July 2012 - Videomaker.com

Transcription

The National Associaton of Broadcasters I Professional Gear for Every Producer page 25
Dell recommends Windows 7 Professional.
®
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YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO JULY 2012
Make it
Imagine working as fast
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• CAMERA MOVEMENT Terms
• MATTHEWS PRO MOUNT SYSTEM Reviewed
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In creative fields like video production and animation, every
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Also Reviewed: PANASONIC HC-X900M
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Dell Precision Workstations feature Intel Core
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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.
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Contents
JULY 2012
www.videomaker.com
Features
17 Monitors Buyer’s Guide
34 DSLR Tips: Workflow - a Pro’s Eye View
25 The Best of NAB 2012 - Professional
40 Creating a Successful Media Database
From the studio to the field to the editing suite, what to look
for in a production monitor.
by Marshal Rosenthal
Gear for Every Producer
GET THE WORLD’S
BEST VIDEO TRAINING
INFORMATION WITH
VIDEOMAKER. It’s all here.
All the basics. Lighting. Editing.
Directing. All the advanced stuff,
Volume 27 • Number 01
Nabbing the limelight at NAB 2012 with impressive cameras
and firmware upgrades.
by Tony Gomez
31 Videomaker NAB 2012 Spotlight
Shooting with DSLRs has many advantages, but without a proven
workflow one can quickly become lost beneath an avalanche of data.
by Mark Holder
A database is a tool for storing, organizing, searching and displaying mass
amounts of information and how it relates to even more information.
by Peter Zunitch
64 Filming Police and Your First Amendment
Rights
Can you get arrested for recording police, politicians, and other government officials? Perhaps not in Massachusetts. Are the rest of the States
ready to stand up?
by Jennifer O’Rourke
Awards
Spotlight Awards give recognition to companies and products
that are innovative, well-designed and affordable.
by Jackson Wong
too. Storyboarding a Script.
Starting a videography business.
Shooting Video Outside in the
Dark from a Moving Car. You’ll
find it all here. Get the training.
Learn the secrets. Become a
25
31
pro. See the Difference. You
never thought your videos
could look so professional, but
now you can take pride in your
On the Cover
Panasonic HC-X900M
Matthews PRO Mount System
accomplishments. Hold your head
48
Columns
2 Viewfinder
Device vs. Feature
by Matthew York
48 Basic Training
up. Carry your camera with pride.
Camera Moves: Back to Basics
by Kyle Cassidy
You can do it. Videomaker.
Remember that name. The
53 Profit Making
premiere magazine for all things
How to Find Clients
by Michael Fitzer
video for over 25 years.
56 Directing
Cinematography Techniques
by Peter Zunitch
Subscribe today
to get the best video tips and training.
Microphone Anatomy
by Hal Robertson
Disc Duplicators and Disc Authoring Software Buyer’s Guides
Protecting Your Video with Watermarking Tips
How to Make a Storyboard
Appraising the Real Estate Video Market
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On Sale July 31, 2012
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Visit videomaker.com/VideoPro
4 Reader Profile
62 Ad Index
Reviews
6 Panasonic HC-X900M
Camcorder and 3D Conversion Lens
by Mark Holder
8 Matthews PRO Mount System
Car Mount Support System
by Colin Marks
10 FloLight MicroBeam
2500W Equivalent LED Light Kit
by Mark Holder
Shotgun Condenser Microphone
by Mark Holder
14 ArcSoft MediaConverter 7.5 and
ShowBiz 5
Video Encoding and Editing Software
Next Month
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12 Shure VP89
60 Audio
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dazzling special effects
Free ad Create
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VIEWFINDER
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Device vs. Feature
At the dawn of the filmmaking industry, the equipment required to make a
motion picture around the turn of the
20th century was large, costly, highly
complex and very unreliable. A slew of
devices was required including movie
cameras, lighting gear, microphones
and movie projectors. Each of these
was a discrete dedicated device. None
of them could be used for anything
other than motion pictures.
The movie camera weighed hundreds of pounds, early film chemistry
was crude and required extremely
bright lighting, and film stock was
expensive to purchase and develop.
Fast forward to the present where
making video is not dependent upon
discrete dedicated devices. Making video is now achieved via the use of features on a multipurpose device, even a
mobile phone. These are inexpensive,
easy to use and highly reliable. As
recent as the turn of the 21st century,
making video required a camcorder, a
video editing deck and a TV. While we
have all witnessed this evolution slowly
over the years, we have assimilated
something, which is absolutely amazing and truly miraculous.
As video creation evolves from
requiring dedicated devices to relying
upon a feature on a mobile phone,
society experiences a major paradigm
shift. After the turn of the 20th century,
a few dozen motion picture producers
produced films for millions intended
for audiences of millions. Today hundreds of millions of producers create
content for much smaller audiences, as
few as a dozen people.
Now that shooting video is accomplished with something as common as
a mobile phone, nearly any event occurs within proximity of a video camera. This is a boon for the news genre.
It seems that every TV network has a
show comprised of some short video
clips of unlikely occurrences. People
falling, dogs catching wild Frisbees,
vehicle accidents, near misses during
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Mark Holder
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airplane flights or extra long basketball
shots are all seen regularly.
There are other effects of video shot
by a mobile phone. The truth is more
visible because video aids in transparency when used to document abuse
transgressions or other debatable
activities. I admire the organization
called WITNESS, which devotes itself
to using the power of video and storytelling to open the eyes of the world to
human rights abuses.
There are many aspects of the video revolution, which have collectively
democratized the medium but perhaps none are more dramatic as the
videos being made to better meet the
needs of people trapped in poverty. In
many places around the world, right
at this moment, people are suffering
as the result of the lack of information
about agriculture and food production, healthcare, civic engagement
or conflict resolution. Charities are
producing short video lessons aimed
at educating those people living on
less than $1/day. This is perhaps, the
crowning achievement of the simplification of video content creation.
Follow the Videoguys for the latest news live from the NAB Show April 14th - 19th
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READER PROFILE
Behind the Lens - Daniel Topping, MD
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: Daniel Topping, MD
Camera: Sony HDR-FX7
Computer: Intel-based workstation
Edition Platform: Vegas Movie Studio HD Platinum
Support Gear: Tripod, black felt, black backdrops, soft box
halogen lighting and spotlighting with incandescents.
I
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am trained as a family medicine
doctor, and gross anatomy has been
my true love since the first day of
medical school. I left the clinical practice of medicine to pursue a career in
academics in 2008, only to return to
teach this wondrous discipline. I now
have the distinct privilege of working
with medical students, and this has
been the best job I ever have had.
Anatomy is a visual science. I spend
my work day showing structures –
nerves, blood vessels, organs – on
a screen in the lecture hall. I show
shapes, colors, relations to other
things and I talk about their function
and significance. Major challenges
facing teachers are how to engage
students and bring the material to life,
in a way that is easily understood.
In one exercise, I needed to show the
miniscule structures contained within
the eye socket. It was difficult to show
each individual student, so I came up
with the idea of setting a camera on a
tripod to display the subject on a large
monitor in high definition. It worked
fantastically. The students enjoyed the
experience and benefitted from this
approach. There were 27 other similar
activities to be recorded, and I was up
to the challenge.
My department had purchased a
suitable HD video camera for my use.
4
I prepared for this project by purchasing lighting equipment, tripods,
backdrops, power supplies, fuses and
video tape. I bought a clapper board –
the same kind used on real Hollywood
productions! I needed a crew and two
superstar students stepped up to assist
me in the production.
The question remained – how does
one light a cadaver to bring it back
to life in the eyes of the viewer? I experimented with lighting placement.
I evaluated halogen versus incandescent light sources. We had to create
just the right amount of shadows to
bring out depth, but not so as to obscure the details of body cavities and
deeper structures. I imported footage
into the editing software, tweaked
color saturation, brightness, contrast,
and manipulated other variables. Long
days of work went into preparation
of the set and lighting; the crew dealt
with my obsessions and compulsions
in an amazing display of patience.
I trained my professor colleagues
(the talent) how to work with the
camera – what to wear, when to
start, how to be mindful of what
the camera saw. Angles and scenes
were planned. Cadavers, organs, and
models were paraded endlessly onto
a black, felt background. I wanted the
specimens to float out of nowhere, so
as to minimize distraction. The illusion was successful.
I have completed the project. After
two months of hard work in the laboratory, we managed to capture more
than 12 hours of footage. I packaged
it up and made it available for my
students to view as a supplement to
their regular classroom resources. The
28 separate videos have been well received and they asked for more of the
same. I have recorded the chest, abdomen and pelvis; the next project is to
create a series on the musculoskeletal
system (arms and legs.)
Why do I film the dead? The human body, whether breathing or not,
is a beautiful thing. I have an overwhelming desire to share this perspective with others. I can animate the
dead with video and take my viewers
on a moving journey through the layers of tissue that we all have in common by the use of cadavers and this
incredible technology.
I continue my quest to improve my
skills as a videographer and I continue
to. I learn ways to show the human
form. I hope that people will look at
my work and learn something, or just
appreciate it for its artistic quality and
understand what I strive to express.
Daniel Topping, MD – Forensic Video
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REVIEWS
REVIEWS
Panasonic HC-X900M
Panasonic HC-X900M
Camcorder and 3D
Conversion Lens
TECH SPECS
All in 1: 2D or 3D
b y Ma rk H ol der
P
anasonic ups the image quality
ante with its new HC-X900M: a
camcorder that packs a ton of visual
punch and is equally at home in both
the 2D and 3D worlds. With the addition of the optional 3D conversion
lens, the X900M is capable of producing stunning 3D images in full HD.
Impressive
In addition to its beautiful image
capture, the X900M has numerous
features that make it an excellent
Panasonic Corporation of
North America
www.panasonic.com
STRENGTHS
• 3MOS imaging system produces very
high quality results
• 12x optical zoom
• Large, high resolution LCD display
• Full HD, 3D images (with optional
conversion lens)
• Focus assist
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WEAKNESSES
• Shoe mount is awkwardly located
$1,100
Optional 3D Conversion Lens: $400
6
camcorder. To begin with there is no
separate lens cover to misplace. When
powered on and switched into capture
mode the built-in automatic lens cover
opens. Power down, switch into playback mode or simply close the LCD
and the cover closes again.
Another excellent feature is the
manual ring around the lens. Working
in tandem with the camera function
button, this allows quick, intuitive,
manual operation of the focus, white
balance, shutter and iris settings.
Pressing the appropriate button displays its sub menu on the LCD touch
screen. Here the desired function is
selected; turning the wheel scrolls
through the various settings.
At 3.5-inches, the LCD display is larger than that found on similar models.
And, at 1,152,000 dots, the resolution
is considerably sharper too. The menus
and other onscreen functions are touchoperated and the LCD is equipped with
auto functions as well. When the screen
is closed, the power switches off automatically to preserve battery life. Flip
the LCD open and power switches on
in 0.6 seconds. By the time the screen
appears it’s ready to start shooting. We
think this is a great function. How many
shooting opportunities have been lost
waiting for camcorders to ready themselves for action?
With the optional 3D conversion
lens attached, the LCD lets you view
3D images live, without using active
shutter or red/cyan anaglyph glasses.
When closed, the LCD hides the
power button, the playback speaker,
the button for turning on 1080/60p
recording, the battery release and
ports for making HDMI, AV multi and
USB 2.0 connections. Above the closed
LCD screen is the intelligent auto/
manual toggle button and the optical
image stabilizer selector button. The
top rear is home to the still image
capture button and the zoom/playback
volume rocker switch. Dropping down
the other side is the playback/video
record/still capture selector switch fol3D Conversion Lens adjustment dials
Image Sensor: 1/4.1" MOS Sensor (3)
Total Pixels: 9.15 MP (3.05 megapixels x 3)
F Value: F1.5-2.8
Optical Zoom: 12x
Lens Brand: Leica Dicomar Lens
Standard Illumination: 1400 lx
Minimum Illumination: 1.6 lx (1 / 30, Low
Light, Scene Mode); 1 lx (Color Night Rec.)
Image Stabilization: Hybrid O.I.S.+with
O.I.S. lock
Focus & Iris: Auto/Manual
White Balance: Auto/Indoor1/Indoor2/
Sunny/Cloudy/White set
Shutter Speed: 1/24 to 1/8,000
LCD: 3.5" wide 3D LCD monitor
(1,152,000 dots)
Recording Format: 1080/60p: MPEG-4
AVC/H.264
lowed by a covered port for plugging
in the AC adapter. At the rear is the
video record button, battery and pull
out electronic viewfinder.
Mic and Jacks
At the top front is the 5.1 channel, surround sound microphone.
Equipped with five electret condenser
microphones, different mic configurations may be selected to best suit
the recording conditions at hand.
The zoom mic function is linked to
the lens. When you zoom in to your
subject, the mic focuses on the sound
coming from that direction. The wide,
or surround, function employs all five
microphones to pick up sounds coming from all directions for the most
natural, real-life effect.
Going down the right side from the
microphones is the covered port for
attaching the side-mount accessory
shoe, below which is the shoe adapter
release. Forward of the hand strap is
another covered port with stereo mini
jacks for headphones and an external
Still Recording Format: JPEG, MPO
Microphone: 5.1 ch Surround/Zoom
Microphone/Focus Microphone/2 ch
Stereo
Interfaces: HDMI mini, Microphone
(stereo mini), Headphone (stereo mini),
USB 2.0, AV Multi
Media: Built-in memory 32GB, SD/
SDHC/SDXC Memory Card
Weight (w/o Battery): Approximately
0.93lb
Dimensions: Approximately 2.64" W x
2.83" H x 5.90" D
microphone. Both of these are a real
plus. Headphones allow you to more
accurately monitor your audio and, as
good as the built-in microphone may
be, a quality external mic, mounted
up and away from the body of the
camera, will always deliver better
sound. Finally, along the bottom edge
of the X900M is the media slot. If
you find the built-in 32GB memory
just isn’t enough, you can expand
the capacity with SD, SDHC or SDXC
memory cards.
Lens with automatic cover and assignable ring
To 3D or Not to 3D?
Our test camera arrived with the optional 3D conversion lens, so of course
we had to take it for a spin. With the
lens attached, the camera recognizes it
and takes you through a simple calibration process utilizing markings on the
inside of the lens cover and dials beneath a flip-up panel on top of the lens.
Unlike Panasonic’s HDC-SDT750, which
used an earlier version of this conversion lens, and split the full HD image
between two lenses resulting in dual images at half the resolution, the X900M
records both left and right images at full
HD quality to produce a superior 3D
image. Also new is the addition of 1.5x
digital zooming whereas the earlier conversion lens offered no zooming at all.
An extremely fine camcorder that is
well worth the price, our tests revealed
that the X900M is capable of producing stunning images with excellent
color reproduction and sensitivity
to fine detail. It has decent low light
capabilities and loads of desirable
features, with a very user-friendly
interface to boot.
SUMMARY
With outstanding performance in two
dimensions or three, the HC-X900M,
by Panasonic, is well worth the attention of anyone seeking quality HD at
an affordable price.
Contributing Editor Mark Holder is a video producer and
trainer.
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REVIEWS
REVIEWS
Matthews PRO Mount System
Matthews PRO
Mount System
Car Mount
TECH SPECS
Includes: BH-20 Ball Head with Dove
Tail Plate and 6" suction cup; 6" suction cup with 5/8" pin; 4.5" suction
cup with 5/8" pin; hot shoe adapter; 8"
Micro Grip rod; 20" Micro Grip rod (2);
Mini Grip head (2); Micro Grip head (2);
carrying bag; instructional DVD
Weight: 7lb.
Weight Capacity: 26lbs.
Seriously Secure
b y Co lin Marks
F
rom the ubiquitous C-stands and
grip hardware, to dollies, tracks
and trusses; Matthews Studio Equipment has spent 40+ years building a
well-deserved reputation for providing
quality products. The Matthews PRO
car mount system is no exception. If
you want to capture exciting moving
vehicle shots like those seen in major
productions, this setup delivers.
The System
Three Wood’s Powr-Grip industrial
suction cups form the foundation of
the PRO Mount system, attaching the
setup firmly to the vehicle. A thumb
operated plunger pumps the air out
from beneath the cup, creating a very
strong vacuum and tightly gripping
the surface beneath.
Matthews Studio Equipment, Inc.
www.msegrip.com
STRENGTHS
• Quality construction
• Stable mounting
• Efficient, quick configuration changes
contents
WEAKNESSES
• Auxiliary straps not included
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$660
8
A red line on the plunger acts as a
safety feature for monitoring the cup’s
vacuum status. When the air has been
evacuated from the cup, the plunger
stops moving and the red line remains
within the pump, hidden from view,
indicating that a firm seal has been
achieved. A visible red line signifies
that air has leaked back into the cup
and its hold on the surface may be
compromised. A built-in check valve
allows the cup to be re-plunged without losing any remaining vacuum. To
remove the cup, simply pull up on the
tab at the edge of the pad to break the
vacuum seal.
One 6-inch cup comes with a
threaded stud attached, to accommodate the ball head camera mount,
which includes a dovetail plate for
mounting the camera. The ball head
allows for easy adjustment and leveling and quickly compensates for
angled surfaces such as windows and
body panels. This suction cup-andball head mount combination will
support a camera package weighing
26lbs. If you have a bigger setup and
need to support an even larger package, the MASTER Mount System has a
capacity of 40lbs.
Also included are a second 6-inch
cup and a 4 1/2-inch cup, each with
a 5/8-inch pin. Two Micro Grip heads,
two Mini Grip heads, one 8-inch and
two 20-inch Micro Grip rods, one hot
shoe adapter, a carrying bag and instruction video complete the package.
Reminiscent of Matthews’ full-size
Hollywood grip heads, the Micro Grip
and Mini Grip heads serve the same
purpose. One mounting point attaches
to a 5/8-inch pin while the other provides an adjustable mount for gripping
one or more of the stabilizing rods.
Together these components create a
highly efficient, versatile and stable
mounting system.
The Setup
Setting up the system is easy. Once
you’ve done it a time or two you’ll be
able to put it all together in around
Wood's Powr-Grip six-inch cup
five-to-10 minutes. Before attaching the suction cups, make sure the
mounting surface, and the underside
of the cups themselves, are clean and
dry. Place the cup holding the camera first. Press it firmly against the
mounting surface and draw out the air
by actuating the plunger until it stops
moving. Give it a test pull; it should
now have a firm hold. Release the ball
head and adjust until the camera is in
the correct position then lock it down.
Now attach the two remaining suction cups. Position them at approximately 60 degrees off center to the
camera. Forming a triangle in this way
creates an extremely stable mounting
setup. Without the additional cups
and stabilizing rods, the camera would
sway from side-to-side and eventually come loose. Depending on the
setup, all three cups may be on the
same surface, such as the hood of a
car, or different surfaces, the hood and
windshield for example. The system
Magic Riser
is extremely versatile, allowing you
to achieve a great range of camera
angles.
Next, attach the 8-inch Micro Grip
rod to the camera. If your camera
has a 1/4-inch–20 thread mount
on top, thread the rod directly into
the camera itself. If not, attach the
hot shoe adapter to the camera and
thread the 8-inch rod onto it. Slide
the two Mini Grip heads onto the
8-inch rod and attach the Micro Grip
heads to the pins on the two supporting suction cups.
