quick way to hang them from just about anything you may find on location.
Use them side by side for a bit more power or spread them out for more coverage.
Even a simple hand-held LED flashlight can be an effective way to light an interview as long as
you understand that they have a limited angle of coverage. Why not have fun with that limited coverage and use it to your advantage. A flashlight will give a lot of fall-off on the edges and that can be
very effective for creating a spotlight effect. Don’t forget the headlights on your car. They are very
powerful and can be reflected off a building wall to create a very large light source. Just watch E.T.:
The Extra-Terrestrial!
you have a
good portable
solution for a fairly complex situation.
If you are the lone worker of the lights,
you'll want to set up a stand and arm
and attach the reflector with clamps,
all the while, reminding your subject to
resist the urge to move out of the light.
All the lights mentioned so far
provide very little power so they must
be relatively close to your subject to
be effective; it’s best to have several so
you can place them around the set to
light each element separately. Imagine
recording an interview on a country
porch with the sun setting in the background. Rather than blasting the whole
set with one or two powerful lights
why not try setting out several smaller
lights and creating individual “splashes
of lights” to compliment the shadows
you will definitely come across. This is
how you adjust your vision to the environment rather than trying to change
it. This strategy is good but requires
time, setup and experience to perfect.
Let the Environment Speak to You
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Perhaps you are frequently rushed
and you’re just learning about lighting
but still want to get a great look each
time you work. Once again let the
environment tell you what to do. One
thing you can always rely on is that
there will be at least some light when
you shoot and the fastest and most
reliable way to harness that light is
with reflectors.
Still the favorite tool of both seasoned and beginning videographers,
reflectors require no power and are
easy to set up. Reflectors are also
possibly the most adjustable light you
50
could have - shifting positions as fast as
humanly possible. One of my personal
favorites is a simple 6x4-foot taffeta
fabric which gives a similar effect to
soft-box lighting but is faster to set up.
Even in a fluorescent-lit office a large
fabric scrim - if placed correctly, can
add some definition to your lighting.
By placing it right next to your subject
- but just out of camera view - you
get a beautiful soft rim light around a
person's face and clothing.
What’s really nice about soft fabric as
a reflector is that if the wind causes it to
move slightly, the effect is not usually
noticeable in camera whereas shiny
reflectors such as silver or gold become
completely obvious when they get even
slightly moved by a breeze or the person holding them. But don’t let that stop
you from using them because the shimmery effect they have on a windy day
can be used to add some excitement to
your work. The precious shimmer of
your reflector might be construed along
with a light lens flare or sparkle from a
plug-in to become a sign of magic.
Try recording a high-energy interview such as a weather event with
the sun behind your subject and use
a shiny reflector right next to the
camera. Any movement in the reflector will be obvious and can add to the
energy of the situation. Shiny reflectors
are extremely efficient when compared
to soft white reflectors and can be
used to create strong specular reflections which soft white cannot possibly
achieve, plus they have more “reach”
so they don’t need as much light to
reflect and can be placed further from
the subject. It’s always good to have
both soft and shiny reflectors on any
location and since reflectors are lightweight and compact there should be
no reason not to have them in your kit.
Suppose you frequently carry only a
camcorder and one light. Well, don’t let
that stop you from thinking outside the
box. Instead of mounting the light on
top of your camcorder try holding it off
the side and slightly above the camera.
You will get a more three dimensional
look in the lighting instead of the usual
“on-camera” flat lighting that you see
in so many videos. Or how about directing the light onto a wall and using
the wall as a big soft reflector? It works,
but the light output is greatly reduced
so you will need to have your subject
close to the wall. This is where something like the Bescor LED-60X ($100)
on-camera light is useful because it has
plenty of power for reflecting off walls
due to its narrow beam and it runs on
four AA batteries.
With an understanding of all these
lighting strategies you can approach
any event or location with confidence and rest assured that you'll be
prepared. Collectively, all the lighting
equipment mentioned here makes for
a complete location kit that includes
enough equipment to light a larger
production, but the real value is how
each component of this kit is small
enough to be carried by itself and
used separately for lighting just about
any small setup you may encounter.
Terry O’Rourke specializes in retail advertising photography and videography for clients worldwide.
