New Feature: Playlist Center! Pick a topic and let our playlists guide the way.
By Robbie Carman | Friday, April 18, 2014
Getting stable shots while you’re in production is ideal—but it doesn’t always work out that way. When faced with shaky footage, there are different techniques you can use to stabilize it during post-production. Join Rich and me this week as we share our insight into stabilizing video footage using both Final Cut Pro X and Adobe Premiere Pro.
• How to stabilize footage using Final Cut Pro X
• How to stabilize footage using Premiere Pro
• The difference between a no–motion shot and a smooth stabilization shot
Check out the sample videos above and this week’s complete episode on lynda.com, and we’ll help you get rock-solid, stable shots in post-production.
By Richard Harrington | Friday, April 11, 2014
Getting unique and challenging camera angles for your footage can be tricky. But don’t worry—if a shot requires your DSLR camera to be in an inconvenient or hard-to-reach spot, you can control it remotely. Join Robbie and I this week as we explore an app called CamRanger that works with a small transponder device to let you control your DSLR from another location.
By Robbie Carman | Friday, April 04, 2014
Grain, shadows, highlights—getting the right film look hinges on how these three elements are handled. Last week we explored how to build film looks in DaVinci Resolve; this week we’ll look at the same process in Adobe SpeedGrade—an excellent color grading tool that’s particularly user–friendly and intuitive. Joining Rich and me again this week is colorist Patrick Inhofer, who’ll walk us through his personal techniques for achieving a film look in SpeedGrade using footage from a recent music video shoot.
By Richard Harrington | Friday, March 28, 2014
It’s very expensive to shoot with film, but there are ways to create a film look in post–production. DaVinci Resolve and Adobe SpeedGrade are two popular apps you can use to color grade, and create film looks for your footage. Join Robbie and me along with our special guest, colorist Dan Moran, a London-based expert in DaVinci Resolve, as we demonstrate different ways you can use Resolve to transform your digital footage into a stylized film look.
By Robbie Carman | Friday, March 21, 2014
In a multi-camera shooting workflow, matching your cameras is a must. Sure, you can take your footage to a colorist and have it matched in post–production, but it’s better to prepare well so you get consistent footage during production. Join Rich and me this week as we use the Blackmagic Cinema Camera and the Blackmagic Pocket Cinema Camera to demonstrate how we match up multiple cameras. We’ll then process our footage in DaVinci Resolve with expert colorist Patrick Inhofer.
By Richard Harrington | Friday, March 14, 2014
Log recording is an incredibly handy mode to consider when shooting video. It uses a different color space than standard recording modes, making the image appear flat and washed out—but giving you tremendous flexibility in post-production. When recording in log mode, you retain detailed information in the highlights and shadows of your footage, allowing increased dynamic range in the image itself.
In this episode, Robbie and I explore log recording workflows on a multi-camera set, then transition to post-production and process the resulting footage with Adobe Premiere Pro and SpeedGrade to show you the benefits of log recording firsthand.
By Robbie Carman | Friday, March 07, 2014
Explore DSLR Video Tips.
Have you ever worked with a mirrorless camera? In mirrorless cameras, light doesn’t hit a mirror and bounce off of it like in DSLRs; it comes straight through the lens to the image sensor. And there are pros and cons to the mirrorless process.
Join Rich and I this week as we jump into the studio to demo three different mirrorless cameras while we capture a live recording, then compare and contrast the cameras’ picture quality and perspective in the final footage. We’ll also show you how flexible a mirrorless camera can be for your productions, supporting all sorts of lenses from Nikon, to PL, to FD mounts.
By Richard Harrington | Friday, February 28, 2014
Explore more DSLR Video Tips.
Often the best camera is the one you already have with you—like your iPhone. Shooting video with an iPhone today is comparable to using an actual video camera. The iPhone 5S includes many features such as 1080 HD video, 30 FPS, slow-motion video capability, and video stabilization, and in this episode Robbie and I walk you through the video features of the iPhone 5S and show how easy it is to take and make great videos.
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