Finally, slide each of the 20-inch
Micro Grip rods into a Micro Grip
head at one end and a Mini Grip head
at the other. Adjust rods and heads
until correctly positioned then lock
them down tight. For maximum
stability, you want to create some
tension on the camera by having the
rods pull against each other a bit.
One final note – while not included
in the kit, always use safety straps as
an added precaution. We used ratcheting tie-down straps for our tests
and they worked just fine (although
we did use an older camera – just in
case.) To see how it all goes together,
check out the Matthews demo at
www.videomaker.com/r/598.
The Results
We tried a number of different
setups, all with excellent results. We
mounted the camera on the hood
for a view of the driver through the
windshield, then on the roof, facing
backward. Next, we moved it to the
side of the car
to catch a close
up of the driver
through the rear
view mirror,
then low, near
the front, for an
exciting close
up shot of the
wheel turning
and hugging
Mini and Micro Grip Heads
the road. In each case, the hold was
solid and reliable with setup changes
quick and easy.
Though not included in the system, Matthews sent us a Magic Riser
to check out – and we liked it! With a
ball head at one end and a telescoping
rod at the other, the Magic Riser gives
you greater positioning versatility and
gets the camera nine to 14-inches
further away from the vehicle.
Moving shots add dimension to a
scene. Setting a camera on a car gives
you amazing movement abilities. Using
the Matthews PRO mount system will
give you assurance that the shot will be
good and the camera will hold. See it
in action on this issue's cover.
SUMMARY
Matthews' PRO mount system is a
strong, efficient, versatile mounting
system for getting moving vehicle
shots with confidence and ease.
Contributing Editor Mark Holder is a video producer and
trainer.
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REVIEWS
REVIEWS
FloLight MicroBeam 2500W
FloLight
MicroBeam
2500W Equivalent
LED Light Kit
TECH SPECS
Lighting the Way
b y Ma rk H ol der
T
his three-light LED video lighting
kit from FloLight is certainly no
lightweight when it comes to versatility, convenience and ease of use. Producers at any level would love to have
these in their lighting bag of tricks.
FloLight kits may be configured in
any number of ways including your
choice of color temperature - daylight
(5,600K) or tungsten (3,200K); and
beam spread - flood (60 degrees) or spot
(30 degrees), with or without the optional battery plate and either individual
padded soft carry bags or a preconfigured hard case.
Our particular kit arrived in an
ATA rated (Air Transport Association)
wheeled flight case with handles. It
consisted of two MicroBeam 1024 Day-
FloLight, LLC.
www.flolight.com
STRENGTHS
• Variable intensity
• Low power requirements
• Generates very little heat
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WEAKNESSES
• Barn doors not included
• Gels not included
$2,350
10
light Flood lights, one MicroBeam 512
Daylight Flood light and three power
cords and adapters. It was accompanied
by three 8-foot stands in their own carry
bag with handles and shoulder strap.
Performance
The output of each 1024 is equivalent
to a 1,000W “hot light” while consuming only 97W, and a CRI of 93 provides a high degree of color accuracy.
A light source’s CRI (color rendering
index) is a measure of the light's ability to faithfully reproduce the colors of
various objects. Independent of color
temperature, CRI refers specifically to
the accurate representation of the colors of the object being lit rather than
to the color of light emanating from
the light source itself. The 512 has an
output equivalency of 500W with a
power consumption of a mere 48.5W
and also a CRI of 93.
High output, high CRI and low power
consumption all have a number of very
positive benefits for the video producer.
Of course we’re always trying to make
sure there is plenty of light; zoom and
exposure settings can dramatically affect the ability of the camera to capture
available light and we may quickly find
ourselves dealing with excessive video
noise. Bust out your FloLight MicroBeam 2500W Equivalent kit and problem solved. For those times when less
is more, each light is equipped with a
dimmer knob for full dimming control.
Accurate color reproduction is also
very high on our list of concerns. We
expect it from our cameras; we tweak
it with white balance, color temperature gels and color correction in post.
The more accurately we can capture
accurate color reproduction up front,
the less time we’ll spend tweaking it
later. Low power consumption means
less heat output, making it easier on
the talent and safer for those handling
the equipment – and how often do you
get to set up 2,500W of output without
fear of popping the circuit breakers?
Field Test
We were fortunate to be able to try out
the MicroBeam kit in several different scenarios. In each case the results
were excellent and the benefits readily
evident. In the first situation we shot a
portion of a music video in a hospital
room. Not the greatest lighting for video,
the room was rather dark, with the only
practical light coming from fluorescents
Output: 1024: 1,000W equivalent; 512:
500W equivalent
Power Consumption: 1024: 97W,
1.2A; 512: 48.5W, 0.6A
Power Factor: 0.7 (both)
CRI (Color Rendering Index): 93 (both)
LED Life Expectancy: rated at 25,000
hours
Color Temperature: Daylight ~ 5,600K (Tungsten - ~ 3,200K also
available)
Beam Angle: Flood - ~ 60 degrees
(Spot - ~ 30 degrees also available)
Power Source: 12 VDC input (110240VAC power adapter included);
optional battery
MicroBeam 512 Dimensions: 12" W
x 3" D (including switches) x 6" H
MicroBeam 1024 Dimensions: 12"
W x 3" D (including switches) x 12" H
over the bed and in the ceiling. The
dimmers came in handy because at
full power the lights did far more than
eliminate noise.
In the next case we shot a segment
on Lighting for Night Video Shoots in
which we used one of the 1024s and
the 512 to light the interior of a car at
night. The 512 fit nicely into the instrument panel recess behind the steering
wheel. The daylight balanced LEDs
rendered a nice bluish hue on camera
A FloLight power control panel
that was an appropriate representation
of dashboard lights at night. The lights’
battery power capability is perfect for
this type of application. Alternatively,
the included adapter may be plugged
into a power inverter and run off the
car’s battery. A second light, the 1024,
was set up on a light stand in the cargo
area of the SUV and stabilized with
sand bags to provide a bit of backlight
to separate the driver from the surrounding darkness.
(For more on lighting at night,
particularly which f-stop to use, and
the set up of your camera and crew as
well as tips on preparation, read www.
videomaker.com/article/13540.)
Finally, we spent one weekend
shooting a short film using the FloLight LEDs and practicals to light the
location. One of the huge advantages
to these lights was used fully on this
particular shoot. With lots of shots
to gather on a very tight schedule,
we were able to save time on setups
by not setting up lights but keeping
them handheld. This is something you
would absolutely never even consider
doing with traditional hot lights. LEDs,
however, emit virtually no heat so it
was easy to hold the light and move it
closer or further away as needed without having to move light stands, sand
bags and cables. Again, battery power
rocks in this situation.
We threw several different lighting
scenarios at the MicroBeam kit and it
performed exceedingly well. For variable intensity high output, accurate
color rendition, low-temperature safety
and vast versatility these lights should
be on every video producer’s short list.
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.
SUMMARY
For truly versatile lighting suitable for
all users check out FloLight’s MicroBeam 2500W Equivalent video lights.
Contributing editor Mark Holder is a video producer
and trainer.
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www.azdencorp.com
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11
REVIEWS
REVIEWS
Shure VP89
Shure VP89
Shotgun Condenser
Microphone
A Shure Shot
b y Ma rk H ol der
A
very well respected name in audio,
Shure has been crafting superior
quality microphones for many years.
And their recently released VP89, scalable microphone system, is no exception. Its modular design allows the use
of a single preamplifier and up to three
different microphone capsules of varying lengths for maximum adaptability
in just about any shooting situation.
A Shotgun Mic?
Designed with a narrower focus than
other microphones, shotgun mics are
great at capturing sounds originating from directly in front of them and
rejecting sounds coming from the sides
Shure Incorporated
www.shure.com
STRENGTHS
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• Excellent quality audio capture
• Modular design
• Scalable with purchase of additional
capsules
• Excellent off-axis rejection
• Low frequency filter
• Life-saving night-beast detector
WEAKNESSES
• High price for typical consumer
$875 - $1,250
12
TECH SPECS
Cartridge Type: Electret Condenser
Polar Pattern: Hypercardioid/Lobar
Frequency Response: VP89L:
60–20,000Hz; VP89M: 100–20,000Hz;
VP89S: 140–20,000Hz
Output Impedance: 115 Ohms
Sensitivity (open circuit voltage, @
1 kHz, typical): -33.5dBV/Pa (2.1 mV)
Maximum SPL (1 kHz at 1% THD):
2500 Ohms load: 132dB SPL; 1000
Ohms load: 128.5dB SPL
Signal-to-Noise Ratio: 79dB
Dynamic Range (@ 1 kHz): 2500
Ohms load: 117dB; 1000 Ohms load:
113.5dB
Clipping Level (@ 1 kHz, 1% THD):
2500 Ohms load: 4dBV; 1000 Ohms
load: 0dBV
Self Noise (equivalent SPL,
A-weighted, typical): 15dB
Common Mode Rejection: 20–20,000Hz
≥ 70dB
Low-Frequency Filter Switch: -12dB/
oct below specified frequency;
Flat Response: 100Hz;
Low Frequency Roll-off: 200Hz
Polarity: Positive pressure on
diaphragm produces positive voltage on
pin 2 with respect to pin 3
Housing: Charcoal-gray metallic painted
aluminum alloy handle and grille with
stainless steel screen
Power Requirements: 11–52V DC
phantom power (IEC-61938), <2.0 mA
Net Weight: VP89L - 6.1oz.; VP89M 4.9oz.; VP89S - 4.1oz.
and from behind. They also do an excellent job of picking up human speech
frequencies, accounting for their heavy
use in Hollywood.
capsule as recording needs change.
Longer tubes have a tighter acceptance angle, resulting in higher focus
and greater directionality. The VP89L
has a length of 15.21-inches and an
acceptance angle of 30 degrees. The
VP89M is 9.41-inches with an acceptance angle of 50 degrees and the
VP89S is 5.41-inches long with an
acceptance angle of 70 degrees and
these mics require phantom power.
Scalability = Versatility
The modular design of the VP89 is a
great concept. Rather than having to
buy three different shotguns to match
the recording needs of different surroundings, the professional has the
option of purchasing the preamplifier
and mic capsules separately. As they
are interchangeable, the appropriate capsule may be screwed onto the
preamp to record in a particular venue
and then swapped out for a different
capsule and interference tube from the
preamplifier have very sensitive components within and you'll do well to
treat it like a camera's sensor and keep
it protected. At one end of the preamp is
the recessed low frequency or, low-cut,
filter switch and at the other is the XLR
cable connector.
In windy conditions, the included
windscreen does OK, but for even
greater protection, Rycote has some
custom solutions for these microphones, including wind-protection devices such as fuzzy windscreens and
blimps. Another very cool accessory
is the double-barrel adapter, which
allows you to use a longer mic in a
small space by mounting the preamplifier beneath the mic capsule.
Listen Up
We tested the microphone in a typical
evening-at-home environment – television in the background, kids talking and
laughing. From a distance of approximately 10-feet, conversation was picked
up without difficulty. Speech was clear
and detailed. Background noise stayed
where it belonged – in the background.
Not surprisingly, the VP89M, with its
50-degree acceptance angle, was quite
focused. Standing directly in front of it
our voices picked up beautifully but as
we moved from side-to-side, on and off
axis, the fall off was noticeable. Not as
focused as the longer VP89L, with its
30-degree acceptance angle, the midsize shotgun is better suited for recording venues where some ambient sound
is desirable, such as with a live audience
or concert.
In order to try out the VP89M in a
completely different environment we
stepped outside into the darkness of a
remote country estate. As we listened
carefully, we heard with perfect clarity the calls of the distant snow geese,
the rumblings of frogs, screeches of
owls and nighthawks, and finally, a
low growling from some unknown,
yet obviously approaching creature
that caused us to quickly head back to
noisier surroundings.
In addition to being a great nightbeast detector, we found that the
VP89M is an excellent, high quality
microphone that is “Shure” to become
a favorite audio capture tool of professionals everywhere.
SUMMARY
Aimed at the professional, Shure
continues its tradition of superior
quality with the VP89 end-address
shotgun condenser microphone.
Contributing editor Mark Holder is a video producer
and trainer.
First Glance
contents
Our test model was the mid-sized
VP89M. It came housed in a protective
case and fitted with a foam windscreen.
Simply constructed, the microphone
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REVIEWS
REVIEWS
ArcSoft MediaConverter 7.5 and ShowBiz 5
ArcSoft
MediaConverter 7.5
and ShowBiz 5
Video Encoding and
Editing Software
TECH SPECS
ShowBiz 5
CPU: Core 2 Duo E4400 2.0GHz,
Core Duo T2600 2.16GHz, Athlon X2
4600+2.4GHz
OS: Windows XP (SP2), Windows Vista
x86/x64, Windows 7 x86/x64
Display: 1024x768
Memory: 2GB RAM
Storage: 400MB
GPU: NVIDIA GeForce 8 series or above,
ATI Radeon HD 4000 series or above
Fast Conversion
b y D a n B runs
O
f all the things that control our
lives, time is undoubtedly one
of the most influential. It determines
when we go to work, how much we
get paid, our level of stress, and even
how we act. In fact, time is so integral to people’s lives that companies
ArcSoft, Inc.
www.arcsoft.com
STRENGTHS
• Low cost
• Support for wide range of GPU
acceleration and CPU acceleration
• Large group of supported codecs
WEAKNESSES
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• Choppy video encodes (MediaConverter)
• Choppy video playback in timeline
(ShowBiz)
• No progress bar when movie is
exported (ShowBiz)
• Only supports 9 video and 2
audio tracks in timeline (ShowBiz)
MediaConverter 7.5: $40
ShowBiz 5: $80
14
all over the world have devoted their
entire existence and fortunes just to
perfect its accuracy. In the same way,
time is crucial to every video production. The faster an editor can push out
a video, the more he or she stands to
get paid. This is exactly what ArcSoft
has set out to do. With its two new
products, MediaConverter 7.5 and
ShowBiz 5, ArcSoft is hoping to not
only set the bar on speed and efficiency but to set the bar on price too.
ShowBiz 5
Video editors are like the Swiss Army
knife of the technology world. They
not only need to know how every video codec works and how to get around
in a bevy of complex programs, they
have to somehow be creative as well.
That’s a tall task for anyone to accomplish. However, companies like ArcSoft have been busy finding ways to
make the whole process easy enough
for even a first-time video editor to
produce a masterpiece. With its newest video editing software, ShowBiz 5,
ArcSoft has attempted to do just that
- and at a good price to boot.
It’s quite apparent at the outset
when using this program that ArcSoft
means it to be easy. In fact, they go
so far as to give you a tutorial on how
to use the product when the program
first opens. Though the quick tutorial
is helpful, we still found that it took an
entire project before we felt completely comfortable with the controls the
program offered.
The interface is surprisingly similar
to Apple’s iMovie, though different
enough to still be called unique. Much
like iMovie, ShowBiz has a film framestyle video preview where it’s possible
to scrub through a clip just by dragging
your mouse over the clip’s thumbnail.
While some people may love this function, we found it to be a bit bothersome
– especially when trying to perform
a function as simple as dragging and
dropping a clip to the timeline. Curiously, MediaConverter is also missing
the crucial feature of being able to set
an in and out point when scrubbing
over the clip. While one could argue
that this is a feature that only professional editors would want, it still seems
like an unnecessary feature to give up.
As for the timeline, ArcSoft has given its users a way to switch between
either storyboard or timeline-style
editing which will come as a relief to
MediaConverter 7.5
CPU: Intel Pentium IV 1.6 GHz or
equivalent
OS: Windows XP (SP2)/Vista 32-bit /
Windows 7 32 Display: 32-bit color
display at 1024x600
Memory: 512MB RAM
Storage: 60MB free hard drive space
those who have been using programs
such as Windows Movie Maker Live
where storyboard editing is your only
option. The timeline editor in ShowBiz still leaves much to be desired,
though. It comes with a maximum of
nine video tracks, two audio tracks,
and two title tracks so if you want to
add lower thirds, along with a project title text and credits, you’re out
of luck. This is a bit surprising since
most of the other video editors in the
consumer editing category allow more
than two title tracks. However, for a
price of $80, that’s one detail that
many first-time video editors may be
willing to look past.
Set that aside for a moment, though
because one detail that is tough to
look past is the huge list of codecs
that ShowBiz 5 supports. In fact,
it’s undoubtedly the best feature of
this product and this is what you're
really going to want. The program
can import and export to ASF, AVI,
MOV, H.264, MPEG-1, MPEG-2, and
MP4, which should cover almost any
consumer camcorder on the market.
ShowBiz 5 can even get rid of the
pesky problems that often plague budding cinematographers such as excessive camera shake and noise with just
the click of a button. Best of all, the
program uses both NVIDIA and AMD
graphics cards to speed up rendering and H.264 conversions. Even so,
we’d be remiss to say that we didn’t
experience our fair share of choppy
playback when bitrate was high (in
the 40-50 Mb/s range). Nonetheless,
it’s hard to expect every piece of video
to play back as smooth as a knife
through butter for a price of $80, so it
wasn’t really a deal breaker for us.
MediaConverter 7.5
It wasn’t all that long ago that “rendering video” meant several hours of
watching a render bar creep across
the screen slower than pine sap in
the middle of February. With the
exponential increase in CPU power,
that scenario has thankfully become
a thing of the past, but, of course,
everyone still wants to save time ever
more. So when software like Adobe’s
Premiere Pro, and Sony’s Vegas Pro
showed that GPU rendering could lead
to vast improvements in real-time
effects and encoding, it was only a
matter of time before other software
engineers got in on the fray. By allowing GPU rendering of H.264 video and
other popular video formats, ArcSoft
has done just that with their newest version of their MediaConverter
encoding software.
ArcSoft didn’t just stop there. They
also saw it fit to include a 2D-to-3D
plug-in that can analyze 2D video clips
for depth and add either a side-by-side
or red and cyan 3D effect to any clip.
Their software can also utilize NVIDIA
CUDA technology to scale low-quality
SD video to HD resolution while still
keeping much of the detail. In our
tests, we found the HD scaling did
keep much of the detail as promised,
though it tended to over-sharpen
the video in the process. In addition,
many of MediaConverter’s video
encoding presets seemed to leave
blocky artifacts compared to similarly
rendered footage out of other popular
video encoders.
Even so, we found MediaConverter
lived up to every one of its speed
claims - and more. We transcoded a
one minute H.264 video to MP4 at 20
Mb/s in both MediaConverter 7.5 and
another popular media encoder and
surprisingly found that MediaConverter transcoded the video in 44 seconds
while the other one took 75 seconds
to crank out the video with the exact
same settings. With time savings like
these, MediaConverter’s price of $40
seems to be worth every penny.
The Bottom Line
For beginning editors who need to
save both time and money on their
video editing projects, ArcSoft’s ShowBiz 5 and MediaConverter 7.5 software
are an easy choice. Though their editing software could benefit from more
powerful timeline controls, its ability
to accept many popular codecs and
to use both the power of the CPU and
GPU make it hard to beat for simple
video editing. In much the same way,
ArcSoft’s ability to convert 2D clips
to 3D and use of the GPU for video
rendering, makes their compression
software worth a second look for any
video editor.