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Webinars
EDITING
Learn From the Video Experts in the
Comfort of Your Home or Office.
by M ark J ens en
Editing Wedding Videos
Videomaker Webinars
provide the information you need
quickly and effectively. These one
Editing wedding videos used to be
hour classes explain and demonstrate
essential techniques with an
about catching all the right ele-
opportunity for our experts to address
ments, but producers are breaking
your individual questions. With several
new ground with cinematic looks
classes to choose from, Videomaker
that stay abreast of the trends.
provides you with the perfect occasion
to improve in the areas where you
$29.95 per one hour session
All attendees receive a bonus report
crammed full of additional tips we
can't fit into the presentation!
Basic Video Production
Whether you're interested in video
production for new business ventures
or simply picking it up as hobby, this
will teach you the techniques needed
to make better video. Learn shot
composition, camera moves, lighting
and audio.
Basic Editing
There is much more to editing video
than just cutting and pasting. Effective
editing requires a firm grasp of basic
editing techniques. Learn the tools of
the trade, such as pacing, continuity,
transitions, and titling, as well as how
to avoid common mistakes.
Intermediate Editing
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Webinars
• Basic Shooting Techniques
• Mic and Audio Techniques
• Mic Pickup Patterns
• Lighting Techniques
• Light Setups
• Indoor/Outdoor Lighting
• Computer hardware considerations
• Editing software considerations
• Common keyboard shortcuts
• Transition types and purpose
• Editing Theory and Techniques
• Good Habits of Effective Editing
One of the best parts of editing video is getting to
see the pieces of your story come together in a way
that enhances the moment you're trying to capture.
This overview introduces advanced techniques
such as keyframing, compositing, multi-camera
editing and more.
Green Screen & Special Effects
Contrary to popular belief, most special
effects are affordable and easy to
duplicate. Learn how to make the most
of green screen and illusion techniques even on a limited budget.
• Green Screen Setup
• Shooting with Green Screens
• Green Screen Lighting
• Green Screen Editing
• Clone Effect
• Flying Effect
The Art of Titles & Graphics
Great titles and graphics can add a
professional element to your video
production, poorly done they are a
tell-tale sign of an amateur. Learn what
to do and what to avoid while creating
great-looking titles and graphics.
• Filters and Color Effects
• Compositing
• Multi-Camera Editing
• Keyframing
• Audio Editing
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• Design Tips
• Title Positioning
• Editing Software
• Text Effects
• Choosing and Using Fonts
The art of editing wedding videos
begins and ends with the skills of
cinematic storytelling. Consider this
hypothetical statement from a modernday wedding videographer: “My current
project marries the cinematic look and
feel of Sense and Sensibility with the
tone and pacing of Sex and the City.”
Sound like a stretch? It shouldn’t – considering the fact that all of the cinematic
tools once reserved for Hollywood film
studios are now available to videographers in the era of digital cinema.
DSLR cameras, large sensor prosumer video cameras, interchangeable
lenses, and pro post-production editing software, have all bridged the gap
between the historically stodgy look
of video and the cinematic wonder of
film. In the ever-competitive business
of wedding videography, stodgy is out
and cinematic is in.
Here we’ll focus on the post-production side of wedding videography
– the final telling of a wedding story –
the editing. After employing your full
arsenal of camera tools we’ll assume
that footage of the bride and groom’s
storybook day are “in the can.” This
is where the art of the cinematic wedding editing begins.
Editing Theory - Cinematic Formula
Before we get into practical editing
techniques for wedding video, let’s
briefly discuss editing theory. An understanding of editing theory can and
should improve any editor’s practical
editing skills. Formulas are used to
render consistent results. Considering
the trend of wedding videos becom-
ing more cinematic, a simple formula
can help consistently create cinematic
wedding video, especially through
techniques exercised in editing.
In any film or video, and certainly
wedding video, there are two basic
elements of production: image and
audio. There are hundreds of moving
parts within good images and good
audio, but these are the basic practical
elements of a video. Just as important
as the practical, there are two somewhat abstract elements of production:
tone and pacing. These four elements
together, are the main components of
cinematic storytelling and are essential for any editor to understand. This
special occasion is just one instance
IMAGE
THE CINEMATIC FORMULA
need it the most!
AUDIO
S
T
S T O R Y
R
Y
TONE
PACING
To see current updated schedules, visit our Webinars page often!
www.videomaker.com/webinar
where entire families are built around
the all-important story that you are
being asked to convey. Wedding
videos – the keepsake of a lifetime –
benefit from this formula immensely
if considered and applied by a skilled
editor in post.
