By Robbie Carman | Saturday, April 25, 2015
Trying to get that amazing overhead shot? From quadcopters to jibs, there are multiple strategies for getting your camera up in the air.
This week on Video Gear Weekly, Rich and I explore how to get a camera up in the air for the high-angle shot you want.
By Richard Harrington | Saturday, April 18, 2015
Sometimes a non-linear editor isn’t enough to interpret high frame rate footage—you need a third-party option to help you control your slow motion footage.
Third-party options can eliminate the artifacting or flicker you sometimes get with footage that’s shot with a high frame rate.
In the latest episode of Video Gear Weekly, Robbie and I explore some third-party options to help your high frame rate footage look its best.
By Robbie Carman | Saturday, April 11, 2015
High frame rates allow you to slow down your video footage by a lot.
There might be times when you don’t have access to faster frame rates or want to slow down your footage more. This is where a motion graphics application or a nonlinear editor comes in to make more targeted speed adjustments.
This week on Video Gear Weekly, Rich and I use Adobe After Effects to show you how to slow down video beyond what a high frame rate can offer.
By Chris Meyer | Friday, April 10, 2015
Adobe just announced some of the features we’ll see in the new version of After Effects, expected to release in the coming months.
By Richard Harrington | Saturday, April 04, 2015
Whether you’re shooting with a phone, a DSLR, or a high-end camera, most cameras these days are capable of shooting with faster frame rates.
High frame rates can range from 60 to 240 frames per second giving you the option for slow motion shots.
Will these high frame rates benefit your project? In this week’s episode of Video Gear Weekly, Robbie and I shoot and process varying frame rates from different types of cameras.
By Seán Duggan | Friday, April 03, 2015
I was in Iceland recently leading my Winter Landscapes & Auroras workshop and I had the good fortune to be there for a near total solar eclipse.
You can actually see the shape of the partially eclipsed sun in the lens flare on my friend’s parka.
In addition to taking close-up still shots like I did for the last eclipse, I also wanted to shoot a time lapse sequence that showed a wide view of how the landscape was transformed by the fading light as the sun was eclipsed, and then its gradual return to the full brightness of daylight.
By Robbie Carman | Saturday, March 28, 2015
The Blackmagic Studio Camera HD is a great option for a studio-only camera. It shoots quality footage from HD to 4K and it’s relatively inexpensive.
But will this camera complement your studio workflow?
In this week’s episode of Video Gear Weekly, Rich and I guide you through the ins and outs of the Blackmagic Studio Camera HD.
By Eduardo Angel | Saturday, March 28, 2015
One obvious difference between using artificial lights and harvesting sunlight is that we can’t move the sun. The constantly changing position of our light source becomes a strategic dance. If we don’t follow its steps fast enough, we might create unwanted shadows with the crew or gear.
Taking the time to plan the position of our cameras, select the proper lenses, and figure out how to block our talent becomes essential when using the sun as a keylight.
Follow these tips to make the most of the sunlight you’ve got on your video shoot:
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