SUMMARY
For video editors who want a simple
editor and a blazing fast encoder
that’s light on the wallet, ArcSoft’s
MediaConverter 7.5 and ShowBiz 5
are for you.
Dan Bruns is an award-winning videographer and editor.
15
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Build your own green
screen to add dazzling
special effects
to your video
buyer’s guide
Monitors
Make Video Editing Possible
From the
studio to
the field, to
the editing
suite, what
Have your actors survive massive explosions, fight dinosaurs in the jungle primeval, or
travel to any location on earth or beyond, from ancient Rome to the planet Mars.
to look
for in a
production
monitor.
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Free Training Resource
E
diting video content was radically changed
when digital technologies became a mainstay.
Rather than physical manipulation, the content
can now be manipulated at will in non-destructive ways, thanks to the video being stored digitally. The assortment of video editing software
programs range from extremely technical (for
professionals), moderately complex (for prosumers) to extremely simple for the casual/occasional
video shooter. Regardless of the program’s level
of sophistication, the single most important component, other than the computer, is the monitor
the video is viewed on. The monitor is crucial for
viewing your work and accessing the program’s
editing functions, and also because the monitor’s physical characteristics and display settings
can affect how the final video will look when
presented.
The advent of the LCD monitor spelled the
death of the CRT tube-based models. Beside the
fact that flat-panels are lighter in weight and
more energy-conservative, the size of the monitor is no longer the inhibiting factor it was with
CRTs. Flat-panel monitors can also increase their
size without substantially raising prices, thereby
allowing for both higher resolutions and a physically greater viewing area. This works in tandem
with computers to further the progress of HD as
BY MARSHAL M. ROSENTHAL
The green screen makes it all possible. And with a few simple materials and
a little know-how, you can build a green screen of your very own in your home studio
and start adding pro-level special effects to your own videos. Our latest free report
can help you build a working green screen.
Get this exclusive report, free when you sign up for Videomaker’s Video Tip emails.
These tips are always free and you can choose to stop receiving them anytime!
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Start your special effects studio at: videomaker.com/DIYgreen
Already a subscriber to Videomaker’s Video Tips? You can download all of the available Videomaker Free Reports by clicking
on the “Edit Profile” link at the bottom of any Video Tip message.
print
17
Manufacturer's
Monitors buyer’s guide
contents
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18
HDMI: High-Definition Multimedia Interface
HD-SDI: High Definition Serial Digital Interface
Composite: Analog video & audio combined into one
Component: Three color video and audio, RGB
HDMI Loop-Through: Allows another monitor a
simultaneous view
Mount: Rack (includes flush), desktop or on-camera
HDMI Loop-Through
Display Size (inches)
I
np
np I
800x480
800x480
np
np
170 (H) 170 (V)
170 (H) 170 (V)
I/O I/O np np yes On-camera
I/O I/O np np yes On-camera
EVF4 Le
$2,000 3.2"
800x480
np
180 (H) 180 (V)
I/O np
4.3" 480x272
500
160 (H) 120 (V) I/O I/O np np yes On-camera
7"
8.9
17"
21.5"
23"
23"
24"
24"
24"
22.5"
42"
18.5"
17"
8.9"
7"
5.6"
7"
7"
5"
7"
5.6"
7"
7"
5.6"
5.6"
9"
9"
17"
17"
24"
32"
46"
17"
9"
24"
24"
7"
7"
7"
21"
17"
21"
24"
300
300
250
250
250
250
350
400
500
np
np
300
250
180
350
165
350
400
400
350
165
400
400
400
400
320
350
370
650
400
500
np
350
np
400
400
400
400
400
np
np
np
np
160
176
178
178
178
178
178
178
178
np
np
170
140 (H) 130 (V)
90 (H) 50 (V)
140 (H) 110 (V)
160 (H) 110 (V)
140 (H) 110 (V)
140 (H) 110 (V)
150 (H) 130 (V)
140 (H) 110 (V)
178 (H) 110 (V)
178 (H) 178 (V)
178 (H) 178 (V)
160 (H) 160 (V)
160 (H) 160 (V)
170 (H) 170 (V)
176 (H) 176 (V)
170 (H) 170 (V)
170 (H) 170 (V)
178 (H) 178 (V)
178 (H) 178 (V)
np
178 (H) 178 (V)
np
178 (H) 178 (V)
178 (H) 178 (V)
160 (H) 160 (V)
160 (H) 160 (V)
160 (H) 160 (V)
170 (H) 160 (V)
160 (H) 140 (V)
178 (H) 178 (V)
np
Cineroid
www.cineroidstore.com
$2,000
Fast Forward Video
SideKick HD
$2,800
www.ffv.com
$3,300
Flanders Scientific, Inc.
LM-0750W
$2,500
www.flandersscientific.com
LM-0950W
$3,000
CM-170W
$3,800
LM-2140W
$5,000
LM-2340W
$3,000
LM-2340TD (passive 3D) np
LM-2461W
np
ikan Corporation
TL-2400HD
np
www.ikancorp.com
CM-2000
$2,000
CM-B230
$1,200
CM-B420
$900
TL-1850HD
$900
V17e
$600
VX9e
$399
VX7e
$299
V5600
$299
VH7e
$900
VL7
$399
VL5
$1,100
VK7
$1,350
VK5
$1,000
D7
$1,200
D7w
$1,740
D5
$3,660
D5w
$2,390
Ikegami Electronics (USA) Inc.
HLM-904WR
$4,614
www.ikegami.com
HLM-907WR
$4,620
HLM-1704WR
$6,350
HLM-1750WR
$6,000
HLM-2450WB
$3,000
HLM-3250W
$2,100
JVC Professional Products Company GD-463D10
$4,200
www.pro.jvc.com
DT-V17G1
$3,200
DT-V9L3D
$1,700
DT-V24G11Z
$1,100
DT-R24L41DU
$595
DT-X71F
$3,000
DT-X71H
$2,650
DT-X71C
$4,000
DT-E21L4
$7,150
DT-E17L4
$3,000
DT-V21G11Z
$3,700
DT-3D24G1U
$4,000
800x480
1024x600
1920x1200
1920x1080
1920x1080
1920x1200
1920x1200
1920x1200
1920x1200
1920x1200
1920x1080
1366x768
1366x768
1024x600
1024x600
1024x600
1024x600
800x480
800x480
1024x600
1024x600
1280x800
1280x800
1280x800
1280x800
800x480
1280x720
1280x768
1920x1080
1920x1200
1920x1080
1920x1080
1366x768
800x480
1920x1200
1920x1200
1024x600
1024x600
1024x600
1920x1080
1920x1080
1920x1080
1920x1200
np
np
np
np
np
np
np
I
np
np
np
I
I
I
I
I
I
I
I
I/O
I
I/O
I/O
I/O
I/O
np
np
np
np
np
np
I
np
np
np
np
I
I
I
I
I
np
np
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I
I
I
I
I
np
I/O
I/O
np
np
np
np
np
np
I/O
I/O
I/O
I/O
I
I
I
I
I
I
np
I/O
I
I
I/O
I/O
I/O
np
I/O
I/O
I/O
I
I
I
I
I/O
I/O
I/O
I/O
I/O
I
np
np
np
I
I/O
I/O
I/O
I
I
I
np
I/O
I
np
np
np
np
I
I
I
I
I
I
np
I/O
np
I/O
np
I
I
I
I/O
I/O
I/O
np
Mount
np
AT-DIS7-PROHD
Component
400
Atlona Technologies
www.atlona.com
Atomos Global Pty. Ltd
www.atomos.com
Price ($)
1920x1200
Samurai
Ninja 2
$500 7"
$1,600
$995 5"
$700 5"
Model
Composite
Price ($): Manufacturer's Suggested Retail Price
Display Size (inches): Inches measured diagonally
Max. Resolution: The highest resolution the monitor is capable of displaying.
Brightness (nit): 1 cd/m^2 (candle per square
meter) equals 1 nit
Viewable Angles: Horizontal and vertical range to
accurately view monitor
HD-SDI
Feature Headings
HDMI
VGA is an analog output that has been in use
since the days of the CRT monitors, while DVI
provides a digital signal. There are also newer
standards, such as DisplayPort, which can be
found on some monitors. Monitors typically provide controls for calibrating the image’s contrast,
brightness, color temperature and other levels
- in some cases the calibration is conducted automatically, while in other cases it must be initiated
and done by hand. Regardless, it is worth noting
that the individual taste of the person viewing
the monitor will come into play; for example, a
higher contrast being perfectly acceptable to one
person while another would disagree.
The monitor’s aspect ratio is determined by
its physical shape (either 4:3 or 16:9), and must
be matched to the proper screen resolution put
out by the computer’s graphic card. VGA, for
example, can begin at a resolution of 640x480,
but generally climbs higher, for example, into the
realm of 800x600 (SVGA) or 1024x768 (XGA). For
example, the PyleHome PLVW10IW is a 10.4inch flat-panel (4:3 aspect ratio) reminiscent of a
touch-screen tablet like the iPad. The LCD is wallmountable (as is the case with most flat-panel
monitors) and provides a resolution of 800x640
through a VGA input. An example of a widescreen (16:9) monitor with full 1080p resolution
Viewable Angles
ikan www.ikancorp.com
Computer Monitor 101
Brightness (nit)
Computers offer two types of viewing systems
when it comes to multiple displays: the first
will see use for presentations or use with a
projector, one monitor “mirrors” what is on the
first (or main) monitor. For editing use, it’s the
second type of viewing system that is used; i.e.
to extend the working area (desktop) from one
monitor to the next. In a video editing setup,
this allows menus and windows (whether
they contain video or other information) to be
placed apart from one another for both convenience and reducing clutter.
Computer monitors used for video editing must
match the jack, and the graphic capabilities of the
computer’s video card in order to function optimally. A monitor with a resolution able to display
1080p HD (1920x1080 pixels)
will not receive the needed
signal strength if the computer
can’t provide this resolution.
Similarly, if the computer
only has a VGA output,
having a DVI input on the
monitor only will have to
be worked around with
an adapter in order to be
successful. Fortunately, the
majority of computers and
laptops are able to display
an HD image. The fact that
high-resolution monitors
have dropped in price is a welcome change.
Max. Resolution
Watch the View
Atomos www.atomos.com
Manufacturer
a common shooting and viewing option.
While a single monitor is part and parcel
of today’s computing (all-in-one models like
Apple's iMacs and HP's new Z1 workstation incorporate the technology and monitor together), having a second monitor is more than just a
convenience when it comes to editing video. In
fact, the addition of a third monitor is no longer
viewed as an exotic option; computers designed
to handle only one additional monitor are upgradable through an external device that works
through a USB port to provide another monitor
with “plug and play” capabilities. Additionally,
there are tablet-sized LCD monitors, such as the
AOC 16-inch Portable USB, that plug directly
into a USB socket on the computer -- obviating
the need for any 120V plug.
Inputs and Outputs
np rack
np yes On-camera
I
I
I/O
I/O
I/O
I/O
I/O
I
np
np
np
I
I/O
I/O
I/O
I
np
np
np
I/O
I
np
np
np
np
np
np
np
I
I
I
np
I/O
I/O
I/O
np
np
np
np
np
I
I
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
yes
np
yes
yes
yes
yes
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
On-camera/rack
On-camera/rack
desktop/rack
desktop/rack
desktop
desktop
desktop
desktop
desktop
desktop
desktop
desktop
desktop/rack
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop
desktop
desktop
desktop/rack
desktop
desktop
On-camera
On-camera
On-camera
desktop
desktop
desktop
desktop/rack
contents
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print
19
20
7"
7"
7"
7"
5"
5"
7"
7"
8.4"
8.4"
8.4"
10.4"
15.6"
15.6"
17"
19"
23"
23"
26"
32
42"
55"
4"
7"
7"
7"
7"
7"
7"
7"
7"
19"
23"
42"
42"
5"
4"
1024x600
1024x600
1024x600
800x480
800x480
800x480
800x480
800x480
800x600
800x600
800x600
1024x768
1366x768
1366x768
1280x1024
1280x1024
1920x1080
1920x1080
1920x1080
1920x1080
1920x1080
1920x1080
800 x 480
800x480
800x480
800x480
800x480
800x480
800x480
800x480
800x480
1440(H) x 900(V)
1920x1080
1920x1080
1920x1080
800 x 480
800 x 480
Mount
800x480
800x480
1280x800
1280x800
1280x800
1280x800
800x480
HDMI Loop-Through
Price ($)
4.3"
4.3"
5.6"
5.6"
7.7"
7"
7"
Component
Video broadcast monitors are useful
for television production because they
provide a realistic image that represents what is captured without any
enhancements or alterations initially.
ToteVision, Inc.
www.totevision.com
S-1071F
S-1071H
S-1071C
S-1070C+
S-1051H
S-1051C
LCD-703HDV
LCD-703HDLX
LCD-842HDL
LCD-842HDLX
LCD-842HD1
LCD-1048HD
LCD-1560HDL
LCD-1560HDR
LED-1708HDR
LED-1908HD
LED-2361
LED-2361HDMT
LED-2600HDT
LED-3202HDT
LED-4200HDMT
LED-5500HDT
LED-430X4-3GSDI
LCD-703HD
LCD-703HDA
LCD-703HDL
LCD-703HDLX
LCD-703HDV
LCD-703HDX
LCD-703HD1
LCD-703HD2
LCD-1901HD
LED-2361HD
LED-4201HDMT
LED-4202HDT
LED-500X3-3GSDI
LED-430X4-3GSDI
$1,050
$2,700
$2,700
$1,150
$1,680
$1,180
$580
$960
$750
$520
$795
$900
$1,260
$915
$1,110
$965
$885
$885
$710
$825
$830
$830
$835
$985
$2,060
$3,130
$1,810
$840
$820
$900
$900
$790
$840
$990
$1,675
$1,080
$530
$2,060
$1,210
$4,800
$5,470
$3,950
np
np
np
Composite
Production Monitors
Sony Electronics Inc.
www.pro.sony.com
SWIT ELECTRONICS USA, LLC
www.swit.us
DP4
DP4-EVF
DP6-SLR
DP6 SDI
DP7-Pro OLED
DP7-Pro HB
LPM-770BP
HD-SDI
ambitious ends will still need to view
how their finished work will look on
a TV screen. Most computers can take
the addition of a TV tuner card, which,
besides providing TV-in capabilities, can output video for display on
a conventional HDTV. There are also
external video streaming devices (for
example, the Warpia StreamHD VE)
that only require a USB connection in
order to sync with the computer and
HDTV. Using a conventional HDTV to
view the video before completion will
add to the overall work time, but, there
really is no other alternative if your
viewing is confined to computers and
mobile devices. The final video should
be as compatible as possible with that
of a televised signal in order to provide
a consistent display of your final piece
of video.
SmallHD
www.smallhd.com
Model
desktop/rack
desktop/on-camera/rack
On-camera
On-camera
On-camera
On-camera
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop/rack
desktop
HDMI
LCD4Video www.lcd4video.com
print
np
yes
np
yes
yes
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
Viewable Angles
full screen
I
I
np
I/O
I/O
I/O
np
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
Brightness (nit)
contents
Those whose productions are headed
for broadcast no
doubt realize that the
finished
video
I
I
np
I/O
I/O
I/O
np
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
Max. Resolution
Computer Versus Television
should be viewed on an NTSC monitor
that will accurately display the image
as it is seen on conventional TVs. This
is only reasonable since variations
between what is seen on a computer
monitor (whose pixels are square) and
a TV (whose pixels are rectangular)
can exist, both as subtle or not so
subtle differences in the final image.
These types of NTSC monitors can
vary in specifications and price but
must all have the ability to display
a video signal conforming to the TV
standard. An example is the studio
quality JVC’s 24-inch DT-R24L41DU
LCD monitor ($3,200). Designed for use
in post-production facilities as well as
broadcast networks and TV stations,
the HD image provides 1:1 monitoring
with safe area markers compatible with
different aspect ratios. The monitor has
a wealth of inputs and, as expected,
embedded technologies for metering
the signal as it is viewed.
Those creating videos with less
I
I/O
I/O
np
np
np
np
I /O
I /O
I /O
I
I
I
I
I
I
I
I
I
I
(1920x1080) is the 24-inch ViewSonic
VA2431wm($291). A DVI input provides for higher density of pixels on a
screen with resolution of 1680x1050.
This monitor features both VGA and
DVI inputs and automatically adjusts
for standard definition, (the built-in
stereo speakers can be considered an
added perk.)
Another example is the 7-inch
SWIT S-1071H (1024x600, $1,290.)