Four Part Editing
1. Raw Footage Review & Catalog:
There is a temptation with digital
footage to start editing everything at
once. However, any editing prior to a
full review and cataloging of all footage can potentially produce unusable sequences and loss of valuable
time. Shots that felt important at the
beginning of the big day may not have
STORY: The center which all elements
converge on and are built around
IMAGE: Is controlled with framing,
movement, lighting, exposure and focal length
AUDIO: Should be clear, helps tell the story
and may determine the emotion
TONE: Adjusts each element for style and
applies techniques on light vs. dark, broad vs.
subtle, B+W, sepia, etc.
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PACING: Edit for slow, fast or hyper timing,
also story and character arcs
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53
EDITING
The cut is instant,
one frame you’re
looking at a dance,
and in the next
frame, you’re seeing
a wardrobe check.
It implies a
consistent time and
place and should be
your most common
transition from clip
to clip.
the same impact as something shot during the
rehearsal or reception.
Catalog footage by using preprinted sheets that
list each shot by sequential file name with reference notes for each. Also consider cataloging virtually on your computer by indexing shots within
file folders and labeling with file metadata. While
there is no set way to index shots, some labeling
examples might be one or more of the following: establishing, master, wide, closeup, cutaway,
insert, POV, reaction, tracking and so on. Make
references to the important wedding characters
as well: bride, groom, in-laws etc.
The more complete the indexing of the raw
footage, the better you’ll be able to lay out the
necessary sequences and quickly assemble them
into an initial working rough cut. Better yet, the
editing tricks of matching, stealing and fixing
footage are all made easier by proper cataloging.
Even if you are left with a group of goofs caught
on camera for a handful of shots, these may be a
supplement that the couple asks for weeks after
the honeymoon, it’ll be this little bit of media
management that makes your job easy. Arguably the most tedious part of post-production,
cataloging is the essential first step in editing
cinematic wedding video.
2. Rough Cut & Sequence Building:
While laying footage into the timeline your
choices should be basic at this early stage. This
step is also broken-down further into two subset
elements: rough video and rough audio.
Video first – do you have all the necessary
story elements from the wedding day events
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54
EDITING
JUNE 2012
like bride’s grand entrance and aisle walk,
nuptials, first dance and cake cutting? Are these
story elements placed as linear or non-linear
sequences? Here you determine the basic
structure of the wedding story. Some of this
will be straight documentary of which events
happened, the order of those events is up to
you. Consider having the wedding party’s walk
down the aisle as your rising action and the kiss
as the climax. Audio second – and while audio
should be considered equal in importance to
video, audio at this stage may actually be front
and center, dictating the length of a sequence,
the timing of the cuts or the sequential tone. Is
the audio scored (original), source or diagetic
(from within the video content), or is it a “needle dropped” soundtrack from a music library?
Along with rough video, here is where rough
audio as a narrative element is determined.
One simple approach to creating the narrative
is following both the vows and the ministering
official (or the emcee at the reception.)
Whether four to six, or 15-20 minutes, the
rough length of your wedding video should
have emerged. This rough cut should contain
all the essential elements of both video and
audio. In laying out the rough version there is
no worrying about timing, trimming or adding
effects – not yet.
sequences, tone and pacing create and build
emotions such as suspense, tension or excitement. Again, you know these definitions - your
editing program, however, while engineering
eye-candy, does not. It’s up to you to understand
and employ them effectively in your timeline.
Each type of cut or transition is meant to tell
a story in a unique way. Cross dissolves may
denote passing time. Cross-cutting can build suspense. While there are many types of cuts and
transitions, here is the short list of must-know
cuts and transitions:
Types of cuts: Straight cut, L cut, cross-cut/parallel edit and match cut.
Types of transitions: Fade-in, fade-out, dissolve, wipe, page peel, slide, stretch and zoom.
4. Advanced Editing and Effects:
While perfectly beautiful, tightly edited wedding videos are possible without the use of
advanced editing and effects, trends in wedding
videography are undoubtedly moving in the
direction of the high-art. Next, let’s look at the
JUNE 2012
Using minimal color
can provide a feeling
of timelessness as
well as focus on
emotions. It also
accentuates any
shadows you’ve
decided to leave.
effects and advanced editing tools that should
be in your editing go-to toolbox right now, if
they’re not already in use. Coincidentally, these
are also some of the easiest to learn and use.
