By Richard Harrington | Saturday, August 23, 2014
Weather, dust, and scratches, oh my! When getting into position for a great shot, there are many things that can damage your video gear.
However, there are just as many strategies that can keep your equipment out of harm’s way.
This week on Video Gear Weekly, I take you to Dig This! in Las Vegas to show you multiple ways to keep your gear safe while shooting outdoors.
By Ashley Kennedy | Friday, August 22, 2014
Have you ever shut yourself in an unventilated closet for hours at a time during the hottest, most humid months of the year?
It’s fun—let me tell you.
And if you’ve watched any of my courses on lynda.com, you’ve probably heard my voice speak through the sweaty resilience that resulted from such a setup. But no longer.
Life is looking up, and it’s thanks to the life-changing addition of a WhisperRoom recording booth to my professional setup.
By Nick Brazzi | Monday, August 18, 2014
Last week I went to the SIGGRAPH conference in Vancouver with Rob Garrott, the Content Manager for all of the lynda.com training in Video Production and Visual Effects.
SIGGRAPH is one of the oldest running conferences in the computer graphics industry. Each year graphics pros from all over the world gather to exchange ideas and demonstrate new techniques and products.
While I was exploring the SIGGRAPH show floor, Rob was busy interviewing some of the visual artists at the conference—folks who specialize in visual effects, motion graphics, storyboarding, and 3D print design.
By Robbie Carman | Saturday, August 16, 2014
Panasonic embraced the DSLR video movement with the Panasonic GH3. Now, with the new Panasonic GH4, they’ve pushed the envelope by introducing Ultra-HD and 4K resolutions, while retaining the familiarity of the GH3.
By Nick Brazzi | Thursday, August 14, 2014
Here at SIGGRAPH, the international conference for computer graphics, animation, and interactive design, it’s really fun to walk the show floor and experience the new technology on display—especially 3D printing and motion capture.
By Richard Harrington | Saturday, August 09, 2014
The camera sees a person differently than the human eye does.
Everyone’s skin has a natural glow, but in front of the camera, skin can look oily and shiny.
This week on Video Gear Weekly, professional makeup artist and television stylist Kim Foley joins me to explore different options and techniques to knock out shine, even things out, and make your stars look their best on camera.
By Starshine Roshell | Saturday, August 09, 2014
Back in May, 20-year-old Sean Witzke launched an experiment: Take the time he would normally spend watching his favorite TV shows and devote it instead to learning stuff.
His theory: If he began producing things, instead of just consuming them, he could become self-employed in 90 days.
So he cancelled his Netflix subscription—quitting Breaking Bad, Lost, Prison Break, and Suits cold turkey—and dove into lynda.com.
And guess what?
By Craig Whitaker | Friday, August 08, 2014
When I meet motion graphics artists, I’m surprised to find that many don’t realize how Nuke can improve their workflow.
As a big advocate of “the right tool for the job,” I’ll be the first to admit that every job doesn’t belong in Nuke. But there are many advantages to working in Nuke for motion graphics artists—including the very same tools and techniques previously reserved for feature-film work.
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