It features two HD/SD-SDI inputs,
along with HDMI and component,
and includes a video flip, Underscan/
Overscan switch and 4:3 aspect ratio
compatibility.
np
I/O
np
I/O
I/O
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
Manufacturer
np
170 (H) 170 (V)
170 (H) 110 (V)
np
140 (H) 100 (V)
160 (H) 140 (V)
170 (H) 170 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
Mount
240
320
400 nit
800
450
650
300
400 nit
400 nit
600
400 nit
350
350
250
250
400 nit
400 nit
450
500
450
HDMI Loop-Through
1366x768
960x540
1024x768
800x480
800x480
1024x768
800x480
800x480
1024x600
800x480
1024x768
1366x768
1920x1080
1366x768
1600x700
1920x1080
1920x1200
1920x1080
1920x1080
1920x1080
Component
Viewable Angles
18.5"
9"
8.4"
7"
7"
6.5"
5"
7"
7"
9"
8.4"
17"
17"
19"
20"
21"
24"
32"
40"
46"
Composite
Brightness (nit)
$1,200
$1,100
$2,000
$600
$2,200
$2,500
$2,500
$2,699
$2,699
$2,999
$2,799
$2,899
$3,200
$3,999
$6,499
$7,999
$8,999
$450
$600
$800
HDMI
Max. Resolution
OR-181
OR-901-XDI
OR-841-HDSDI
V-LCD70XHB-HDIPT
V-LCD70XP-HDIPT
V-LCD651STX-HDMI
V-LCD50-HDMI
PBM-207-3G
PBM-307-3G
PBM-209-3G
PBM-184S
PBM-217S
PBM-317S
PBM-219S
PBM-220S
PBM-221S
PBM-224S
PBM-232S
PBM-240S
PBM-246S
Inputs and Outputs
HD-SDI
Plura Broadcast, Inc.
www.plurabroadcast.com
Price ($)
Marshall Electronics
www.marshall-usa.com
Model
Manufacturer
Inputs and Outputs
350
350
300
300
250
1000
160 (H) 160 (V)
160 (H) 160 (V)
170 (H) 170 (V)
170 (H) 170 (V)
160 (H) 160 (V)
160 (H) 160 (V)
160 (H and V)
I/O
I/O
I
I
I/O
I/O
I
np
np
np
I/O
I/O
I/O
np
I
I
I
I
I
I
np
I
I
I
I
I
I
I/O
yes
yes
np
np
yes
yes
I
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
160 (H) 160 (V)
160 (H) 160 (V)
160 (H) 160 (V)
130 (H) 110 (V)
140 (H) 120 (V)
140 (H) 120 (V)
130 (H) 115 (V)
130 (H) 115 (V)
150 (H) 150 (V)
150 (H) 150 (V)
150 (H) 150 (V)
180 (H) 180 (V)
180 (H) 130 (V)
180 (H) 130 (V)
170 (H) 160 (V)
170 (H) 160 (V)
170 (H) 160 (V)
170 (H) 160 (V)
160 (H) 150 (V)
178 (H) 178 (V)
178 (H) 178 (V)
176 (H) 176 (V)
130 (H) 110 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
130 (H) 115 (V)
160 (H) 160 (V)
170 (H) 160 (V)
178 (H) 178 (V)
178 (H) 178 (V)
170 (H) 170 (V)
130 (H) 110 (V)
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
I
np
np
np
np
np
np
np
np
np
np
I
np
np
np
np
I/O
I/O
np
np
I/O
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
I
np
np
np
np
np
np
np
np
np
np
np
np
I
I
I
I/O
I/O
I/O
I/O
np
np
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
np
I
I
I
I
I
I
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
np
np
np
np
I
I
np
np
np
np
np
np
I/O
I/O
I
I
I
I
I
I
np
np
np
I
I
I
I
I
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
np
On-camera
On-camera
On-camera
On-camera
On-camera
On-camera
wall
wall
wall
rack
wall
wall
rack
desktop/rack
desktop/wall
desktop
wall
desktop/wall
desktop/wall
desktop/wall
desktop/wall
rack
desktop
desktop
wall
wall
desktop
desktop
rack
rack
desktop
desktop
np
np
rack
rack
np
400
400
400
350
350
350
350
350
450
450
450
350
200
200
300
300
300
300
400
400
450
450
200
350
350
351
352
353
354
355
356
300
300
450
450
300
200
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21
HDMI Loop-Through
160 (H) 160 (V) I
I/O I
I
np rack/wall
5.6"
7"
17"
24"
32"
40"
46"
55"
32"
18.5"
1280x800
1024x600
1366x768
1920x1200
1920x1080
1920x1080
1920x1080
1920x1080
1920x1080
1366x768
300
400
350
400
500
450
450
450
500
300
170 (H) 170 (V)
170 (H) 170 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
170 (H) 160 (V)
I
I/O
I
I
I
I
I
I
I
I
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
I/O
np
I
I
I
I/O
I
I
I
I
I/O
I
I
I
I
I/O
I/O
I/O
I/O
I/O
I/O
I
np
yes
np
np
np
np
np
np
np
np
On-camera
On-camera
desktop/rack
desktop/rack
desktop/wall
desktop/wall
desktop/wall
desktop/wall
desktop
desktop/wall
20.1"
17"
23"
23"
7"
7"
1680x1050
1920x1080
1920x1080
1920x1080
1920x1080
1920x1080
470
350
250
250
250
450
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
178 (H) 178 (V)
160 (H) 150 (V)
120 (H) 140 (V)
np
np
I/O
I/O
I/O
I
I/O
I/O
I
np
np
np
I
I
I
I
np
np
I/O
I/O
I/O
I/O
np
I
np
np
np
np
yes
np
desktop/rack
desktop/rack
desktop/wall
desktop/wall
On-camera
desktop/on-camera
Mount
Component
250
Composite
1440x900
HDMI
17"
HD-SDI
Price ($)
Viewable Angles
RMT-200-HD
RMT-170-HD
RMQ-230-3G
RMQ-230-A
LCD7-HDSLRII
LCD7-HDRGB
Brightness (nit)
LCD4Video
www.lcd4video.com
VFM-056W/WP
LVM-074W
LVM-173W-3G
LVM-243W-3G
LVM-323W-3G
LVM-403W-3G
LVM-463W-3G
LVM-553W-3G
XVM-325W
V185MV
np
np
np
np
np
np
$170
$3,500
$2,500
$5,000
$3,700
$400
$350
3500
2500
5000
3700
400
350
Max. Resolution
VIEWERA
www.viewera.com
Wohler Technologies, Inc.
www.wohler.com
LM-1750HD
TV One
www.tvone.com
TVLogic
www.tvlogicusa.com
Model
Manufacturer
Inputs and Outputs
and component inputs (for enabling
a second monitor to be connected),
the monitor has a 600:1 contrast ratio
and an adjustable backlight and DSLR
ratio adjustment capabilities. Peaking
filter/manual gamma adjustment and
four user-configurable front-mounted
buttons are also included.
At $900, the ikan VX9e provides a
8.9-inch LCD screen with such features as full color/monochrome, Peaking and moveable pixel-to-pixel, and
an adjustable threshold clip guide. Inputs for the field monitor’s 1024x800
resolution (300:1 contrast ratio) can
be had through HD-SDI (analog component conversion) as well as HDMI,
component and S-Video/composite.
On-camera monitors can also
come in an “eyepiece” configuration
for viewing directly, for example the
Cineroid EVF4Le ($700), which also
has a HDMI loop-through feature.
Diopter focus adjustments and other
controls are mounted on the unit as
SWIT www.swit.us
well. An example is the Marshall Electronics 5-inch V-LCD50-HDI monitor,
which comes with a sun hood. Other
useful features are a shoe-mount
adapter, HDMI input and front panel
controls for brightness, color, contrast
and the like. A False Color view aids
in maintaining a consistent image
of what is being seen on the monitor, which has a pixel resolution of
800x480 and a contrast ratio of 600:1.
Should you wish to switch from a
monitor to EVF easily, the SmallHD
DP4 EVF gives you the best of both
worlds: a standalone 4:3 monitor that
converts into a electronic viewfinder
($600). The 16.7 million color LED
backlit LCD panel is ruggedly constructed and includes frame guides
that work with DSLR signals as well as
video, focus assist and peaking filters
and moveable 1:1 pixel mapping.
You can't edit what you can't see,
and field, desktop and production
monitors have played a major role in
taking video creation into the modern age. Like any electronic device,
they are not a substitute for making
choices as to how to edit, but they will
let you see the results of those choices
you’ve made.
Marshal M. Rosenthal is a technology and consumer
electronics freelance writer.
Compiled by Jackson Wong
contents
full screen
There are three different types of
this kind of monitor; each is designed
with different characteristics in order
to perform various functions. The
first is the “Grade 1” monitor, which
provides a visual representation of
the image without any masking of
defects, such as in camera control
and color grading. The second type of
production monitor is “Grade 2.” This
monitor comes with a wider tolerance for the image, and is often used
in such situations as control rooms
where no editing of the picture is necessary. The final type is the “Grade 3”
monitor, which is the one most similar to high-end consumer displays.
It is suitable for television production applications where durability
and transportability of the unit is as
important as
its ability to
handle such
functions as
audio production and
dialogue
dubbing. In addition, these types of
production monitors are often used as
displays in a studio with an in-house
audience.
An example of a “Grade 3” monitor,
useful for audio editing, is the Marshall
OR-181 ORCHID ($3,000) Desktop
Production Monitor. The monitor has
an 18.5-inch LCD screen (widescreen,
1366x768 resolution), has a rack mount
option and includes an assortment of
production-based tools - for example,
real-time waveform functions, an audio
level meter and audio peak alarm. The
OR-181 can display as many as 16 audio channels and has an audio channel
loss functionality to warn against detected audio errors during monitoring.
Field Monitors and Camera
Mounted Monitors
Shooting on location or in the field
is no different than in an indoor
space when it comes to needing to
view what is being recorded. There
are two types of displays that can be
used in conjunction with the camera:
SmallHD www.smallhd.com
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22
field monitors and camera-mounted
monitors. A field monitor is designed
for those on location (other than the
camera person) to see what is being
shot, while a camera-mounted monitor “rides” the camera for use primarily by the camera person. Screen
sizes can be a bit more restrictive for
camera-mounted monitors, while
the division between these and field
monitors is about seven inches.
Both types of monitors are used
not only for simple viewing purposes,
but also as an aid to ensure the best
image with the least amount of difficulties when the finished work goes
to post-production. They both feature
industry-standard inputs for use with
the commercial cameras available. Additionally, independent batteries often
power both types of monitors, although conventional electrical outlets
can be employed in some instances.
Prices for field monitors vary,
depending on the screen size and
features - as an example, the 7-inch
LCD Marshall Electronics V-LCD70XPHDIPT Field Monitor (800x480) comes
in at $1,100. Besides loop-through
capabilities for the HDMI, composite
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23
Workshops
Get Real Experience
Behind the Camera
Nabbing the limelight at NAB 2012
with impressive cameras and
firmware upgrades.
when you Attend a Videomaker Workshop
CLASS SIZES ARE SMALL
SO SEATING IS LIMITED.
REGISTER TODAY!
NEWES
DAT ED
ADD EET
TO MAND!
DEM
The Best of
NAB
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.
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!
December 7-9, 2012
contents
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TO REGISTER OR GET MORE INFORMATION
go to www.videomaker.com/workshops
or Call 800-284-3226
TO $40
SAVE UP U SIGN
WHEN YO RLY!
UP EA
Cancellations: Cancellations must be received in writing (faxes acceptable) to Videomaker Customer Service. Notification must be received at least 21 calendar days prior to the workshop start date to receive a full
refund (less $20 registration charge). A substitute workshop date may be requested in lieu of a refund. For cancellations received between 21 and 7 calendar days prior to the workshop start date, a 50% refund applies. No cancellations, refunds or substitution dates will be given after 7 calendar days prior to the workshop start date. Videomaker, Inc. reserves the right to cancel a workshop up to 1 month prior to the workshop
start date. Mail cancellation/refund requests to: Videomaker Customer Service (Workshop), P.O. Box 4591, Chico, CA 95927-4591. Fax: 530-891-8443, Attn Customer Service.
Professional Gear for
Every Producer BY TONY GOMEZ
T
he National Association of Broadcasters (NAB) held its annual
convention in Las Vegas this April.
NAB is the world’s largest electronic
media event, with more than 92,000
attendees and 1,600 journalists from
around the world searching for the
latest information on media technology and products from 1,600 exhibitors from 151 countries. To put it
mildly, it was huge!
Since the democratization of video
production, in which nearly everyone
has access to affordable video production tools, the NAB Show has become
the venue to experience emerging
products and technologies that will
affect and improve your video production world.
A team of your Videomaker editors and contributing writers spread
out across the massive venue of the
Las Vegas Convention Center, the
main site for the event which netted
815,000 square feet of exhibit space.
We collectively scoured the “miles of
aisles” to discover the hottest products
that you should be most interested in.
This Best of NAB report will be
broken down into three main categoVI D EO MA K ER >>> J ULY 20 12
ries - video acquisition, audio acquisition, and post-production. Video
acquisition: camcorders, DSLRs, and
accessories such as external recorders,
tripods, teleprompters, and lighting gear. Audio acquisition: external
microphones and their systems. Postproduction: Video editing and visual
effects systems.
Video Acquisition
contents
It all starts with your camcorder, and
there were plenty of new HD camcorder models on exhibit, but there
were also DSLR camera companies
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25
Best of NAB 2012
Professional Gear for Every Producer
showing exciting new models that
shoot video with interchangeable
lenses - some with the newest 4K
video resolution.
Sony’s HXR-NX30U ($2,500) is a
handheld AVCHD camcorder with an
integrated Zeiss 10x zoom lens that
can shoot up to 1080, 60p format
video on its internal 96GB memory
(40 hours), or on SD memory cards.
Important features include a built-in
100-inch video projector, Balanced
Optical SteadyShot image stabilization,
manual XLR audio, and great low-light
sensitivity from the 1/2.88-inch Exmor
R CMOS sensor.
Sony’s NEX-FS700 is an amazing
high speed video camcorder that offers 120/240/480 or 960 frames per
second for a variety of slow-motion
playback speeds, interchangeable
E-mount lenses for cinema-like depth
of field, and a professional HD-SDI
digital video output port which can
be connected to an external recorder.
The FS700 should be available in June
with pricing scheduled to be less than
$10,000. (www.pro.sony.com.)
JVC unveiled two ProHD camcorders - the GY-HM600 ($4,700) and
GY-HM650 ($5,700.) The HM600 offers
a couple key video recording formats
MP4 and MOV) at 1920x1080. Video
is recorded on SD cards. The Pre Rec
feature automatically stores five seconds of video previous to the actual
record start time, great for catching
those spontaneous events that started
before you were ready. The HM600
also boasts three 1/3-inch CMOS sen-
sors and a 23x Fujinon (29-667mm)
zoom lens. The HM650 big brother
is designed for remote and Internet
broadcast uploading by offering not
only full HD (1920x1080) resolution,
but also 1/4 resolution for wireless
broadcast via a built-in FTP and Wi-Fi
feature. Each camcorder also has a 1.2
million pixel color viewfinder, a 3.5inch LCD color monitor, and pair of
XLR microphone audio inputs.
JVC’s GY-HMQ10 ($5,550) is the
world’s first 4K handheld camcorder
available to pro shooters. 4K recordings up to two hours can be made using 4 - 32GB SD memory cards. (www.
pro.jvc.com.)
Panasonic demonstrated first time
upgrades to its venerable AG-AC130
and AC160 AVCCAM camcorders
with the new designation - AC130A
($5,000) and AC160A ($5,100). Owners
of the AC130 and AC160 can upgrade
the firmware for $300. Features in the
“A” upgrade include expanded focus
assist, and turbo speed one-push auto
focus. The AG-160/130 camcorders
use 1/3-inch 3MOS sensors, a wide
integrated 22x zoom, and two SD
memory card slots for relay or simultaneous recording. The AC160A also
offers 1080, 60p, as well as 30 and
24p. (www.panasonic.com.)
DSLRs and a Dark Horse a Digital Cinema Camera
DSLRs that can record HD video are
the hottest buzz on the video block.
That’s because of their interchangeable lenses which give videographers
the true cinematic depth-of-field effects from prime “fast” lenses.
Nikon showed off its recently
introduced D800 that we reviewed in
the June 2012 issue: www.videomaker.
com/article/15632. The D800 (body
only, $3,000) is packed with video
features: HDMI uncompressed output
(12 or 14-bit) which can be recorded
on external portable recorders, 1080,
30p/24p or 720, 24p/30p/60p, an
external microphone input and audio
monitoring at 20 levels of manual
adjustment. (www.nikonusa.com.)
The Canon EOS 5D Mark III (body
only, $3,500) is the update to the
well-loved 5D Mark II, the DSLR that
set the video production world on
fire. Improved features in the Mark
III model include a 22MP full-frame
CMOS sensor, 1080, 30p/25p/24p
resolution, a boosted 61-point auto
focus, high dynamic range, and better
weatherproofing.
At the high end of Canon’s DSLRs
we have the EOS-1D C ($15,000), and
EOS C500 (about $30,000.) While
these prices are probably way beyond
the reach of typical Videomaker readers, they do point to the next big trend
coming - 4K resolution video recording for camcorders and DSLRs. As a
4K camera, the EOS-1D C is one of
the smallest and can shoot video at
60p/24p. Numerous Canon EF mount
lenses are available for the EOS-1D
C. The EOS C500 bumps it up a big
notch with uncompressed HD-SDI
output (for external recorders.) (www.
usa.canon.com.)
JVC GY-HMQ10
GoPro HD Hero2
Blackmagic
Cinema Camera
Nikon
D800
JVC
GY-HM600
contents
AJA
Ki Pro
Quad
full screen
Sony
HXR-NX30U
print
26
Canon EOS-1D C
contents
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Best of NAB 2012
Best of NAB 2012
Professional Gear for Every Producer
Blackmagic Design is renowned
for a variety of accessories for your
digital video production needs. One of
their products that got a lot of interest
was the Blackmagic Cinema Camera
with 2.5K resolution (2432x1366)
which records in uncompressed video
file formats on a solid state drive
(SSD). Three video formats are available for recording: CinemaDNG RAW,
DNxHD (for Avid), and ProRes (for
Final Cut Pro) for direct use by your
video editing application. Almost buttonless, the 5-inch touch LCD screen
is your main interface. The Blackmagic Cinema Camera uses Canon EF
or Zeiss ZE interchangeable lenses,
with 13 stops of dynamic range and
12-bit RAW image capture. At $3000,
the Blackmagic Cinema Camera
would appear to be a strong competitor for those who want to get into
digital cinema production but can’t
afford the entry fee of a RED system,
or some of the other DSLR solutions.
Blackmagic’s Cinema Camera should
be available later this year. (www.
blackmagic-design.com.)
GoPro’s HD Hero2 miniature HD
camcorder ($300 in three editions) for
extreme sports tantalized the crowd
with grand POV shows on big screens.
The amazing thing to us is that GoPro
had such a big presence at NAB. We
suspect this is because the Hero2 is
becoming accepted as a “disposable
camera” that can be depended on for
great image quality, even if the camera
must take on the most dangerous situations due to the nature of the shoot.
An added bonus: two of these cameras
can be interlocked for capturing 3D
stereoscopic video. (www.gopro.com.)
.
Video Acquisition Accessories
An external digital video recorder
relieves your camcorder from being
the only place your digital video is
stored, which is a good thing. It’s also
the best way to capture video in a
compatible format for your video editing system. Two of the best companies offering field recorders are AJA
and Atomos.
AJA caught our attention with two
models - the Ki Pro ($4,000) and Ki
Pro Mini ($2000). Each model has HDSDI or HDMI inputs, along with XLR
audio. The Ki Pro records to SSD or
HDD/250GB, while the Ki Pro Mini records to select 32GB+ CF cards. Video
is encoded in the ProRes format. The
Mini weighs in at 1.2lbs, while the Pro
is 7lbs. Looking to the future, their Ki
Pro Quad has 4K recording capability
for the next generation of cameras.
It’s scheduled to be available later this
year, for $4,000. (www.aja.com.)
Certainly the coolest and most
affordable field recorder is Atomos’
second generation Ninja, the Ninja
2 ($995) - a tiny 13oz. recorder that
has many of its features derived from
real world extreme conditions, such
as filmmaker James Cameron’s recent
6.8-mile dive into the Mariana Trench
using the rugged Ninja 2’s close relative, Samurai. The Ninja 2 is a portable
touchscreen 10-bit HD video recorder,
audio monitor, and playback device.
It accepts HDMI from HD camcorders
and real-time encodes into the Apple
ProRes format. Storage is on 2.5-inch
HDD or SSD drives, and with 1TB
HDDs, one can record from 10-22
hours, depending on the quality setting. Rechargeable battery packs, and
a sturdy carrying case round out the
package. (www.atomos.com.)
Tripod systems from several
manufacturers were also on display.
The Tiffen/Davis and Sanford line of
tripods, and from the Vitec Group,
the Vinten and Sachtler brands were
all showing new models that work
perfectly with the next generation of
smaller camcorders and DSLRs. Vinten presented its Vision blue5 ($2025)
for cams weighing 12-26lbs. (www.
vinten.com), and Sachtler revealed its
Ace tripod system ($615) for cams up
to 8lbs. (www.sachtler.com.)