Vignettes, Masking and Mattes
Vignettes, masking and mattes in your software’s
terms are built upon the same coding but are
used for different effects. Vignettes provide softly
darkened borders. They focus our attention, add
3. Principal Editing, Cuts, Transitions, Tone & Pacing:
Here is where the majority of your time
will be spent editing your cinematic wedding
masterpiece. While no step is less important
than another, cuts, transitions, tone and timing
quickly differentiate the novice from the most
cinematically capable editor.
Edits, whether for a wedding video or a Hollywood film, should follow a few basic rules. Edits
should be motivated, create continuity of action
and story, and in general have a seamless flow.
Cutting on the action is the most common type
of motivated edit. However, motivated edits can
also be created by elements such as sound, reaction and time. The continuous flow of motivated
edits, avoiding jump-cuts and mismatched shots,
is the goal of a cinematic editor.
Beyond motivated edits, here are the definitions you already know as an editor: A cut is two
shots one played after the other, while a transition overlaps a cut by having elements of both
shots combine to become a smoother visual, one
leading to the other. Tones are emotional shades
of light or dark, comedy or drama. Pacing is
timing, length and placement of clips. In edited
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55
EDITING
a nostalgic tone, or look like classic
vintage film. While they’re possibly
the most overused and cliché in wedding effects, we still recommend their
use. Added to soften the images and
provide a little serenity, vignettes and
weddings are a match made in heaven.
Like vignettes; masks and mattes can
be applied to remove unwanted elements or to create the coveted shallow
depth of field look.
Lighting Effects
Trends, Timeframes and Copyright
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Two common challenges in wedding
videography and editing, lead to solutions derived from two current trends.
Those challenges are completion
Long clips are good to show calmness
and reality. If your clips take up less
space as you progress to the climax,
this indicates a faster pace and
should further engage your audience.
56
MARKET PLACE
JUNE 2012
legal, yet, artistically less satisfying
solution for many years. A new addition to the method of licensing music
comes from the Wedding and Event
Videographers Association International (WEVA) and APM Music which
has pricing for Hollywood-quality
songs per event. This allows members
licensing for a single event at $65 and
discounts for a commitment of multiple events.
Time Remapping and Special Tools
Although different, color correction and
color grading are sometimes used interchangeably. Both are absolute essentials
in wedding video editing. Whether
using plug-ins, standalone programs or
the built-in color grading of your main
editor, this simple yet powerful tool
creates tonal emotion through color,
contrast and saturation. Raw video
may look fine, but the emotionally
charged look of color graded footage
can be nothing short of amazing. Black
and white or sepia tones add a classic
vintage look. Outdoor weddings with
a warm red-yellow color pass become
more relaxed and warm like a summery
afternoon. Color grading can mimic
film stock, create dreamlike images, or
accentuate emotions. Coloring is the
video editor’s paint on canvas.
Lighting effects like lens flares, spotlights and flashes can easily be added
to mimic lighting conditions not present in the original wedding footage.
contents
Lighting, like coloring, creates mood,
emotion and tone. The exciting flashes
of camera bulbs, the always-cinematic
lens flares of refracted light or the
focus of a virtual spotlight are all lighting effects that can be added in post to
great dramatic effect.
Like the use of vignettes, time remapping is so common it can border on
cliché. But great cinema uses time
remapping as a storytelling device and
so should you - cliché or not. Slow
motion replay of special, emotional
moments or the time-condensed
replay of otherwise lengthy events
and large groups are examples of the
effective use of time remapping.
In addition to these mainstay
effects and editing tools, there are
many others deserving attention for
their cinematic capabilities. Here are
just a few. The multi-camera editing
window feature simulates live camera
switching. 3D image compositing
turns two-dimensional layers into
three-dimensional space creating dynamic 3D camera movement. Motion
stabilization can mimic the sweeping, cinematic moves of a Steadicam,
dolly, track or jib, without the use of
heavy equipment.
