Overview Of LumaFusion iOS Video Editor

LumaFusion is a full featured NLE (non linear editor) for iOS — it’s like having Premier or Final Cut Pro X on your iPad or iPhone!

PhotoJoseph

LumaFusion is a surprisingly full-featured NLE for iOS, capable of multi-track video and audio editing, color grading, text and transitions, image effects and a whole lot more! Would you believe it’ll handle 4K60p V-Log footage on an iPad? True story! This week, I kicked off a new Live Training series (an extension of PhotoJoseph’s Photo Moments)... Read more

Full Format Mania

Do we NEED Full Format digital cinema cameras?

Dan Brockett

Full Format digital cinema cameras are here. They’re here now and will be arriving in metered doses for the foreseeable future. RED Monstro VV. Panavision DXL and DXL 2. Sony Venice. Canon C700 FF. Arri Alexa LF. The past year or so has seen enough new full format cameras arrive in the market to make your head spin. I recently returned from CineGear... Read more

When Software Gets In The Way, Part 2

Removing auto LUT application in Premiere Pro

Michael Guncheon

Previously, I talked about how Adobe Premiere Pro “helps” by automatically applying a LUT when you bring in files. The LUT is applied via a Lumetri to each clip and is accessed via the Master tab in the Effects Controls for the clip. The LUT is easy to remove: Double-click on a clip to load it into the source window, then go to the Master tab and... Read more

How To Shoot A Multicam Live Event (With Checklist)

Shooting a multicam live event on your own can be a stressful, complicated task. Follow these guidelines to ensure you don’t miss a thing

PhotoJoseph

Shooting multicam video of a live event is easy when you have a crew—less so when you’re shooting solo. These tips and complete checklist will help you deliver the best possible project the next time you need to shoot a live event, from the school play to a corporate presentation. Tips include preparing your hardware and your packing list, what... Read more

When Software Gets In The Way, Part 1

Dealing with auto LUT application in Premiere Pro

Michael Guncheon

In my last blog post, I talked about using Adobe Premiere Pro’s Media Browser to import folder-based media like RED media. I extolled the virtues of bringing in the media and automatically getting access to the RMD files to adjust clips with the native controls that RED offers. In that example, automation can be a great help. But sometimes it can... Read more

Cine Gear Expo 2018 Roundup: What Caught Our Eye

We checked out Cine Gear Expo 2018 to take in what’s new in the world of digital cinema and production gear

Dan Brockett

Cine Gear Expo 2018 took place on the Paramount lot in Hollywood June 1-2. We checked out the show to take in what’s new in the world of digital cinema and production gear. Cine Gear is a focused show, and is mainly aimed at filmmakers, less so at broadcasters and television production. First, some general impressions. The buzz at the show was all... Read more

CineGear Blog: Zeiss Unleashes 13 “Supreme” High-Speed Prime Cine Lenses

Zeiss has been integral to the history of cinematography, long before digital capture was the dominant production method for motion pictures and video work. At CineGear this year, the company have announced a mind-blowing 13-lens series they’re dubbing “Supreme” that encompass a wide range of focal lengths, and which feature super-fast apertures. The company says Read more…

By David Schloss

CineGear Blog: Fiilex Introduces Two New Fixtures: Matrix II RGBW And Matrix II Tunable White

Fiilex has recently added two newly designed fixtures to their roster of lighting solutions. The Matrix II RGBW, which heralds the company’s first foray into full-color RGB lighting, features four control modes: CCT, HSI, RGBW and Gel Presets. Meanwhile, the Matrix II Tunable White is geared towards users looking for a fixture with the highest Read more…

By David Schloss

Starting Off On The Right File, Part 4

Premiere Pro Media Browser isn’t just for browsing

Michael Guncheon

Last time, I demonstrated how things can get pretty messy if you simply import RED footage into Premiere Pro. Error messages, duplicate clips and a confusing bin structure were among the problems. But there’s also a pretty simple solution: the Media Browser. It usually shows up as a tab next to the Project tab but can also be reached via the Window... Read more

Big Light, Little Pockets: PhotoJoseph’s New Favorite LED Light

The Aputure AL-M9 is a powerful, tiny, rechargeable LED light that fits in your pocket, lasts for hours, and puts out an impressive amount of light

PhotoJoseph

The Aputure AL-M9 is a powerful, tiny, rechargeable LED light that fits in your pocket, lasts for hours and puts out an impressive amount of light. With a magnetized diffusion panel that doubles as a holder for colored gels, a cold-shoe + ¼-20 adapter and a handy little carrying case, this inexpensive LED is a great asset to any camera bag. It’s... Read more

Starting Off On The Right File, Part III

How to avoid seeing double in a Premiere Pro import

Michael Guncheon

In part two, I talked about bringing media into Final Cut Pro X that is laid out in a folder structure. I concentrated on RED footage for the most part. I picked that brand because it’s easy to show what can happen if you bring the footage in the right way: access to the RAW controls. By that I mean access to the RMD files that ride along with... Read more

High-Quality POV

Quality versus quantity with the Marshall Electronics CV-502MB Broadcast POV Camera

Dan Brockett

I use GoPros. I own three of them and I use them all over the place: From mounting them to the cold shoe on my A camera to placing them in a VO booth when shooting voice recording sessions to mounting them on cars, boats, athletes and even on dogs. GoPro was a pioneer in POV (point of view—I can’t believe anyone wouldn’t know that, but just in... Read more