Davis and Sanford previewed its
ProElite PE5075-15 ($700) for cams
2-15lbs., complete with two stage
crutch legs and an adjustable ground
spreader. (www.tiffen.com.)
But if you are walking around with
your camcorder or camera, you will
need a handheld stabilization system.
And one of the most popular is
Tiffen Steadicam Merlin 2 ($850.) It’s
designed for a wide variety of smaller
camcorders. We even saw it stabilizing the third generation iPad, with its
built-in 1080p video camera. But even
hand-holding the Merlin 2 with a
camcorder will eventually wear your
arms out, so the Steadicam Merlin
Arm and Vest ($1,600) can take that
strain off. (www.tiffen.com.)
Manfrotto revealed its Sympla system to assist in hand-held shooting
Litepanels
Inca
Redrock Micro DSLR
Field Cinema Deluxe
Bundle V2
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Audio Acquisition
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with smaller cameras and DSLRs. The
Shoulder Support System ($1,150)
puts everything on your shoulder,
with easy-to-use swivel joint handles
to aid in control. The Flexible Mattebox ($1,150) holds 4x4-inch filters
in front of the lens for cinematic
effects or depth of field control. The
Long Lens Support ($1,050) is custom
designed to reduce vibrations so common with long focal length lenses.
(www.manfrotto.com.)
Redrock Micro is a leader in rigs
for DSLRs. They have a wide variety of rigs that work with the most
popular DSLRS, including the Canon
5D Mark II/III as well as Nikon’s D800.
Handheld rig models range from
less than $500 to about $1,500, and
shoulder mounted rigs from $770
to $1,300, depending on the model.
Also available are micro FollowFocus
modules (from $640) that are used
to achieve precision focus on many
DSLRs. (www.redrockmicro.com.)
For on-camera talent, nothing beats
a teleprompter. The next generation
of teleprompters from Tiffen/Listec
use Android based smartphones or
Apple iPhones to create the scrolling
text and reflect it up into the camera
lens. Listec’s PromptWare PW-04
all-in-one kit ($319) contains a 4-inch
screen, prompting software, keyboard
wireless controller and the necessary
adapters to connect to your camcorder lens. (www.listec.com.)
A good lighting system is vital to
high quality video production. The
Litepanels system from Vitec uses the
next generation of LED-based lighting
panels that are cool to the touch and
very energy efficient. Lightpanels latest Inca 4 and Inca 6 focusing Fresnel
lights are the same color balance
as tungsten-halogen lamps studio
lights, yet they consume nearly 90
percent less electricity. They might
seem expensive at $1500 and $2900
respectively, but they should pay for
themselves in energy saved within 3
years. (www.litepanels.com.)
Sachtler Ace
Vinten Vision blue5
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Manfrotto SYMPLA
Tiffen/Listec
PromptWare
Audio is often an afterthought in
video production, but what elements
are more important than good clean
audio? The microphone is built into
your camcorder is good in a pinch,
but you should always aim for using a
quality external mic. Each of the camcorders and DSLR cameras we found
on display had provisions for an
external mic for the great audio quality. One company showing excellent
quality mics was Marshall Electronics.
The Marshall Electronics MXL
FR-310 hot shoe shotgun mic is a
compact 5-inch super cardioid directional microphone that sits atop your
cameras hot shoe mount. It features
a three-position gain switch, an integrated foam windscreen, high-pass
filter, and one AAA battery for 500
hours of use. It comes complete with
a rugged flight case and is very affordable at $130. (www.mars-cam.com.)
Audio-Technica has a wide variety
of external wired mics in omnidirectional, cardioid, or super cardioid
(super directional), and wireless microphones that are in wide use by the
ENG/video production industry. Check
out their website for all they have to
offer. (www.audio-technica.com.)
Sennheiser wowed attendees with
their ENG wireless microphone kit,
the Evolution G3 (about $600). It’s a
small two part wireless transmitter/
receiver that is perfect for shooting
location videos, documentaries, weddings, etc. The sound quality is clear
and free from the wireless “noise”
that plague so many other lesser
quality wireless microphone systems.
(www.sennheiser.com.)
Post-Production
Adobe presented its brand new CS6
Production Premium bundle. Key
programs in the suite include Adobe
Premiere Pro CS6 (video editing),
Photoshop CS6 Extended, Prelude
CS6 (logging and capture), Adobe
Audition CS6 (audio editing), and Encore CS6 (authoring.) A tempting new
feature is the suite’s integration with
Adobe Creative Cloud storage service.
With numerous features including
an entirely new visual interface for
Premiere Pro, the CS6 Production
Premium is $1900. Current owners
of CS5 or CS5.5 Production Premium
can get the CS6 upgrade for $750 or
$375 respectively. (www.adobe.com.)
Sony Creative Software’s Vegas
Pro 11 has recently been reviewed by
Videomaker, and it’s an excellent editing application for Windows users. Two
in-development software programs
that support Vegas Pro were shown
- Spectral Layers, and ThemeBuilder.
Spectral Layers (from DIVIDE FRAME)
is an audio editing app for Mac/Windows that is frequency spectrum based,
rather than based on time, so it offers
more in-depth manipulation of the
audio spectrum. ThemeBuilder (from
NewBlue) is a Vegas Pro plug-in that
creates intelligent templates for video
projects and automates repetitive editing tasks. Spectral Layers and ThemeBuilder will be out later this year. (www.
sonycreativesoftware.com.)
Animation and visual effects giant
Autodesk impressed the NAB crowd
with a totally redone hybrid video editing/visual effects package called Smoke
2013. It may sound just like another
iteration of the previous Smoke, but
it’s radically different in structure, and
significantly lower in price - $3,500,
down from the steeply priced $15,000
of the previous 2012 version. Smoke
2013 is a Mac application only, and its
creators call it a “super app” because its
integrated effects are performed right
in the editing timeline- no need to take
the results from one application to another. Does this mean you’ll say goodbye to Final Cut Pro? Not likely, but it
remains to be seen what the impact of
this hybrid editing/effects package will
have on the Mac community.(http://usa.
autodesk.com/smoke.)
As always, we find the newest, latest
and greatest as soon as it comes down
the pike. Watch for reviews of many of
these products soon. What’s in store for
next year? Affordable 4K? Holographic
editing and storage? When the news
breaks, we’ll have it for you.
Tony Gomez is a veteran producer, editor, videographer,
digital photographer, and reviewer of consumer and
professional digital imaging and video products, with
more than 30 years experience.
29
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2012 NAB
BY JACKSON WONG
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E
quipment tradeshows are a great
way to see the newest products to
hit the market in a centralized location. Every year the Videomaker team
winds through the halls and weaves
through exhibits, spotting the newest trends and changing technology,
looking for products that we believe
our readers will enjoy learning about.
Our Spotlight awards highlight a few
of those standout products.
Best Camcorder: Sony NEX-FS700U – 4K
High Speed Camcorder
The NEX-FS700U is worth talking
about as a 4K camera with a Super
CMOS 35mm sensor and optimization
for high speed shooting.
We couldn’t give this the best
camera award without mentioning
the E-mount that will accept a host of
lenses. The total of 11.6MP is plenty
for a camera that has high sensitivity,
adds little noise and minimal aliasing. You may have expected built-in
ND filters, but a whole wheel for it,
why not?
At the end of your shoot you’ll be
glad the FS700 has 3G HD-SDI and
HDMI outputs and was shot either at
960fps or a more pedestrian frame
rate, 60p, 50p, 30p, 25p, or 24p. This
model is ready for 4K, but simply
waiting on a future firmware to be
provided by Sony. The NEX-FS700
should be available this summer for
$9,200 (body only). Please read more
at www.videomaker.com/r/612.
ZACUTO
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that are innovative, welldesigned and affordable,
in order to give you
confidence when
making purchases and
to be aware of important
players on the stage.
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31
2012 NAB Spotlight Awards
Best Editing Software: Adobe Production
Premium Creative Suite 6 Editing Suite
You know the name Adobe, what
you’re waiting for is CS6 and rightly
so. It will be a very strong presence
in the video editing world for good
reasons, such as a clean and easy-touse interface and good utilization of
64-bit processing. The suite combines
big names like Premiere, Audition,
Photoshop and After Effects with
many more for a package that gives
video professionals and enthusiasts an
extensive group of tools.
The emphasis this time around is
to speed up your editing, allowing
for hover scrubbing within windows,
better/more intuitive performance in
Audition and uninterrupted playback
in Premiere. Another welcome expansion will be found in the GPU-accelerated warp stabilizing, color correcting
and more than four tracks in multicam editing and eliminating nesting.
There’s plenty more new features to
discover. (Full suite, $1,900, upgrades
are $375-$950)
Best Light: Videssence ExceLED Light Kit
These studio lights pack in versatility.
Any of the series, E025, E050, E100
and E225 will be good for fill light
while the 25 and 50 will also excel
as key or back lights, and both the
E100 and E225 will be good as general
lights for an entire set.
The E025 is tripled up in the
ExceLED kit complete with stands,
barn doors, gel frames and a flight
case. The three lights may either be
3200 or 5600K and no matter the
color temperature you’re looking for
you’ll have solid and small lights to fill
out your set.
Best Support: Zacuto Recoil Stabilizer
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The support is only as good as the operator, that means you. The Recoil will
rest the camera on your shoulder. It
combines the Gorilla Baseplate which
uses both 3/8 and 1/4-inch screws.
What’s special about the Recoil is
mounting the camera with the help
of a Q-Release directly on top of the
shoulder rather than extending away
32
from your body. You won’t find it with
any other support, it has the ability to
shift the camera’s center of balance
and will work best with camera packages measuring less than three feet.
With simple quality, Zacuto has
charmed us again with the Recoil, and
for $1,375, this support will help you
get the job done.
Best Accessory: Roland R-26 Portable
Audio Recorder
We know first hand how useful handheld field recorders are, and the R-26
is sure to be a valuable tool for any
videographer. Being able to record six
tracks may seem like overkill for video, but it’s actually three stereo inputs
and will make it great for two-person
interviews and still allow for recording
a third mic. The recordings come in
as WAVE/BWF or MP3 files and use SD
cards. As for inputs to compliment the
built-in XY mic, the R-26 sports two
phantom powered combo XLR and
TRS jacks as well as a plug-in powered
miniature mic.
The body of this recorder has
two prominent knobs for adjusting
volume, which is much preferred to
camcorders or other recorders that
use an on screen button or side wheel.
Overall, the R-26 ($600) screams efficient functionality, and sometimes,
that’s just what we want.
Spotlight: HP Z1 – Workstation
We’ve been watching this one for a
while, and it’s going to have great
influence on the layout of many video
editors’ desktops. The Z1 brings the
upgradeability of a workstation to the
desktop, and an all in one desktop at
that. Building from a good base is a
life lesson, and the Z1 understands
it with two of it’s three available
processors as a quad-core Intel Xeon
processor that is usually reserved for
the highest-end computers.
Since the largest thing you’ll see
in this computer is the monitor, HP
provides a 27-inch display that can tilt
horizontally and release to allow you to
manually add your upgrades - no tools
needed. Cool features also include a
Blu-ray slot-load writer, 1080p webcam
and SATA storage as great as 2TB and
300GB SSD. Z1 models start at $1,900
www.videomaker.com/r/614
Spotlight: AJA T-TAP Adapter
For a little device, the T-TAP will be
a very important adapter. It not only
supports 10-bit uncompressed 2K and
3D video files, but it can transfer those
plus 8-channel audio through the HDMI
or SDI outputs. The incredibly simple,
single input is Thunderbolt, which will
draw power from your Mac. This makes
for a grand total of three ports on the
T-TAP, input on one side, outputs on the
other, and if you set a one-inch-thick
smartphone on your desk, that’s about
the size of this puppy.
AJA brings its name in the market
of quality I/O in the form of the T-TAP
($249.)
Spotlight: Autodesk Smoke 2013
Post-Production Software
Visual effects and Autodesk seem to go
together extremely well, and generally,
Autodesk Smoke has been used by only
top level professionals - now Smoke
2013 is shaking that notion. The redesign from node to layer-based editing
is one part of this overhaul, and the
brightest part of the deal - what was
once $15,000 is now $3,500. This still
puts it on the high-end of post-production software, but it is much more feasible. By combining the node system
within the tracks and layers, Smoke
retains its powerful compositing.
There is plenty of ability to work on
3D, including editing, titles, logos and
complete lighting control. Since many
more people will have the opportunity
to try this software out, you may be
able to see it for yourself. www.videomaker.com/r/615
ProRes or DNxHD. One incredible feature is the capability to capture with a
dynamic range of 13 stops.
The LCD is 5-inches and is a versatile
touch screen much akin to a smartphone and will be used to enter metadata directly onto the files on the SSD
which will really speed up the whole
workflow. www.videomaker.com/r/616
Spotlight: Canon EOS 5D Mark III
DSLR Camera
Canon seems to do so many things
right when it comes to video on their
DSLRs and the 5D Mark III is the next
“right” camera. Start with 22MP, a
35mm full-frame CMOS sensor, EF
mount lenses, 1920×1080 video at
30p, 25p or 24p and toss in 61-point
AF improved audio control – this
leaves you with one camera that
deserves a spotlight. The DIGIC 5+
image processor is a big addition in
terms of performance and will reduce
moiré and artifacts.
A fun and useful feature allows
LEDs
two timecodes to be kept, one for
acute timing for your recording, and
another called Free Run which can
be a huge help in syncing multiple
cameras. There are still solid features
to discover here, but the 5D Mark III
($3,500) is sure to be a strong camera.
www.videomaker.com/r/629
Spotlight: VizTools HandiZoom Zoom
Controller
The HandiZoom provides camera and
zoom controls at your fingertips, and
helps stabilize your shooting. The
motorized drive for manipulating the
zoom helps ensure a smooth motion. It can also be set at a maximum
speed. The HandGrip balances well
in one hand, freeing you to dedicate
your second hand to zoom. The flexible system has a quick-release for
changing Parfocal Twist Type lenses
(on Canon cameras as of release.) Control can also come from a remote, and
focus can be adjusted with five and
10x magnification.
Spotlight: SmallHD DP7
Professional Field Monitor
We, like many video pros, have come
to appreciate SmallHD, and the DP7
monitor is another such product.
There are two versions at the same
price ($2,700), one with high brightness and the other using an OLED.
With brightness as great as 1000nit
it’ll be easy to monitor outdoors
beneath the sunlight, while the OLED
has great color reproduction. Both
have resolution of 1280x800 with 160
degrees of viewing angle (both axes)
and both HDMI and HD-SDI inputs
and outputs, whew. SmallHD’s software and support make it easy to keep
up with firmware updates.
Congratulations to the winners.
Jackson Wong is an Associate Editor for Videomaker.
for Your
Mobile Needs!
296 FC’s
AT 12 FEET!
Spotlight: Blackmagic Cinema Camera
For all the cinema cameras we’ve
looked at, none look like the Blackmagic Cinema Camera ($3,000). This
one almost has an Apple-feel in its
unique silver casing, black rubber
grips and hard drive-esque form.
With resolution at 2592×2192, images captured by this camera have the
potential for the cinema and your video format may be either CinemaDNG
for 12-bit RAW or at 1920×1080 for
The new ExceLED Kit provides three powerful LED fixtures at only
25 watts each! Provided as shown with stands, barn doors, spread
lenses and heavy-duty flight case with retractable handle and
wheels. The perfect kit for lighting on the run!
contents
Call 626.579.0943
10768 Lower Azusa Road
El Monte, CA 91731 USA
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33
DSLR Tips
Workflow
a Pro’s Eye View
BY MARK HOLDER
Shooting with DSLRs has
many advantages, but without a
proven workflow one can quickly
become lost beneath an avalanche
of data. Worse still, data itself
could become lost. Let’s explore
some workflow basics as practiced
by the pros.
DSLR cameras are taking
the digital video production
world by storm. Cameras
like the Canon EOS 5D
Mark II have interchangeable lenses and large sensors producing gorgeous
high definition images with
incredibly shallow depths of
field. It’s easy to see why the Canon
EOS 5D Mark II video camera and others
like it have become so popular in such a short
period of time. Of course they do have their
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challenges. Their physical form is not particularly conducive to hand-held work so they must
be attached to a tripod or some other stabilizing device. Their audio capabilities as a professional video camera are, well, awful. And many
of them leave much to be desired in terms of
LCD screen resolution, focusing aids, exposure
assistance and more.
Fortunately, for each of these shortcomings
there is an answer, even several. And the advantages of working with these cameras are great
enough that it is often worth the added expense
required (for the professional at least) to purchase
the extra gear needed to overcome the negatives.
Whether you’re a weekend shooter or a professional DSLR user, fully equipped and heavily
funded with the highest end professional video
cameras and gear; or you’ve just pulled your
sub-$1,000 camera and stock lens out of the
box, one thing you simply must do, in order to
save yourself a world of potential grief on your
next digital video production, is follow a solid,
proven, workflow. Here are a few shooting-withDSLR tips that might help you accelerate and
refine that workflow.
Workflow Worries
In its simplest sense, the term workflow
refers to a repeatable sequence of steps
performed to get from state A to state
B. For our purposes we’ll use workflow
to describe each of the steps taken from
the moment we press record on the camera until we close and lock the door on the
“archive vault.” A workflow is designed to assure
optimal efficiency throughout the production
and post-production process and to the utmost,
guarantee the security of the data acquired.
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DSLR Workflow a Pro’s Eye View
Tips
A workflow should be repeatable to ensure
that it will become automatic over time for all
persons involved. It should also be scalable so
it can be adapted to the size of the operation. A
simple, one person, single camera shoot and a
fully crewed, multi-camera feature production
are vastly different in terms of scale but have two
things very much in common: the need to be efficient, and, most importantly, secure data.
Time lost due to misplaced or mishandled
footage results in a serious reduction in efficiency. But imagine completing a week-long,
multi-camera shoot, only to discover in the edit
bay that the media card containing the best takes
from the best camera angle was inadvertently recorded over because it wasn’t handled properly.
Perhaps worse, what if this were to happen on
a single-camera shoot with no coverage whatsoever from other angles? If you’re out shooting
some skateboarders acrobatics at the local skate
park it might not be such a big loss, but what if it
were your daughter’s graduation – or wedding?
If a commercial project, how do you explain
to your client that you lost the key footage and
will have to reshoot? The dog ate my media card
probably won’t fly any better today than the
excuse did in school. The message here is that
by following a solid workflow, and following it
fanatically, you should never have to face any of
these devastatingly nightmarish situations.
Cradle to Grave
Once the record button is pressed, birth is given
to a DSLR digital asset. In its rawest form, it
must be protected from corruption and loss.
The workflow process is designed to ensure its
safe journey throughout gestation, delivery, and
finally, taking its place in digital asset heaven –
the archive room. It is transferred from camera
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Labels on cameras and cards will allow for
organization among different people and
throughout the process.
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36
to card then from card to computer. Here it is
cloned; multiple copies to ensure its survival
should disaster strike. Once the clones are sent
on their respective journeys it’s off to post, where
it will be cut, rolled, time-remapped, color corrected, blended with others and compressed.