Color Grading - Color Correction
EDITING
JUNE 2012
Spoiler Alert – it’s a Cinematic
Happy Ending
Wedding stories are the exception
to the spoiler-alert rule. We not only
want to know the wedding story ends
happily – we expect it to. The bride
Editing - the Extra Steps
Generally color editing will give you options like these shown here - color wheels
to eyedrop, whites and blacks to increase or
decrease and definable values.
timeframes and music copyright, which
continue to be - the Achilles’ heel for
many wedding video producers.
The trend of the “same day edit,”
with extremely tight turnarounds,
may actually be a kind of timing
godsend for editors. These wedding
videos are shorter in length, usually
four to six minutes, and while edited
during shooting, often have a slightly
lower threshold of editing complexity. Same day edits are usually shown
during the reception. The novelty of
same day edit videos seems to trump
the expectation for the effects-heavy
complexity of longer wedding videos
delivered at a later date.
Another trend in wedding video
editing addresses the historically
vexing issue of music copyright.
Often wedding videographers gamble
by deciding to illegally use popular,
copyrighted music. Royalty free or
buyout soundtracks have been the
Two extra step evaluations can
cinematically spring your wedding
videos. Both are worthy of consideration as they require very little time
and cost.
First: “editor’s inventory”
for
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48
answers to the following questions.
How long are most shots, cuts and
transitions? Are they 15 seconds,
30 seconds, or a combination of
two to three seconds, mixed with
shots varying in length from 10-20
seconds? What is the mix of shot
selection? What is the ratio of high
angle, low angle, moving steadicam,
handheld or static tripod mounted
shots? Similarly, what is the ratio
of wide, full, medium and closeup
shots? Where are the emotional
arcs and defining moments?
There are no right answers here.
But, if you don’t literally know the
answer to each of these editing
questions, odds are that cinematic
tone, pacing, and storybook ending
are lost on the cutting room floor.
Second: ask a colleague to review
your “finished” cut. You may be surprised to find that being too close
for too long, caused you to overlook
minor flaws in the editing.
Stock music is great, but having some of the
best in the business is better. WEVA members
have the option of getting very competitive
rates to license music for single events.
and groom as your primary audience,
have paid for a no surprises, happy
ending. A happy ending, every time, is
good for business.
Speaking of good business, consider this: the wedding industry in the
United States generates more than $60
billion per year. It is one of the few
industries considered recession-proof.
As the cost of cinematic video tools
comes down, the wedding industry
that supports it continues to expand.
Demand for a skilled wedding videographer and editor is now greater
than ever. This singularly romantic
event - the wedding - shot and edited
on-time and cinematically, offers
happy returns to not only the happy
couple but the wedding videographer
and editor as well.
Finally, Videomaker has outstanding resources for cinematic wedding
videography. The Videomaker forums
are rich with questions, comments
and advice. The Videomaker Wedding
Videography DVD, which won a Telly
Award, is also available to elevate your
art in wedding videography.
1.800.399.5994
www.eartec.com
Videomaker
Complete Book of Forms
11/8/2011 8:06:52 AM
92 forms help you
manage all the details so
you can focus on making
Learn more at:
videomaker.com/BOF the best possible video.
Videomaker
Book of Essential Forms for
Wedding Viderographers
Mark Jensen is the owner of a video production company specializing in commercial and industrial video.
He is also a freelance technical writer.
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Over 25 pages of often
overlooked forms that all
wedding videographers
Learn more at:
need to succeed. videomaker.com/WBOF
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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.
AUDIO
by H al R oberts on
Audio Multitool - Portable Recorders
Video creators everywhere have
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discovered the power of the portable audio recorder in place of a
camera mic, but these devices provide many other uses too.
NEWES
DAT ED
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DEM
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.
June 1-3, 2012 • September 14-16, 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!
September 14-16, 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!
June 1-3, 2012 • December 7-9, 2012
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It’s been the curse of the video
producer: how to record good, clean
audio. In the past, that meant your
camera needed microphone and
headphone jacks. In a perfect world,
those mic jacks would have had
professional connectors and supply
phantom power for condenser mics
too. It was possible, but these requirements always seemed to carry a high
price tag. More affordable and readily
available equipment rarely included
these items. The explosion of DSLRs
and pocket video cameras - along with
their limited audio amenities - sealed
the deal. We needed an affordable,
portable audio recorder and the audio
products manufacturers responded in
spades.
