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 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:
By Steve Grisetti | Friday, March 27, 2015
If you’re relatively new to special effects, you may be most comfortable working with grab-and-drop preset effects. Or you may be more of a do-it-yourselfer, preferring deeper settings and advanced levels of customization.
Whatever your comfort level, HitFilm 3 Pro will meet you there—and accompany you as deep as you want to go.
For those who like working with presets, the program comes bundled, for instance, with a surprisingly specific library of ready-to-go gunfire blasts—from small arms to laser beams and from shotguns to Uzis. And for expert users, the program is fully equipped with tools for creating blasts, bursts, and explosions from scratch, with dozens of emitter, core, force, and particle controls.
Let me show you!
By Richard Harrington | Saturday, March 21, 2015
There are times when you’re shooting on location and you need a backdrop right away. Having a portable backdrop in your kit means you’ll never be more than minutes away from your shot.
Portable backdrops are easy to set up when you’re in a time crunch and need to quickly switch out the environment. This week on Video Gear Weekly, Robbie and I evaluate two backdrop solutions to see which works best.
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