In this final state, more clones will be produced
with some being delivered to anxiously awaiting
clients and others sent to join their raw, primal
brothers in the archive room.
Dangers lurk in every corner and care must
be taken to prevent the loss of data. One of the
first steps to take is in the area of proper media
management. This becomes especially critical on
multi-day, multi-camera shoots. A single media
card is one thing but trying to manage a dozen or
more media cards is another disaster-waiting-tohappen altogether. Someone must be responsible
for the proper handling of all media. Not several
people - one. Having just one individual in the
role of digital media manager will avoid confusion. If you’re a one-person show, then it’s pretty
evident who that person is going to be.
One key task is to develop a naming system
that will enable you to keep your media cards
and their digital assets straight and intact all the
way through the process. Start by labeling your
cameras externally with tape: A, B, C, etc. Next,
the camera is labeled internally. Place a card in
Camera A and take a still shot. Remove the card
from the camera and connect it to the computer.
Find the image you just captured in the card’s
DCIM sub-folder and rename it using the numbers 0999. Now, the next images captured on this
camera will be in the 1000 series. Repeating the
process for other cameras make Camera B the
2000 series, Camera C the 3000 series and so
on. When developing a naming scheme, be sure
to check your camera’s manual for its accepted
file format. Set file numbering to continuous to
ensure that file numbers continue in sequence
when changing cards rather than starting over
with each new card.
As cards are filled, remove them from their
respective cameras and label them with tape;
i.e. the first card out of Camera A is labeled A1;
the third card out of Camera C is labeled C3, etc.
Once filled and labeled, the cards are placed in a
protective case, flipped over, backside up, making
it obvious that these have yet to be downloaded
onto the computer and copied to backup drives.
The case goes to the digital media manager who
knows at a glance, which cards need to be downloaded, and which camera they came from. The
media manager loads the cards into the computer
and downloads the images to the hard drive(s).
Before sending the card back, the media manager renames the DCIM subfolder as DONE so
the camera will read it as empty. The tape label
is removed and the card is placed back into the
protective case, right side up, to show that it is
ready to be recorded onto once again, and sent
back to the field. When this card is placed in the
camera for formatting it will show that there is
data on the card. When play is pressed, however,
the camera will indicate that no image is present, confirming that the card has indeed been
downloaded by the media manager and is okay
to format and re-use. Consider protecting your
data by making several copies on different hard
drives. These drives can then be distributed to
the director and editorial. One hard drive should
be kept as a backup and the one should go into a
vault for safe-keeping.
Chase Jarvis is a well-known, professional
DSLR user. He shared his complete workflow
on his website, www.chasejarvis.com. Immediately after recording, cards are given to the
Chase Jarvis shoots both video and photos with DSLRs.
TOP: Dasein: the Art of Being is one example of Jarvis’
documentaries. BOTTOM: Still photo from www.chasejarvis.com.
media manager (also known as the Digital Asset
Manager) for ingestion. With the card in a card
reader, data is copied simultaneously to two
daisy-chained hard drives. In the field, all files
are then run through Apple Compressor and
output as ProRes 422 files for an even starting
point back in the studio.
Each day after shooting the crew returns to
base camp where data from the field drive is
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37
DSLR Workflow a Pro’s Eye View
Tips
points out how critical it is “to get through a
ceremony without switching cards.”
Data travels from camera to card to computer, then should be
backed up with hard drives while leaving a copy to be edited
in post production, which also should be duplicated before it’s
presented to family, friends or your client.
Hard Drive Backup
Audio “Audities”
Archive
Media Card
Camera
Computer
copied to a 2TB RAID 1 drive. This creates two
1TB drives that are exact copies of one another.
Each drive then goes to a different location for
safety. If something happens to one, the other
is readily available to continue working. Next,
initial editing begins with the shots fresh in
mind; the best shots are noted now so they can
be worked on later.
Back in the studio all the data is copied to a
server (and backup drive) which runs a 16-drive
storage array, set up in such a way that should
any single drive fail, the remaining drives contain
all the information necessary to restore all the
data onto the replacement drive. Chase makes a
critical distinction between raw data and worked
data. Raw data is untouched; unchanged from its
original form and is considered sacred. Any data
whose pixels have been manipulated in any way
however, is saved separately on the server as Live
Work. When raw data comes in it is saved on the
server. Then, at the workstation, it is manipulated
Post Production
Client
using Adobe Photoshop, Final Cut Pro, Compressor or other software, then saved to the “Live
Work” folder on the server before final delivery to
the client. Both raw data and live data are backed
up and stored offsite in a secure location. Additionally, each workstation is also backed up hourly
to an external hard drive.
Another important consideration in the plan
to protect your data is the media itself. Paul
Hildebrandt, of Eventide Visuals in Northern
California (www.eventidevisuals.com), highly recommends using fast media cards: 133x or better
for CompactFlash memory cards and Class 10 or
higher for SD cards. He suggests that you “never
go below these speeds” to minimize the possibility of potential data loss. Paul also recommends
using card capacities of no less than 16GB as
anything less is not really practical for field use.
If your situation allows you time to frequently
switch out smaller cards then they’ll work fine
but as a wedding and event videographer he
It’s well known that the audio capabilities of
DSLR cameras are severely lacking. Fortunately
there are a number of satisfactory solutions
out there. If your camera is equipped with an
1/8-inch microphone jack you could simply plug
in an external mic with the proper connector.
If you want to use a professional mic with XLR
connectors you’ll have to use an adapter.
If your camera lacks a microphone jack altogether you can still capture great audio with a
quality recorder such as Zoom’s H1, H2 or H4
or the recorders by Sony, Tascam, or Yamaha,
among others. Recording with these devices
requires another step in the post-production process: syncing the audio with the video. You can
use the tried-and-true method of using a slate,
clapboard or simply clapping your hands loudly
in front of the camera but then you’re faced with
the task of synching audio and video manually.
Alternatively, many video producers are turning
to PluralEyes software from Singular Software
to sync up their DSLR footage with separately
recorded audio. For an in-depth look at these
solutions check out the article entitled How to
Get the Best Audio From HDSLR Cameras at www.
videomaker.com/article/15104.
For the professional, time and data are
money. Lost data means lost income. For the
non-professional, memories fade, and captured images, once lost, can never be replaced.
Employing a consistent, secure workflow, from
capture to archive, can help prevent these, and
other mishaps, from ever happening.
Contributing editor Mark Holder is a video producer and trainer.
For comments, email: [email protected], use
article #15395 in the subject line. You can comment and
rate this article by going online: www.videomaker.com/
article/15395
RAID TYPES: Pros and Cons
RAID stands for Redundant Array of Independent Disks and
refers to a data storage system utilizing multiple hard drives.
There are a number of RAID configurations but three in particular are of use to the video producer.
RAID 1 is a mirrored array meaning that it writes to two
discs at the same time, creating two drives that are identical to one another. This arrangement requires only two hard
drives and provides complete redundancy; if one drive fails,
the other drive continues to house all the data. On the downside, it is slow and results in a loss of half your drive capacity.
RAID 0 is a striped array. In this configuration data is
written to both drives simultaneously but in only one loca-
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tion. This results in very fast write speeds, twice the speed
of a single drive, with no loss of drive capacity, but with no
redundancy. If one drive dies everything is lost. This arrangement is useful as scratch discs, such as when editing video,
where speed is a plus but the data is temporary and a loss
isn’t critical.
RAID 5 requires a minimum of three hard drives but in
practice can be very large with moderate drive speed results.
This arrangement provides complete redundancy while only
giving up about 25 percent of total drive capacity. RAID 5 setups require a hardware controller and are expensive but can
be built to provide a large, fully redundant storage solution.
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38
39
A database is a tool for storing, organizing, searching,
investigating and displaying mass amounts of information
and how it relates to even more information. Ahhh!
Information management.... this sounds like something we
can use in our production.
BY PETER ZUNITCH
T
hink of a media database system
as a reference book written about
all your projects. With it, you should
be able to find any given shot, and all
relevant information about said shot, at
a moment’s notice. A simple database
might contain the content, source location and duration of all the shots in a
project, kind of like your media logs do
now. Truly complex offerings include
thumbnails, previews, lens filter and
exposure, performer contact information... the list is endless. Some can also
be integrated with your edit system(s)
so that they will enter all the content
automatically as you log your clips into
the capture tool. This data can then
be shared with, analyzed and manipu-
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40
lated by everyone else in your network
for use in other projects. In addition,
the business end of your company can
use it to confirm that all noteworthy
points are cleared for rights and contacts. Meanwhile your production crew
can record exactly how a shot was
taken. It’s a great way to get everyone
on the same page.
There are three primary types
of databases relevant to the video
industry. There’s no reason you can’t
mix and match them, but successful
systems require a meticulous commitment to inputting all of the data, all
of the time, so sometimes it’s best to
focus on your primary needs first. You
can always expand later.
Simple Catalog
The first type is basically an in-depth
catalog presenting everything you
ever wanted to know (and many
things you never cared to) about your
audio and video library. On the personal side, you might use one as a
catalog of all your Blu-rays, DVDs and
CDs. (Think of the Netflix browsing
interface customized to only videos
you own). You can browse your movies, search by genre, release year,
etc. If you like an actor in the film,
you can select their name to bring
up what other roles they’ve played
(Think of all the six degrees of Kevin
Bacon games you could win!) This is
one of the easiest databases to host
because much of what you get can be
instantly and automatically retrieved
from the Internet (like how music
programs can retrieve information on
your ripped CDs). These programs are
usually built with a specific interface
and categories that are already established, so you don’t need to set them
up. They are limiting however, in that
they don’t support the customization
general database programs possess.
You could input your own media
information, but your categories will
be mostly limited to those relevant
to watching or listening. Perhaps we
want help in the creation of our videos. This leads us to our second type
of database.
41
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Content Containment
There are situations when you might want to
consider a system that would support your
post-production efforts. This system would
allow you to search through your source material not just from your current project, but
from all of your projects. Newsreels, sports and
documentaries are perfect targets for a backend
like this. These are genres where you might
regularly deal with a mass amount of archive
material, and/or material that necessitates that
other important information remain with the
clip whenever it is used. How was this footage
acquired? Is it the proper format, resolution,
or time of day? What rights have you paid for?
What are the restrictions? You can put into this
all the information you will need to submit to
your broadcaster. When it’s time to submit your
production you can input your edit decision list
and have all your paperwork generated for you.
This of course leads nicely into our third type of
database.
Metadata Management
Imagine your contact and address book on steroids. What if you had a system in which you
could do a search for all the companies you
deal with that sell a specific service, or piece of
equipment? You could then narrow down your
choices by who is open on the weekends, and
who has next day delivery? Perhaps along with
this you could book crews not only by whose
name you remember, but also who did a good
job on a similar shoot. Perhaps you want to
compare the rates of one person whom you
rated eight out of 10 and see if there’s anyone
Programs like MediaMonkey can help keep
you organized by categorizing and sorting
your files. You can then have it automatically
retrieve, associate, and tag your media.
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42
who you ranked equal or better for less cost. If
you have a tremendous and ongoing research
or pre-production effort a database of this type
could save you tons of redundant and extraneous
effort over time.
Building a Database
How effective your database will be in your business depends on how you approach it. Your database will only be as useful as the information you
put into it, and the ideal method is to get as much
information in with as little effort as possible.
Fortunately in the video world, much of our data
has already been compiled elsewhere, we simply
need to aggregate it into one place.
It is highly recommended that you organize your information in spreadsheets before
bringing it into your database. Doing so allows
consistency and smooth import, so everything
goes where it needs to go. This doesn’t mean
that you should start typing all your information
into little boxes though. There are ways to get
all your mp3 tag information, for example, into
nice neat columns and rows. The trick is finding
a common interface.
Before that of course, you need to have the information. Again, we don’t want to spend hours
tagging songs and re-screening tapes. Whenever
possible we want to get what we need from
places that already have it.
The Media Library
All your “consumer” media should be tagged
and cataloged before you begin integration into
your database. This allows you to not only access
that information outside the database program
on an individual file basis, but lets you use that
data in media players and other programs. Mac
users should employ the auto-tagging features
of iTunes to gather information about their
files. For PC users, there’s a great little program
called MediaMonkey, which sports an excessive
amount of tagging capabilities. Even if a file format doesn’t carry metadata with it, programs like
these will still let you retrieve and store information on them in their playlists, so they are perfect
for our needs.
Let’s work with MediaMonkey for now. Point
the program to the folder(s) where your media is
stored. Upon import, the program will magically
categorize and sort the files based on what’s
provided. You can then have the program access
the web and search for any missing information
using online databases that you specify. If it finds
more than one option it will give you
the choice of selecting which one
best fits your file. It will then automatically retrieve, associate and tag
the media. If there is no information
about a particular file, you can enter
it yourself. Sometimes entering just
the name of a clip will be enough to
allow the program to find the rest of
the related information.
Once all your files are set here,
pat yourself on the back. You’ve just
created your first media database.
We don’t want to stop here though,
so let’s go on to the next step. Most
programs (including MediaMonkey
and iTunes) can export information
they’ve gathered as a text file. In
iTunes, you want to select your audio
library (for example), then under
“file” select “export > playlist as
text.” This text file is a special kind
of file, termed “comma separated values”, meaning there’s a bunch of little
bits of data with commas (or sometimes tabs or symbols) between them.
This is our “common language.”
Bring the text into a spreadsheet
program like Microsoft Excel or OpenOffice Calc. Upon seeing this file,
the program will walk you through an
import wizard to ensure correct placement of data.
Throwdown:
Database vs. Spreadsheet
A spreadsheet can hold all this data too.
It’s a valid argument. Think of a spreadsheet as a giant mall. Everything is organized into stores, then into departments,
then categories, price ranges, brands
and colors. You could spend hours
walking around, comparing information,
reading the sides of boxes, etc. just to
find the one green tea kettle in the store
that’s less than $30 with a trigger for the
pour spout. Alternatively you could invest
in a computer and set it up with Internet
service. Then, you could hop online and
simply do a search for the same item and
have 20 purchase options pop up in an
instant, sorted by relevance. That’s your
database. The difference is the ability
to run searches, queries (compare the
cost of shots from day 1 vs. day 2), and
reorder the information in any way you
want without losing the integrity of the
data relationships. Every department
can enter their own information about
the same clip at the same time, and in
the end it’s all in one place. That said,
a spreadsheet can be compiled rather
simply. An effective database is a constant commitment. (Support your local
retailers.)
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43
1500
The Footage Library
Now it’s time for your editing elements. Most
editing programs above the basic level will
allow for media logging, and will arrange your
logs along with timings, format and other clip
information, much of which, in these modern
times, has already been embedded with the file
by the camera itself. You should consult your
manual as to the exact process, but exporting
your logs is usually just as simple as the process
explained above. Look for the function to export
your “bins”, or “media logs.” Note that the media
information exported might be based on your
bin display, so make sure you only hide the
columns you don’t want to transfer, and make
everything you do want visible.
Again, you now have a file format you can
import into a spreadsheet for further refinement.
Once imported, be sure each sheet is laid out
in a similar fashion. You may have to insert or
move columns to make them match up properly with the others. You can also add missing
information en masse and add or delete whole
chunks of data as needed.
The Final Step
Database and media
management programs
allow you to view the
camera-embedded
metadata, enter your
own information and
create keywords for
rapid searching of files
at a later time.
You’re now ready to bring your information into
your database. Again, you’ll often find a setup
wizard that will walk you through the process. If
so it may even create the appropriate data classifications as well. Congratulations, you’re done!
Now that you’ve got your database you
should consult the manual as to its operation in
order to achieve maximum usefulness. Database
programs cover a wide range of uses and operations will vary greatly from program to program.
Keywords Are Key
If you’re going to use your database to search
through your footage, you’ll want to use keywords. This is a column that shortens the
description to its most basic elements. So if
your shot description says “Playground – MWS
Jack and Jill from slide to swings to balance
beam” your keywords might be “children, Jack,
Jill, playing, playground”. The idea is that if
someone were to later need a shot of children,
or specifically of Jack, or general shots of playgrounds, this shot would show up in the results.
It’s a ‘Catch-22’ really, as the best use of keywords is when you use as few as possible, but
you can never have enough. It’s a tough thing to
nail down but practice and consistency will yield
positive results.
Note however that maintaining an established
database can be done one entry at a time, or all at
once, by adding a new column on your spreadsheet, then re-importing.
So now that we’ve got a glimpse of the scope
of data such a system can process, and gone
over what is involved in setting one up, let’s get
back to our long-standing question: Is a database
for you? To be honest, if not handled correctly,
any system can be a massive and needless
waste of resources. You shouldn’t walk away
from this article thinking that you absolutely
need a media database for your business; but
for widespread data handling - the ease of use
and wealth of knowledge is insurmountable.
Your success will depend on how strict you are
with entering data. Some businesses may not
be able to justify the effort for the advantages
such a system provides. However, if you regularly use or sell stock footage, run a series with
excessive b-roll or work in a place where many
people have access to the same material, you’ll
probably find such a system alleviates a lot of
double work and communication problems and
is ultimately invaluable.
Peter Zunitch is a post-production manager and editor working on every
system from 16mm film to Avid Symphony, utilizing many of today’s
advanced manipulation and compositing tools.
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#15085 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15085
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HD Flash Memory Camcorder
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VIXIA HV40
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BASIC TRAINING
BASIC
BASIC TRAINING
TRAINING
JULY 2012
b y Ky l e Ca ssi d y
Camera
Camera Moves:
Moves: Back
Back to
to Basics
Basics
If you want to get serious about
shooting, it’s not enough to watch
Shots When the Camera and
Operator Move:
movies and emulate the masters,
Truck – moving the whole camera
and mount left or right. “Truck left” or
“truck right,” usually when this happens, the camera lens stays perpendicular to the subject.
Dolly – moving the camera closer to
or away from the subject. “Dolly in” or
“dolly out.”
Crab – a term similar to truck which
usually means for a handheld camera operator to walk sideways (like a
crab). With the advent of stabilized
camera mounts it’s largely a directors choice whether to say truck
or crab. Follow or Track – Follow
you need to know the terms of the
shots and what they mean.
“Alright,” barked Bob through the papier-mâché megaphone that had the
word “director” stenciled on the side
in crude black letters, “When Herman
comes out the door, Joe, I want you to
leftmove the camera along with him.”
Herman sighed. He was an aging
1970s action star, far past his prime.
For him this was just a paycheck, but
we were all excited to have him in
the commercial we were making for
Bob’s father’s sweat sock company.
Bob’s idea was for Herman to karate
chop a bunch of sock puppets from
competing vendors while bellowing his catch phrase “There’s one in
your eye!”
“Action!” shouted Bob through the
megaphone. Herman, Joe and I were
all within ten feet of him but Bob
thought the megaphone would make
him look more professional in front of
the star. Herman walked out the door
of the laundromat and Joe started
side-stepping left with the camera following him down the street.
ant tripods, others were large based
monopods actually called pedestals)
that could be cranked up or down.
“Cut!” Bellowed Bob, “what kind
of leftmove the camera is that? I said
leftmove not walk!”
“Huh?” said Joe.
