By Richard Harrington | Friday, June 26, 2015
Calibrate your monitors as accurately as possible by using colorimeters or spectroradiometers.
This week on Video Gear Weekly, Rich and Robbie show you how to calibrate your display with a meter.
By Chris Meyer | Wednesday, June 24, 2015
One of the main features in the just-released After Effects CC 2015 is its support for Creative Cloud Libraries: a panel inside After Effects that exposes folders of assets such as graphics, colors, and more that can be shared with other users.
On the upside, this improves AE’s integration with Adobe Illustrator CC and Photoshop CC, and adds integration with the mobile apps Adobe Shape CC and Hue CC.
On the downside, this initial implementation is read-only; you can’t yet add to the CC Libraries folders from inside After Effects. And there are several format quirks, such as lack of direct support for SVG files (you have to convert those assets in illustrator to .AI files first).
One quirk is the way transparency is supported when going between Photoshop and After Effects CC 2015. So follow these tips for using Photoshop and After Effects with Creative Cloud Libraries.
By Robbie Carman | Friday, June 19, 2015
Does it drive you nuts that the color seems off on your monitor screens? How do you know if the footage you’re looking at is colored correctly?
Your monitors need to be calibrated so that their colors match—and so they’re in line with the color standard that your project needs to match.
In this week’s episodes of Video Gear Weekly, Rich and I help you calibrate your monitors so you know that what you’re looking at is the truth.
By Scott Fegette | Thursday, June 04, 2015
“Mad Max: Fury Road” ends a 30-year hiatus in George Miller’s wildly popular post-apocalyptic Mad Max movie series, and if one thing’s obvious after three decades, it’s that visual effects have come a long, long way since 1985.
The movie’s popularity is largely due to its non-stop, breakneck-speed action sequences featuring seamless visual effects that immerse you in the dystopian world of Mad Max.
Here are my five favorite types of visual effects in Fury Road—an amazing cornucopia of “modernized” photographic techniques and cutting-edge 2D and 3D digital effects orchestrated by visual effects supervisor Andrew Jackson. If you’re interested in taking a shot at a few of these techniques yourself, I’ve included links to lynda.com courses that can help get you started.
By Richard Harrington | Friday, May 29, 2015
Using a motion control device like the eMotimo TB3 to control the position of a camera will give your time lapse that much more dimensionality.
In this week’s episodes of Video Gear Weekly, Rich and Robbie show you how to set up the eMotimo TB3 and use it to capture the time-lapse shots you envision.
By Robbie Carman | Friday, May 22, 2015
Introducing motion into your scene is a great way to add energy into your video—and slider shots are a great way to do it.
This week on Video Gear Weekly, Rich and I compare different types of sliders to help you discover which type will work best for you.
By Richard Harrington | Saturday, May 16, 2015
When shooting with a handheld video cameras, it can be difficult to keep your camera steady. Using a shoulder rig is a great work-around.
In this week’s episode of Video Gear Weekly, Rich and Robbie show how shoulder rigs can add stability to a shot when you’re working with smaller DSLRs and micro four-thirds cameras.
By Robbie Carman | Saturday, May 09, 2015
Smartphone cameras have evolved to shoot great-quality footage. But if you’re not careful, smartphones can be easily damaged in shooting situations.
Luckily, there are third-party accessories to keep the camera safe while stabilizing your shots. In this week’s episode of Video Gear Weekly, Rich and I showcase a few smartphone mounts and accessories that will help you safely capture shots with your smartphone.
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