Common Ground
Today, there are many flavors of portable audio production recorders from
several manufacturers. Sony, Tascam
and Zoom are the major players but
you’ll also find portable audio recorders from Alesis, Edirol and many
others. As you can imagine, there are
many options out there, but most of
them share a core set of features that
any video creator will love. First - and
obviously - they’re portable. That
means no computer tethers, no power
cords and, on most models, you don’t
even need extra mics - they’re already
built in.
In the field, power is usually supplied by off-the-shelf AA or AAA
batteries. These will power the recorder for hours and, if you run dry,
replacements are available just about
everywhere. Other models include a
rechargeable battery pack which, like
your phone or portable media player,
means you’ll have to keep it charged
all the time. In addition, most of
these portable audio production
studios allow the use of aftermarket
rechargeable cells and some even
charge them in the recorder when
you plug it in. Nickel metal hydride
(NiMH) batteries usually work well in
this type of audio device.
Portable audio recorders store their
data on flash memory cards - also
readily available at any store that
sells electronics. The recorder will determine the type
of card needed
and it could be
anything from a
microSD card to
CompactFlash.
Some models
even include a
starter card so
you can fire it up
right out of the
box. Depending
on the type of
camera you use,
you may already
have spare cards floating around.
This is a great way to re-purpose a
memory card you may have outgrown for video or stills use.
The final similarities for portable recorders are inputs and outputs. Theses
devices provide a simple way to plug
in mics and headphones to maximize
your recording and monitoring. The
jacks are often 1/8-inch (or 3.5mm)
versions - similar to consumer camcorders - but they do the job. In fact,
even the simplest $100 audio recorder
sounds noticeably better than the
audio recorded from all but the most
expensive cameras. The addition of a
Tucked away
slots for SD
cards and AA
batteries are
found just
below a pair
of angled mic
capsules on
the Zoom H4.
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59
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AUDIO
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corders is automatic gain control or
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A common jack is 1/8-inch for both audio
inputs and outputs. A symbol for over-the-ear
headphones denotes which one is an output,
it'd be green on a CPU's backside, while the
mic input would be red.
headphone jack offers audio monitoring, which is sorely missing on most
DSLRs.
Deluxe Features
When you’re researching portable
audio recorders, you’ll find a variety
of extra features designed to make
your audio life easier. One of the more
popular features are XLR mic inputs
with phantom power. This opens up
the entire spectrum of professional
mics, from shotguns to studio condensers, even pro wireless equipment.
It also makes it easier to plug into
audio sound equipment like mixers
and sound systems.
One particular model - Zoom's H2
(and newer H2n) offers the unique
ability to record four channel surround sound. Using the four built-in
mics, you can gather natural sound
in the field and blend it with dialog
in post-production to create a very
respectable surround sound track.
Some other audio recorders let you
record two channels from the mic
inputs and two channels with the
built-in mics. You’ll also find some
models offer audio monitor speakers built into the recorder for quick
checks without headphones.
Finally, one audio feature that
plagues recordists in standard cam-
Obviously, a portable audio recorder
can capture audio for your video
production. But there are many
other uses too valuable to ignore. For
instance, have you ever wished for a
professional wireless rig? A nice one
starts around $500. Ouch. But what
if you grabbed one of the $100-range
recorders and added a simple wired
lapel mic like the Audio-Technica
PRO 35s ($259)? For around $360
you’d have a completely portable
audio tool that can go in a pocket or
cell phone case, just like a wireless
lav mic. In fact, you could deploy
two or three of these setups for the
cost of one professional wireless
mic. You’ll have to sync them up in
post, but you were going to do that
anyway, right?
Portable audio recorders usually
include a stereo pair of mics built into
the device. Many are excellent, some
less so, but they’re always there, so
use them. Plant an audio recorder
on a tripod or light stand and get the
mics closer to the sound. No cables,
no extra mics or stands and no
extra audio mixer. Just a small visual
footprint. This is a perfect setup for
recording school music programs,
recitals and plays.
You can also use your portable
audio recorder as a mobile audio
production studio for recording
voice overs. Add a windscreen and
a pair of headphones and you can
record professional sounding dialog
pretty much anywhere. The mics are
stereo, so keep your head movements to a minimum, but this is a
great portable solution. Now you can
record raw audio in your car, a closet
or any quiet place and edit later in a
more controlled environment. The
same goes for sound effects. Add a
shotgun mic for more directional
pickup or just use the built-in mics.