“Swivelmove the camera left, from
the hips! Swivel with the hips not walk
with the legs!” Bob waved his arms
animatedly.
“Huh?” said Joe again.
“I wish you knew the names of the
camera moves,” said Bob, still holding
the megaphone to his mouth, “you’d
be a much better cameraman.”
Herman couldn’t take it anymore.
“Leftmove and swivlemove are not
camera movements you nitwits!” We
all turned to him.
“Look,” he said, “I can’t wait to get
off this miserable film and back to
painting my garage, so I’ll give you a
lesson for free. The word you’re looking for is pan. As in “pan left” which
means keep the camera in the same
spot and turn it to follow the action.”
“Ah,” said Bob, holding the megaphone a foot from Herman’s anguished face, “and is there a name for
leftwalkmove the camera?”
“Truck!” said Herman, karate chopping the megaphone out of Bob’s
hand, “truck left. Look, I’m going to
draw a chart for you numbskulls.”
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A pan seeks lens movement only on the horizontal plane. With smooth control of a camera's
mount, this can be an effective way to show crowds.
48
Tilting the camera allows for good play with perspective, perhaps to show an undersized hero
looking up at a monstrous enemy. This isolated lens movement can also be used to show an
entire character or subject that is too tall for the frame.
means what you’d expect, you follow along behind a subject as they
move along – track is similar, but
from the side. Saying “track” rather
than “dolly” suggests that the route
might be irregular.
In the old days when dolly tracks
needed to be set up and the camera
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Shots When the Camera Moves
Pan – the camera stays in one spot
while the lens moves left or right. Pan
left or pan right.
Tilt – the same as “pan” but up and
down. Tilt up to the sky, tilt down to
the ground.
Pedestal – move the whole camera
up or down keeping the lens at the
same angle to the ground (usually
90 degrees), as though the camera is
on a forklift. This term comes from
when TV cameras were mounted on
mammoth supports (some were gi-
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49
BASIC TRAINING
BASIC TRAINING
JULY 2012
The principle behind the pedestal movement is to maintain a cameras orientation while lifting
it straight up or down. Though similar to a tilt, this will keep the distance between objects and
your lens the same.
was restricted to those tracks, you
could dolly along with a knight charging into battle and the knight could
move closer to the camera and farther
from it while he hacked his way to
victory. Now that cameras aren’t
always nailed down like that, you may
have a camera that “tracks” instead,
which may keep a similar distance
the same size – see how the elements
in the background have changed. Also
note how the shape of the people in
your lens has changed. Wide-angle
lenses stretch things at the corners
out, making people look wider. This
change in perspective makes the
weirdest camera move possible.
YOUR CAMERA MOVEMENTS
NEED TO WORK TOGETHER
TO TELL YOUR STORY.
Hitchcock Zoom, Zolly or Dolly Zoom –
This is a strange and wonderful camera
movement that is one of the least common, but one of the most noticeable.
The camera physically dollies, either
in or out, and at the same time the
Advanced Moves:
lens zooms in the opposite direction.
So, the camera dollies in while zooming out or camera dollies out while
zooming in. These have to happen at
a rate which keeps the object in the
center of the shot the same size while
everything behind them weirdly grows
or shrinks. Although he didn’t invent it,
director Alfred Hitchcock popularized it
and used it to great effect in his movie
Vertigo, which is why it became named
after him.
My favorite use of the Hitchcock
Zoom is in the movie. Jaws. Police
chief Martin Brody, played by Roy
Scheider, is sitting on the beach, one
of a very few people who knows that
there may be a giant shark in the
water. Confronted by a heavy-handed
mayor he reluctantly agrees to let
people go swimming. When the inevitable shark attack occurs the camera
trucks in on Brody at high speed while
zooming out and the discordance
gives us a visual feeling of the terror
and disbelief the police chief is feeling
in his stomach.
Combining Moves:
Many of these camera moves can be
done in conjunction with one another
– tilting and panning while zooming
is common, as are tracking shots that
to our knight as he runs all over the
battlefield, making turns and dodges
that a movie camera in 1950 would
never have been able to keep up with.
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50
Testing the Waters
“Let’s try this again!” said Bob.
Herman exited the laundromat and turned
to his right. The camera crabbed left as he
walked down the sidewalk, then stopped,
panned left into the street to reveal a crowd
of evil sock puppets, panned right and tilted
up to show Herman scaling the wall like a
ninja, pedestaled up while tilting down, then
Hitchcock zoomed in as Herman snarled
“Here’s one in your eye!” before he leapt at
the camera.
“Cut! Print!” shouted Bob through his
cupped hands. This was going to be a fine
commercial.
Contributing editor Kyle Cassidy is a visual artist who writes extensively
about technology.
For comments, email: [email protected], use article
#15388 in the subject line. You can comment and rate this
article by going online: www.videomaker.com/article/15388
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Moving Shots with No Camera
Movement:
Zoom – Although some people call
this a moving shot, zooming isn’t really a camera move, since the camera
stays completely stationary and bits
of glass move around inside the lens.
Zooming (either in or out) changes the
focal length of the lens, which means
that the perspective of the subject
changes. (Homework assignment:
Record two people standing on the
sidewalk with your camera zoomed
out all the way to its widest focal
length. Then zoom your cameras lens
in all the way and back until you have
those two people in the frame again
pan. Camera moves shouldn’t be thought of as
a beginning and an end, but steps on a journey.
You may truck in at the beginning of your shot,
then track left, pan left, tilt up and zoom in to
take you to your next shot.
Writing about the camera movements of German filmmaker Max Ophüls, scholar Dong Liang
points out, “In calligraphy, one seldom finishes a
word in a single stroke, not because it is technically impossible, but because the rhythm of writing is established rather by a smooth alternation
of long and short strokes, of curves, straight lines
and dots.” Like this, your camera movements
need to work together to tell your story.
There are devices like cranes and booms and
wires that can put the camera in places where
a person normally couldn’t be – these add a
third dimension to camera movement, namely
it can fly while performing any of the other
camera movements. A camera operator can, for
example, tilt down while being lifted into the air
by a crane, keeping the same person in focus as
the perspective changes.
Crab or truck moves are generally lateral. Controlled bending at the knees during this movement
is key to keeping it smooth. If crossing your legs doesn't work, try walking forward while twisted
at the hip. Ever tried sneaking up on someone? Walk with that same technique.
JULY 2012
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51
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How to Find Clients
Getting your Production Services
known by an eager audience isn’t
like the old days. You can’t put an ad
in the Yellow Pages or the classifieds
and wait for the calls to come in.
Have you ever performed a random
Internet search for “video production
services”? Go ahead and do it, I’ll wait.
Okay, so what did you find? Let
me guess. About 393 million results!
Well, you don’t have to go through
them all to know that there’s a ton
of competition out there. So how are
you supposed to break through all
of that clutter to start building your
client list and secure those jobs you
really want? While there may not be
393 million ways to do it, there are a
few tried and true methods for putting
yourself out there and building your
business.
need to cross promote your services
using a mass mail campaign, print
ads, phone book and the like has all
but vanished. In fact, several hundred million searches are performed
through Internet search engines each
and every day, proving the Web is the
Internet Advertising
first and often the only place people
The Internet has turned traditional
go to when searching for a service
creative promotion upside down. For
provider. Be it a plumber, a mechanic,
service providers such as yourself, the a doctor, or a video producer, people
look to the web
to get what they
need.
Does this
mean you have
to pay a fortune
for search engine
optimization
or change your
business name
to “AAA Video”
in the hopes of
sitting at the top
of some alphabetical classification? Not in the
least. Let’s be
honest, you’re
In today's marketplace, having a well laid out, easy to navigate website
probably not
can be a critical component of your marketing strategy. Not having one
trying to attract
will likely place you at a competitive disadvantage.
work from the far reaches of the globe
(at least not at first). Instead, you’ll do
best to focus on attracting clients that
are within your region. A good rule of
thumb is to focus your marketing to
prospective clients that are no more
than a three-hour drive from your
base of operation. Knowing this, the
Internet holds a great deal more value
than just being a resource for random
searches. It’s a place for you to send
as much or as little detail about your
business as you want to prospective
clients. It’s also the preferred place
to display your best work. Whether
you’re shooting big weddings or major
commercials and corporate longform, hanging your best work out
there on an easy-to-navigate website
is one of the best calling cards you
can have in your arsenal.
The key here is keeping the information that you display on the Web
eye-catching and easy to navigate.
While you may be tempted to list
every life accomplishment, resist the
urge! Keep the information professional and to the point. Prospective
clients are unlikely to be interested
in the number of kids you have, so
stay professional. List your contact
53
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PROFIT MAKING
Each project is different and
prices do vary. Don't scare off
potential clients before you have
a chance to talk with them by
displaying prices on your website.
information, client testimonials if you
have any, a few major professional
accomplishments or awards, and an
easy way to find your reel. If you don’t
have a reel yet, throw some of your
best experimental work out there or
visit some of the video websites listing
contests and enter those. After a few
freebies you’ll have enough to tout
your abilities to the masses.
The Price Isn’t Right
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Another thing to keep in mind when
compiling the information you want
to display is to not list your prices!
Once again…do not list prices. Many
prospective clients will visit your site
with a preconceived notion of how
much they think something should
cost. Few have any idea of what it really takes to put together a professional production. Seeing prices in print
may turn them off before they even
get a chance to speak to you. Plus let’s be realistic, being in business for
yourself means you will have to make
concessions. Cutting your prices to
get a specific job is bound to be one
of them. So don’t back yourself into a
corner by putting hard costs out there
in the open. If you do, you won’t have
much room to negotiate.
Now, if you’re not Web-savvy, never
fear. There are several sites on the
Internet that will allow you to post
your video work for others to review.
54
PROFIT MAKING
JULY 2012
YouTube is the most widely known avenue for viewing OPV (other people’s
videos) however, there are a number
of other sites preferred by video professionals. You may want to look into
a site called Vimeo. Like YouTube, it’s
free to join yet the site’s overall presentation is friendly to the eye. Once
your account is set Vimeo also gives
you a way to track online views from
week-to-week. Google, AOL, MSN, and
Yahoo also provide bandwidth for
you to upload your video demo while
Dailymotion even allows you to create
a social networking group right on the
site so people can watch your demo,
post ratings and even leave messages.
The point is, you don’t have to know
how to design your own site or pay
someone else to do it to get your work
out on the Internet.
Cold Calling
Knowing what you know about
Internet promotion, you may still be
tempted to create a massive multimedia campaign to promote your
services. This is fine if you have the
funds and the professional history to
back it up. However, all the glitz, glam
and 10 percent-off mailers on the
planet can’t replace good old, one-onone human interaction.
Spend some time researching
regional advertising agencies and
establishing the right contacts, as
well as the people and or businesses
in your region that typically contract
the type of video you produce. For
example, if you’re trying to build your
wedding video business, get in touch
with the bridal shops and wedding
planners in the area. Take time to
establish the right contacts. Once you
have them on the phone, be friendly
but cut right to the chase. Remember, their time is just as important
as yours. Don’t waste time gathering
information on the phone that you
could have easily gotten with just
a little bit of pre-call research. Let
them know that you’re sure they get a
million of these types of calls so you
will be brief. This type of approach
puts the person on the other end of
the line in a position of respect. They
know you understand their time is
important and they know right away
that you don’t plan to waste it. Once
you’ve established that initial contact,
offer to take them to lunch if you’re
in the same location, or just drop by
to discuss potential projects. You will
strike out more than you succeed but
when you do succeed, the interpersonal relationship you build with a
client can prove to be not just profitable, but quite rewarding.
There are several websites out there
providing detailed information on how
to properly navigate a cold call. Inc.
com is a site that pulls information
and business techniques from some
of the top people in the sales industry.
Freecoldcallingtipsblog.com is another
site that gives great, real-world information on how to naturally navigate
the phone and turn it into a powerful
tool for marketing your services. Before you know it, you will be turning
cold calls into hot prospects.
Word-of-Mouth
Even the best websites, persuasive
e-mails and personalized phone calls
hold very little water when stacked
up against a positive referral. This is
still one of the best forms of advertising and marketing in the world. As a
service provider you will notice that
few of your clients will ever complain
Weapons of
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JULY 2012
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Word of mouth advertising is still the best marketing tool. Establishing contact with companies that cater to the same clientele as you is
beneficial. See about leaving them flyers or business cards to pass on
to their clients who might need your services.
directly to you. They simply take their business somewhere else.
Nothing speaks like experience. One happy client telling one potential client all the positive things about the
work you do will often times translate into more work
and ultimately more money for you. So the best advertisement you can create for your growing business is an
aura of professionalism and positive creative energy. It
speaks volumes and will slowly but surely begin to bring
in the bigger and better jobs. You can even try some
tested gimmicks to get your clients to spread the word.
Offer 10 percent off their next video job if a referral
mentions their name. Send your clients five-dollar coffee gift cards or promotional items with your name and/
or logo on them like T-shirts, mouse pads, coffee mugs
or pens. Anything to keep you in mind.
Do What is Best for You
The options listed above are just three of the many available to you when marketing your business. You may
find that these methods work great for you or you may
decide to try other ways to get your name out there. Just
know that there are literally thousands of tools and techniques available to get you noticed by the people you
want to target. Still, no matter what you rely on to bring
in the business, remember that nobody can sell you like
you can. So get out there and start selling yourself.
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Michael Fitzer is an Emmy award-winning commercial and documentary writer/
producer.
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55
DIRECTING
DIRECTING
JULY 2012
b y P e t e r Zu n i t ch
Cinematography Techniques
The art of cinematography is more
than using the camera, lights and
other tools to their best abilities,
the art also includes knowing how
to tell that story well.
During a casual philosophical discussion, someone once asked of
me, “What are the things you need
in order to make you feel like your
week was complete?” I thought about
it for a minute, and then listed a few
things that came to mind. You know,
the usual things you’d envision most
people would say. At the end, though,
I found myself suddenly saying, “...and
to hear, see or read something new
that makes me think, and imagine,
and feel. I need a good, entertaining
story.” I was in film school at the time,
so my answer was probably influenced by the teachings therein, but I
was actually quite shocked that I had
said it. To this day, I firmly believe that
a quality story or new take on an old
one is a very important... nay, essential part of my life. I need a new tale
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often or I feel like I’ve missed something. Luckily for me, there are a lot of
people with stories to tell.
Telling the Story
Everyone has at least one good story,
and most at some point get the itching to share it in one way or another.
That’s great if, like me, you love
stories. The problem is that by default,
most people aren’t very good at telling them. This is why for centuries,
generations, occupations
and cultures have been
devoted to furthering
the craft. If you learned
to tell your tale through
song, you were a bard or
musician. If you talked
through books, you were
a scribe, or writer. In
making a film or video of
your tale... well we call
that a cinematographer.
So just what is cinematography? Wikipedia
defines cinematography
as the creation of motion picture images with
The gear you use with your camera can greatly alter the way
film or digital imagery.
the scene is perceived by the viewer. This slider dolly can add Encyclopaedia Britannica
a smooth movement to an otherwise static scene.
expands on that: “…is the
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art and technology of motion-picture
photography. It involves such techniques as the general composition of
a scene; the lighting of the set or location; the choice of cameras, lenses, filters, and film stock; the camera angle
and movements; and the integration
of any special effects.”
It’s a very encompassing definition to say the least, and yet it barely
scratches the surface of what is truly
involved in making a moving picture.
While it might define the meaning, as
would a dictionary, it does not portray
the scope, as would an encyclopedia.
On our all too brief journey, today, we
will explore some of the basic concepts of making a video. Specifically,
we’ll be talking about cinematography
theory and practice; the techniques
used for that which is shown to people for the purpose of entertainment.
For it is only in examining the fine details of what is involved in creating an
entertainment-based moving picture
that we can even begin to come close
to a true cinematography definition.
Putting it all in Perspective
Ready for a shock? We’re going to
tell you everything you need to know
about cinematography in this one
paragraph... so pay attention: The
process of recording your vision will
take place strictly within the frame, or
field of view. The frame is determined
by the settings on the camera and its
lens. Later, you present your piece
back to the audience within the frame
of the screen.
It sounds pathetically basic, but
this is the most important idea a cinematographer needs to understand.
You can be subtle or cryptic until
your heart’s content, but if it didn’t
take place (in one way or another)
within that frame, then as far as the
viewer is concerned, it never happened. Now of course there’s more
to being a cinematographer than
that, but everything else deals with
how to optimize the frame and its
contents. So, how can you do this,
thus presenting your story in the best
manner possible?
Your frame can change. You can
move the camera, swap lenses,
change the field of vision, alter the
focal length and crop your picture.
These things should not be done
arbitrarily however; they should be
done with purpose. Always think
about information, and how to deliver it optimally. This information can
be detailed, or emotional in nature.
Constantly contemplate how you can
best make your audience empathize
and sympathize with your characters
as they move through the plot. Think
about how you can reveal the plot as
it unravels around your characters
and draws your audience along with
them. Consider how pushing the information on the screen can induce
the state of your audience’s mind
when broadcast. The instant you can
no longer optimally provide all the
information necessary in your current frame, that’s when the switch to
the next shot should take place. This
is simply cutting when important actions have ended.
Your Gear Guides Your Vision
Your camera (and thus your frame)
is supported and enhanced by the
other equipment around it. You
might keep the camera steady with a
tripod, move side to side with a dolly,
or move over and around with a jib.
You might bounce along freely with
the camera on your shoulder or use a
stabilizing rig to travel, giving a more
human motion to your image. Contrast and highlight can be enhanced
through the use of filters. Even the
speed at which your images are
recorded will have an impact on the
way it is perceived by the audience.
All these things and more serve to alter your frame and provide additional
options to your artistic palate.
Because the frame restricts the field
of view, there are always trade-offs.
If the camera is placed far away, the
audience is provided with an incredible amount of information, but
little detail. If placed up close, detail
abounds, but there is little context.
Being closer to a character invokes a
sense of personalization, but being
further adds a sense of removal. One
can change the lens so that some
features are in focus, but others are
removed, again providing focus or
excluding detail, isolating some things
while calling attention to others. The
same can be done with light and
shadow. Items the creator needs the
audience to focus on can be brightly
lit, while trivial aspects can drop off
into darkness, providing a sense of
space. The light can be “shaped” or
focused. Crisp lights make for a tense
feeling, while soft edges might instill
serenity through blending. All this
and more is the responsibility of the
director of photography.
Visualization Through the Visionary
The Director of Photography (DP) is a
term often used synonymously with a
cinematographer, but in practicality it
is a specialized form. Think of the DP
as the person responsible for the look
of your film. He or she works closely
with the director to envision the
movie. It is his or her job to not only
know how the camera and equipment
works, but why things work the way
Knowing how to move the frame of your
camcorder can allow you to create a video that
continues naturally from one frame to the next.
For example, a car that exits to the right of the
frame should enter from the left to keep up the
appearance of continuous forward motion.
they do. Using this information, the
DP then take the creative details from
the director and decide how to best
convey the feel of the film.
