By Robbie Carman | Saturday, January 10, 2015
Quadcopters like the DJI Phantom get cameras up in the sky to capture that coveted wide-angle beauty shot—but it’s hard to keep the copter from introducing camera shake.
By Ashley Kennedy | Thursday, January 08, 2015
Video titles are not just for conveying information and providing labels. When executed well, they can establish a style and aesthetic, add texture and depth—and in certain cases, they can even assume a personality or become a character within the film. (To have some fun exploring creative title sequences, check out Art of the Title.)
Sometimes creative titling entails heavy text-based motion graphics work; other times, it involves an intricate intermingling of text, video, and animation. And occasionally, the relationship between video and titles can combine to become one; inserting video footage inside of your titles makes them come alive and gives them visual context that text alone can’t provide.
In this week’s Video Post Tips Weekly, discover how you can edit video inside of your titles using Premiere Pro, Final Cut Pro X, and Avid Media Composer.
By Robbie Carman | Saturday, January 03, 2015
With the freedom wireless microphones give your production, you’re able to record audio without having to trip over wires. You can have a microphone on your talent at all times.
On this week’s episode of Video Gear Weekly, guest host Cheryl Ottenritter and I help you master the use of a wireless microphone.
By Robbie Carman | Saturday, December 20, 2014
Cut down on wire clutter by going wireless.
Wireless microphones are essential to your audio kit. From presentations to narrative films, you can use them in any production to give your talent mobility.
But are they the best audio option for your production? This week on Video Gear Weekly, guest host Cheryl Ottenritter and I will walk you through how to work with a wireless mic.
By Rick Allen Lippert | Saturday, December 20, 2014
If you watch TV news, then you’ve seen interviews conducted over the Internet. Almost without fail, the people in those interviews look terrible.
They rely on either the overhead light in the room or they sit with their backs against a window—or both.
Whether it’s your 15 minutes of fame, an important job interview, or just chatting online with friends or relatives, there are a few simple things you can do to get great video conference lighting at home. The best part: You can do it with just one or two lamps.
By Ashley Kennedy | Thursday, December 18, 2014
“Vignette” is one of those classic French words that has permeated the English language on a number of levels.
In the world of film, the vignette has been one of the most common lighting techniques for decades. And in recent years, digital post-production workflows have made the video vignette easier to create than ever before.
In this week’s Video Post Tips Weekly, we explore how to create vignettes in both Premiere Pro and Final Cut Pro X. And in this article, I’ll show you the merits of using different types of vignettes—as well as when the technique might become overused or cliché.
By Jeff Carlson | Sunday, December 14, 2014
The cameras in Apple’s latest iPhone models are impressive enough, but it’s the software and behind-the-lens processors that make them shine (see my report from Apple’s iPhone 6 announcement, iPhone 6 and iPhone 6 Plus: the Cameras). That combination is directed at one goal: to make it incredibly easy for anyone to capture good photos and videos.
But there’s a tradeoff. In exchange for on-the-fly automatic processing to create the best image the iPhone can make, you lose many manual controls that are essential for shooting deliberate video. Automatic exposure and focus are wonderful when capturing spontaneous events, but if you’re creating something longer that you expect to edit, having more control over these and other aspects of shooting are key.
Naturally, app developers are all too happy to jump into the frame. FiLMiC Pro is a $7.99 mobile videographer’s dream. Perhaps you saw the recent ad for Bentley Motors, highlighting built-in iPads that rise for the discerning chauffeured passenger (see below)? It was shot entirely on the iPhone 5s using FiLMiC Pro (and assembled in iMovie on an iPad Air; stick around to the last few minutes to catch a behind-the-scenes glimpse at how it was shot).
By Robbie Carman | Saturday, December 13, 2014
You sit down to edit your video and realize your footage wasn’t transferred and your card has been reformatted. Aack! How do you recover your files?
This week on Video Gear Weekly, Rich and I show you how to recover the data from a hard drive or memory card.
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