Either way, it’s a very mobile audio
gathering solution.
Virtually all portable audio recorders include a USB port for transferring files to your computer. But there
are several models that also let you
A mic's gain control allows for variable audio
levels. Often, you'll see three options from low
to high.
Get Off The Camera
Portable audio recorders are the darling of the independent film world. With a small
budget and even smaller crew, a professional-sounding recorder can level more of
the playing field. Unfortunately, many indie producers strap their audio recorder to
the top of the camera - creating something similar to the distant camcorder sound
we’ve grown to hate over the years. All the shock-mounts and windscreens in the
world won’t improve audio that’s recorded from 20-feet away. To get the most
power from your portable audio recorder, either plug in an external shotgun mic or
get the recorder closer to the sound you want to record. Better yet, do both. Designate a crew member for audio duty and equip them with a recorder, headphones,
a shotgun mic and a boom pole. One memory card and one set of batteries should
last all day and you’ll have audio that competes with Hollywood.
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61
ADVERTISING INDEX
AUDIO
CLASSIFIED NETWORK
JUNE 2012
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Andersson Technologies LLC _______ 25
Atomos _____________________________ 49
Azden Corp._________________________ 19
B&H Photo/Video & Pro Audio ___ 41-43
Blackmagic Design__________________ 05
Dell Computer Corporation _________ C4
Glidecam Industries Inc. ____________ 23
KinoFlo _____________________________ 07
KinoFlo _____________________________ 55
Nikon _______________________________ 03
Verbatim ____________________________ 25
Vidcon ______________________________ C2
VideoGuys __________________________ 15
Videomaker Instructional DVDs _____ 60
Videomaker Free Report ____________ 17
Videomaker Subscribe _____________ C3
A lavalier mic often uses a discreet clip to
get close to the subject. Be aware of rustling
clothes - the subject may not be able to move
much without disrupting the audio.
use the tethered recorder as an audio
interface or even a podcast mic. This
can be a useful option if you’re working with a stock computer or laptop
that has a mediocre audio section. By
selecting the recorder as your soundcard, you can use the built-in mics, external mics or even a line level source
and record directly into your favorite
audio production software. As a podcast mic, these recorders work as well
as most of the dedicated mics. Why
buy two devices if you don’t need to?
Posting
Using a separate recorder complicates the post process some, but after
you’ve done it a few times, it gets
easier. Plus, the added audio quality
Videomaker Subscription Alert _____ 45
Videomaker Workshops ____________ 58
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Videomaker Book of Forms/
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62
Reach 100% of a Steadily Growing
Video-Producing Audience!
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Aug‘12 Issue: Jun 12
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equipMent & accessories
stock Music
Make Money Marketing & Producing Montages. Everything you need to know. http://
www.lulu.com/spotlight/Earl see page two.
Free resource disks with purchase.
equipMent & accessories
It’s Your Choice
Starting around $100, a portable
audio recorder is the perfect addition
to any video shooter's setup. Include
some batteries, a memory card, headphones and maybe a couple of audio
adapters and you have a fully mobile
audio recording solution. It will work
with gear you already own and items
you’ll purchase in the future. In fact,
given their multiple uses, a portable
audio recorder might be more cost
effective than some of the equipment
you’ve been drooling over. To top it
off, you can use it with anything from
a pocket video camera to a full DSLR
with equal results. The hardest part
may be picking a model from all the
available choices.
Contributing Editor Hal Robertson is a digital media
producer and technology consultant.
Having an assistant or your talent clap while
on screen can really aid the process of
syncing sound when your video enters postproduction.
full screen
from your portable recorder makes
the extra steps worthwhile.
We’ve covered sync sound in more
detail in the December 2011 issue of
Videomaker, but here is the short version. Because your camera and audio
recorder are now independent of
each other, you have to provide some
way to synchronize them back in the
edit suite. Once you’ve started all the
audio and video recorders, create a
sharp, loud sound that all mics can
hear. This could be a clapper board,
hand clap or even a balloon pop or
cap gun - whatever you have available. This will create a spike in the
audio waveform that should be easy
to see once you have all the files in
your editor. Zoom in on the spike
from the camera audio and slide your
audio recording(s) until they line up
with it. Sound synced. Alternatively,
there are software solutions that analyze all the audio files and automatically sync them with your video. This
is a good option if you have lots of
audio to sync. Otherwise, the basic
approach works just as well.