Composition is their method. They
use the frame to develop style. A DP
knows how to use different types
of camera shots to move about the
scene. They might use a low angle to
make someone larger than life, or a
high angle to make them appear small
and menial. They plan the best way
for a character to enter the frame or
leave it so that action is either flowing
and continuous, or jarring and unsettling. They know that if a car exits the
frame from the right, it flows better
if in the next shot it enters from the
left. Likewise, if the camera is moving
to the right, they can cause an abrupt
feeling if the next shot is moving to
the left. The best DPs, like directors,
can think like an editor as they shoot,
and prepare their compositions and
blocking (movement within the frame)
with editing in mind. They are always
thinking about what the editor will
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DIRECTING
DIRECTING
JULY 2012
JULY 2012
SubScriber
Alert!
need and how the story fits together.
Together with the director, the DP is
the cinematic lynch pin for the entire
production process.
The Right Brain and the Left
Another issue the cinematographer
must deal with is the limitations of
the technology. Even today’s advanced cameras can’t see and record
an image the way our eyes can. The
frame does not truly represent or
accurately reflect our field of vision,
and compensation must be made for
this inconsistency. One of the most
frequent consequences, for example is
that we have to make adjustments to
the camera every time we change the
overall color and consistency of our
lighting. This way the scenes will appear as desired, and match from angle
to angle, location to location. The
camera/screen combination will make
differences in the lighting quite obvious, and emphasizes the base “color
temperature”. If you shoot a scene
indoors and look through the window,
the light outside will look incredibly
blue. Though our brains have learned
to look past this through our eyes,
they are easily perceived on an object
we are looking at (e.g. the screen). To
fix this, colored gels are added in front
of the lights and/or windows, and
one can adjust the electronics and/
or optics in the camera so that color
differences are evened out, and light
appears as desired. A worthy cinematographer will understand issues like
these and not only overcome them,
but be able to use them to his or her
advantage.
Contemplation Before Execution
While experienced cinematographers
can think spontaneously and plan as
they go, they also know that the best
method is to be properly prepared long
before recording. Every step of the
production process should be planned
ahead of time whenever possible.
There are three primary tools that
will aid the cinematographer to get organized and stay on track. The script
tells everyone the important details
of the story, while a storyboard helps
plan the framing of every moment in
the script. Finally, a shot list is made
to optimize shooting order and ensure
the right props and actors are on hand
for each scene. Let’s take a quick look
at each.
The script contains the dialog, the
character names, locations and essential action for the piece. More of a
tool for the director and actors, a good
script will also successfully convey
the mood of the work without spelling
it out. It is the inspiration for the look
and the guideline for progression.
Once completed, the script is broken down and each scene (or at least
the complex scenes) are often laid
out on a storyboard. The storyboard
provides a representation of the final
product before anything is even shot.
At a minimum, storyboard camera
angles have shapes representing the
actors, how they are framed, and
where they will be in relation to each
other. More complex boards will use
Packing for a Shoot
A large part of
being prepared
for a shoot is
organizing your
equipment in a
manner that everyone understands.
Grouping not only
makes it easy to
find everything,
but keeps different departments
from getting in
each other’s way.
A typical package
build might be as
seen in this list.
Camera Bag - Holds the primary equipment
for your production:
Camera (with mic), primary lenses, batteries, charger,
tripod mounting plate (sometimes left attached to the
camera), tapes/cards/hard drives, canned air, lens
wipes, rain cover, white paper tape, markers/pens.
Secondary Camera Bag – Alternate lenses, matte
box, filters, camera light, field monitor, adapters, video
cables, backup hard drive.
Audio Kit – Self sufficient kit for recording
all things sound:
XLR cables, RCA cables, Microphone(s), shock
mount, every adapter under the sun (x2), recorder (if
not going to cameras), mixer, batteries, tape/cards,
headphones, pens, logs, wireless transmitters/receivers, audio bag, mic clips/dressing supplies.
AC Kit – No matter how much you have, it
will never be enough:
Excessive extension cords, dimmers, splitters, and
adapters - as much as you can handle.
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58
Light Kit – Will vary, but the prime kit will
hold everything needed for a basic shoot
Key (650), fill (300), back–light (150-300). Power
cords (x3), 25 – 50-foot extension cords (x3), barn
doors (x3), spare bulbs, black wrap, color gels/
diffusers, reflector(s), 3-2 prong adapters (x3), AC
splitter and gloves.
Grip Kit – for mounting lights, flags,
practicals, wires, etc:
Matthews clamps, spring clamps, C-clamps, short
arms, safety cables, knuckles, Gaffer’s tape.
Misc. – everything else, some of which is
too large to put with anything else:
Tripod, gobos (pattern makers)/flags, sandbags,
boom pole, C-Stands (with arms), high hat, hand
truck or cart for gear.
Other packages might include: makeup, backdrops and generic practicals/props, maintenance
and repair tools.
arrows to show movement into and
out of the scene, camera changes
that take place during recording, and
position of characters at the location.
They might also include essential
special effects and even sounds if
they are necessary for timing. Think
of them as a comic book with instructions on how to make the paper
articulate, should the page be made
into a pop-up book.
When the storyboard is completed,
it and the script are used to make a
shot list. Identical angles are combined and/or placed next to each
other, then next to other shots in
the same location. Careful consideration should be made for continuity,
makeup, availability of actors and
properties, locations, travel times,
equipment and more. In the end you
EVEN TODAY’S ADVANCED
CAMERAS CAN’T SEE AN IMAGE THE WAY OUR EYES CAN.
have a checklist of every frame in the
production, what’s required in the
shot, when, where and with what it
will be done.
Though new ideas often spring up
during production and modifications
made, these documents serve as the
foundation for capturing the story in
its entirety, ensuring quality and consistency is maintained, and nothing
is left out or forgotten. This, along
with the cinematography techniques
described above ensure that the
visionary can effectively bring the
tale they want to tell to the cinema,
in an efficient and organized manner
using the style they see fit. This in
turn, is what will ultimately bring a
sense of captivation and wonder to
the audience.
Cinematographers know their trade
well, and understand both the technical and artistic processes involved.
They can manage the truly collaborative task that movie making is, but are
not afraid to go it alone when no one
else understands. They can foresee
Color correction gels can be used to even out
the color temperature differences between
light sources, or used to help emphasize a
certain emotion within the scene.
the final product in their mind and
know the equipment they will need to
achieve the look they want.
All this information barely scratches the surface of the cinematography
process. It’s a beginning; an introduction. Take it and run with it. Seek
further advice. There are tons of
resources to help you on your journey. Videomaker provides articles,
training videos, special events and
a vast community of peers to help
you at every step along the road to
success. College courses and cinematography schools are available for a
more formal teaching of the trade.
The Internet holds a vast wealth of
cinematography tutorials, blogs and
essays. Libraries, bookstores, and
other trade publications await. Watch
movies, their behind the scenes
coverage and commentaries and
television not just for entertainment
but also for methods used in their
creation. Learn the how and the why
of the craft, and making your dream
come alive will be as much fun to
tell as we all will have watching it. So
what are you waiting for? Tell us your
tale. Entertain us. After all, we love to
hear a good story.
Peter Zunitch is a post-production manager and editor
working on every system from 16mm film to Avid Symphony, utilizing many of today’s advanced manipulation
and compositing tools.
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AUDIO
AUDIO
JULY 2012
b y Ha l R o b e r t so n
Microphone Anatomy
They say that sound is half of the
Condenser microphones also require electrical
power which is either supplied by the device
they’re attached to or with an external battery.
movie and, while some debate the
Connections
percentages, few will argue the
point. But how do you get the best
sound? By choosing the right mic.
Video sound is easy, once you understand the basics. Unfortunately, few
take the time. Sound is a very important part of any production, whether
you’re making a feature-length movie
or a YouTube video. With the wide
availability of video cameras, from cell
phones to DSLRs, everyone can be a
video producer today. So this is the
perfect time for us to go back to the
basics and explain the whole audiofor-video thing from the beginning.
Microphones
Sound is just small variations in air
pressure starting at a specific location
- a human, automobile, cricket, machine or whatever. But to complete the
cycle, we have to “hear” the sound.
Normally, our ears do the trick, but in
audio we use a microphone. Microphones are in a category of devices
called “transducers.” Transducers
convert one form of energy to another.
In this case, we’re converting acoustic
Cross-Section of Dynamic Microphone
energy into electrical energy.
Microphones have several variations, both mechanically and electrically. First, there is the method they
use to convert acoustic energy. The
most basic type is the dynamic microphone. Dynamic microphones have
a small diaphragm, usually about the
size of a nickel or a quarter. The diaphragm is made of a very thin, lightweight material. At its center, there is
a small coil of hair-thin copper wire
and the whole assembly is suspended
over a circular magnet. As the acoustic energy changes, the diaphragm
Copper wire
enlarged to show
texture. It is this
wire that takes
physical vibrations and delivers
a digital signal.
Magnet This design
is often more
Coil
durable than
other microphone
constructions.
Wires carrying
electrical audio signal
Sound Waves
Diaphragm
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60
moves up and down which pulls the
coil through the magnetic field. If
you’ll recall science class, this creates
electricity. Just a tiny bit, but enough
for recording. Dynamic microphones
are rugged and work in just about any
circumstance. That’s why you’ll see
them on concert stages, with news
crews and even on the podium of the
president of the United States.
Another popular microphone
type is the condenser microphone.
Condenser is the old-school name for
what we call a capacitor today. There
are several variations on the design,
but a typical system includes a backplate and a thin diaphragm - often
made of aluminized mylar - electrically separated by some type of insulating material or even air. When sound
flexes the diaphragm, it changes the
capacitance of the circuit and this
difference is output as a small voltage.
The voltage is amplified to a level
that can be attached to other sound
devices like a recorder. Condenser microphones can be very small and are
what you’ll find in your cell phone,
computer, webcam, video camera and
pretty much any electronic device
that includes a microphone today.
Once we’ve converted the acoustic energy into
electricity, we need to hook it up to something
that can record - preferably a camera or audio
recorder. This is where it gets messy. There
are many ways to do this, depending on your
microphone and the device you plan to use. A
typical professional microphone uses a threepin connector, commonly called an XLR connector. This type of audio connection is called
“balanced” because it uses both positive and
negative versions of the audio signal along with
a ground wire. Here's our attempt to describe it
in just a few words. Think of a center line with
zig zagging waves crossing it. The center line is
our ground connection or zero volts. Now the
audio that goes above and below the line are
the positive and negative portions of the audio
signal. Preserving this separated relationship in
the wiring provides you with a way to run very
long cables without noise. That’s why the pros
use it almost exclusively.
In another situation you could have a microphone with a 1/4-inch plug or a 1/8-inch plug.
This might be from a camera-mounted microphone or possibly a wireless microphone
receiver. While this could be a balanced audio
connection, it’s more likely to be unbalanced.
Unbalanced audio connections have just two
connections: signal and ground. This is great
for short runs but long cable lengths will
result in lost signal and noise. These can also
tend to be more susceptible to interference
when running side by side with power cable
and other electricity.
In the professional world, hooking up a
microphone is easy. It has an XLR connector, the recorder has an XLR connector. Just
cable between the two - click, click and
you’re done. The trick is mixing professional
and consumer or prosumer equipment. Our
nemesis here is the ubiquitous 1/8-inch mini
jack. Included on everything from pocket
camcorders to computers, the 1/8-inch audio
connection is a frustrating but functional
compromise. The first challenge is its size. It’s
small and in video production, small usually
equals fragile. As long as you’re careful you
should be OK with this.
The three pins on an XLR cable allow signal to be separated and less susceptible to interference. This standalone nature is balanced and makes the XLR cable
the best for general audio, especially across long distances.
The next challenge is twofold. First, it’s an
unbalanced connection, so adapters are necessary when you attach anything with an XLR.
Second, it’s a stereo or two-channel connection. Most microphones are mono - pro or
consumer - so even more adapters are required
and you can’t just run to the local Mega Mart for
a solution. The more adapters you involve, the
higher the chance that it will either go missing
or become faulty. It may be of your interest to go
for an appropriate cable like an 1/8-inch to XLR,
as with Hosa's XVM-110M ($13.) Fortunately, a
few companies are on top of this. Specifically:
BeachTek, juicedLink and Studio 1 Productions.
These manufacturers offer a variety of options
purpose-built for attaching audio sources to
a tiny 1/8-inch audio input. You’ll pay for the
convenience, but it’s worth the investment if you
create audio for video on a regular basis.
Alternatively, you can purchase a few adapters
that will get the job done, too. The trick is deciding what you want to hook up. Microphones are
pretty easy but that’s not always what you need.
From time to time, your audio may come from a
mixer or sound system and that presents another
problem. Microphones produce a very weak audio signal and that’s typically what your camera
expects to see. But other devices output a much
higher audio signal called line level.
Plugging a line level device into a microphone
input guarantees signal overload and distortion that will ruin any recording and the simple
adapter route can’t fix it. A dedicated audio
adapter can compensate for level differences and
your camera may have mic/line setting buried in
the menus somewhere.
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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 levels
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 truly
competes with Big Hollywood.
Setting Levels
Once you’ve got everything hooked
up, it’s a good idea to check the signal
level. The trick is to find a balance.
Too little signal and your recording
will be noisy; too much and you’ll
have distortion. So how do you find
that balance? It depends on your
recording device.
Whether you’re using a camcorder
or separate recorder, you’re looking
for a way to manually adjust recording levels. Unfortunately, many
camcorders and pocket video cameras (even many DSLRs) don’t offer
manual audio controls and you’re
stuck with Automatic Gain Control
or AGC. If this is your lot in life, don’t
despair. With some experimentation,
you can still get a good recording. In
the meantime, start saving your pennies for a small pocket audio recorder
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with manual adjustments. There are
many decent audio recorders, one
such is the Zoom H2n which goes for
$350 but others can cost much less.
You may actually have to read the
user manual to discover where and
how to adjust recording levels in your
device - manufacturers don’t typically put it on the front page of menu
systems. Once you find it, plug in
your mic and start talking. You’ll see
an audio level meter across the screen
indicating the incoming signal. Adjust
the level so that the loudest sound
you expect to record doesn’t exceed
the limit of the meters (or light up an
overload indicator). This will get you
safe, distortion-free audio. If your subject speaks softer, you can increase
the level to get a clean recording.
Some cameras and recorders offer
a signal limiter that keeps the audio
level from going into overload. If your
device has one, it’s probably a good
idea to use it. But don’t push your
audio levels even higher, expecting
that the limiter will fix everything.
This is just a safety precaution, and a
constantly working limiter will affect
your recording quality. It’s best to
practice with your audio setup prior
to a shoot. Not only will you understand how everything works and the
quirks of the system, you won’t make
the client wait while you try to get
everything dialed in.
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63
Your First
FILMING POLICE and
Amendment Rights
b y J e nn i f e r O’ R o u r k e
Can you get arrested for recording police, politicians, and other
government officials - perhaps not in Massachusetts. Are the rest of the
States ready to stand up?
Y
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ou’ve read stories about people
with a camcorder witnessing a
confrontation with police and these
witnesses do what anyone would –
they record the act. They might not
know what or why the confrontation
is about, but by recording the action
they could be considered accessories to a crime. Last summer, the U.S.
Court of Appeals in Massachusetts
ruled that Americans with recording
devices are protected under the First
Amendment to record public officials
doing their jobs in a public space. This
ruling affects Massachusetts, but since
then, other states have had similar
issues. (Editor’s note: We’ve been following these situations and will have
an expanded feature coming out soon.)
This ruling came about when
Simon Glik stumbled across an arrest
in progress in a public park in Boston. He recorded the officers as they
were arresting a man, but as soon as
an officer noticed Glik was recording
the process, Glik was arrested. Not
for shooting video, but for recording
audio, because he was in violation of
Massachusetts’ wiretap law. Glik was
later found not guilty by the Boston
Municipal Court, because his recording
device wasn’t concealed and he then
filed a civil rights violation suit. The
police claimed Glik was in violation of
something called qualified immunity,
which protects the officers from being
harassed while doing their job. The
U.S. district court denied their claim
and the police filed an appeal, which
led to this important ruling. An excerpt
from the Aug. 26, 2011 Appeal From
the United States District Court for the
District of Massachusetts ruling states:
“... the defendant police officers challenge an order of the district court denying them qualified immunity on Glik’s
constitutional claims. We conclude ... that
64
Glik was exercising clearly established
First Amendment rights in filming the
officers in a public space, and that his
clearly-established Fourth Amendment
rights were violated by his arrest without
probable cause.”
This fascinating text tells how Glik
heard what he thought was excessive
police behavior so he started recording the action. When challenged he
said that he was concerned for the
man’s well-being. And after he was
arrested and cleared, he tried to file a
complaint with Boston’s internal affairs, but was ignored.
What we’ve learned here is that
public officials can’t bully us into not
recording what we see in public. An
innocent bystander doesn’t have to
make the decision to ‘not get involved’
when stumbling upon an action in
which it appears that someone’s rights
are being violated or a public official
is breaking the law. Videographers and
ordinary citizens in the U.S. should
feel protected against being considered
a criminal for being a witness to an
event – good or bad – that takes place
on public property or while the witness is on public property.
One might argue that the problem
with a confrontation being recorded
by someone who stumbles upon the
event is that it could be similar to walking into a movie in progress. The recorded images don’t show what led up
to the event, only that moment in time.
But then again, an eyewitness without
a recording device might be in the
same situation. “I saw a man running;
I saw other men in uniform take him
down…” but a recording device witness
is usually more accurate than an eye
witness, who could be confused by
what’s going on at the time, and his or
her brain might not assemble all points
to the puzzle immediately. An eyewitness, though, isn’t (usually) arrested for
what he or she might have seen.
The camera is a non-participatory,
unemotional documentarian in the
purest form – it sees – without prejuV IDEOMAKER >>> JULY 2012
dice – what it is focused and framed to
see. Events occurring outside its screen
are not considered. What’s to say that
just off frame next to that confrontation, something bigger is going on,
something that could explain the entire
scene? Ah, but that’s an hypothesis for
another story and time.
In the United States, public officials
are ‘owned’ by the citizens. We pay their
salaries through our taxes, and so some
of their own personal rights are given
up when they take public office. They
know this, but as many a politician
who’s gotten his or her fingers caught in
the cookie jar know, in this new world
of the ubiquitous camera, if you’re not
doing anything wrong, you shouldn’t
have to worry, right? They are public
servants, but that’s not to say you have
the right to impede their work, regardless of how you feel about what’s going
on at the moment. Journalists know not
to cross the yellow tape or obstruct any
public servant doing his or her duty.
Lest people think they can record events without worry, they are
wrong. There are lots of rules about
public access and intent that can still
land you in jail, if you’re not careful.
There’s the issue or concern of the
Department of Homeland Security, for
example. You might be questioned if
you’re recording images in airports,
bridges or federal buildings. Each situation might have its own rules you’re
expected to follow.
Check our What’s Legal columns,
which explain many rules in easy-tofollow layman’s terms. Remember,
always try to stay on the legal side
of the law when you’re recording
and presenting video. The Center for
Social Media has a great listing of code
of practices in Fair Use, www.videomaker.com/r/628, check that out, too.
Jennifer O’Rourke is Videomaker’s managing editor.
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July 2012 - Videomaker.com

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