For comments, email: editor@videomaker.
com, use article #15354 in the subject line.
You can comment and rate this article by going
online: www.videomaker.com/article/15354
11/18/2011 9:04:07 AM
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media reviews
by Morgan Pa a r
The DSLR Filmmaker’s Handbook: Real-World Production Techniques
The DSLR Filmmaker’s Handbook is the closest
thing to a comprehensive film school in a book
that I’ve seen in some time. From DSLR fundamentals to shooting with your camera underwater, from storing data in the field to color grading,
it seems Andersson and Geyen covered all the
by Barry Andersson & bases. I would have loved to see them go a bit
Janie L. Geyen
deeper on some subjects but the book is already
2012 John Wiley &
a hefty 416 pages. The softcover is chock full of
Sons, Inc.
pictures and illustrations that support the easy
$50
and enjoyable, non-overly academic writing,
though I found some of the side-by-side com-
parison shots difficult to discern their differences.
This, like any book that must take more than a
year to go from concept to book shelves runs into
problems with the accuracy of expired technologies
when compared to text distribution models like the
Internet. One example to reference is a MacBook
Pro that has a FireWire 400 port, an input that my
barely surviving four-year-old MacBook Pro doesn’t
even have. All in all, an excellent book for someone new to modern motion picture production or
someone making the switch from camcorder to
Digital Single Lens Reflex moviemaking. 4
Just three lights
used right can
put an audience
at ease or ratchet
up the tension.
The possibilities
are endless.
From Still to Motion: A photographer’s guide to creating video with your DSLR
From Still to Motion is a solid instructional
book not only for the still photographer switching to “sequential image gathering,” but also
for the videographer moving over to DSLR
cinematography. The 336-page soft cover book
(no Kindle version unfortunately) achieves its
by James Ball,
goal of explaining the “same technics taught
Robbie Carman,
at top film schools” and at $50, it’s much more
Matt Gottshalk &
affordable.
Richard Harrington
From lenses to camera support, from follow
New Riders Publishing
focus setup to dolly, jib and crane use, and
$50
from lights, audio acquisition and editing to color
correction, this book really covers the bases. We
loved the fact that it was written by not one but
four experts supported by four contributing authors, each from different areas of the industry.
The book also contains two-page profiles of various working professionals. The many excellent
photos throughout the book show current gear
being used in the field and studio. There is an
accompanying DVD with hours of extra video
training. 4
Naked Lens
by Michael Sean
Kaminsky
Organik Media Inc.
$15
contents
If you’re looking for a new age book that promises ‘self-transformation’ via a ‘personal video
revolution,’ invest $15 (Kindle $10) in Michael
Sean Kaminsky’s Naked Lens, published by Organik Media Press (not to be confused with The
Naked and the Lens: A Guide to Nude Photography.) This book is more about ‘spiritual electricity’ and ‘yogic breathing’ than cameras and
editing software. All the technical knowledge in
this book could be printed in a light pamphlet.
There are more inspirational quotes in this book
than... anything.
I want to believe all the praise on the back
cover of this book and the numerous 5-star reviews on Amazon.com but I just can’t. This book
full screen
print
5 Excellent
64
4 Very Good
3 Good
2 Not so Good
1 Poor
belongs in the self-help section of the bookstore,
not the video or filmmaking isle.
I honestly could not figure out the audience for
this book. Just because bored cubical dwellers
or school kids avoiding homework are watching
people aimlessly gabbing into a camera and posting their vanity to YouTube doesn’t mean we need
more of them. I honestly tried my best to read this
224 page book with an open mind but in the end,
it left me very uninspired. 1
Morgan Paar is an adjunct professor of film/video production and
post-production and an independent cinematographer and editor
specializing in international documentary production.
Never n
Miss a!
Issue
The Path to Heroic Video Production
For as Little as $1.39 an Issue
Like a good lighting arrangement, almost everything about video is
simple when you know what you’re doing. Find the simple, elegant
solutions you need for every video situation. From coaching actors
to post-production editing, no other resource gives you the tools to
handle every step of the video production process like Videomaker.
Understand all aspects of video, so that your video creations will
bear the mark of a professional. With Videomaker, you can conduct
yourself like a video hero.
videomaker.com/VideoHero
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June 2012 - Videomaker.com

Transcription

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