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
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
Premiere Pro Media Browser isn’t just for browsing
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
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
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
How to avoid seeing double in a Premiere Pro import
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
Quality versus quantity with the Marshall Electronics CV-502MB Broadcast POV Camera
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
Learn to be open-minded and fluid during your shoot when circumstances change beyond your control
There are so many types of production. Producing a TV show or feature film takes the ultimate in planning, preproduction and execution to be successful, often with an army of hundreds or even thousands of crew, and months or even years of planning. But what about at the opposite end of the spectrum, what about your projects? I’ve been in production... Read more
Reflecmedia Chromakey solution for green screen and blue screen is an incredible tool for portable, mobile and close-quarters keying. We explore the technology itself, as well as real-time keying in a Blackmagic ATEM switcher and in Final Cut Pro X.
Green (or blue) screen capabilities have been around for a very long time. Traditionally, you have to perfectly and evenly light your green or blue background, place your subject far enough away to not cast shadows or pick up reflected color from the background, and the rest is easy. However, those two critical points can mean the need for an expensive... Read more
Last time I talked about some of the issues that crop up because camera recording formats have increased in complexity. Gone are the days when it was just a simple process to import a .mov file.
Okay, maybe those days aren’t completely gone. But with more and more camera manufacturers using folder-based structures to capture media, can we agree that... Read more
I had thought of titling this post: “The journey of a thousand edits begins with a single file” but I thought Laozi was talking about something else, not getting footage into your software.
Importing, ingesting, adding whatever you call it, the first step — bringing your footage into the edit project — can be done a number of ways. Doing... Read more
Apple and Atomos teamed up to bring us ProRes RAW, a new desktop-editable RAW video format that can be captured to Atomos Shogun Inferno and Sumo 19
At NAB 2018, Apple and Atomos introduced ProRes RAW, a whole new codec for capturing RAW video with unprecedented ease of use. In this week’s top Photo Moment show, we explain just what ProRes RAW is (and isn’t) and why you should care, how you’d use it and, most importantly, we look at some RAW footage captured on a Sony FS5 and see just how... Read more
Last time I talked about my vision quest—or more specifically my HDR quest—at NAB. With over 100,000 attendees and myriad exhibit halls, it really helps to set out specific topics to focus on.
It’s pretty much a given that anyone buying a TV set these days is choosing from a selection of UHD displays (manufacturers can’t make money building... Read more
Adding a wireless lavalier microphone, such as one by Sennheiser or Sony, to your iPhone sounds easy, but it actually requires unexpected connections and converters
If you’re using your iPhone to live stream or record any talking head videos, then you know that the camera is great, but the microphone isn’t. Adding a wired external microphone is an easy thing to do, but if you want to add a wireless lavalier microphone, it’s actually a lot more complicated than it would seem. This video shows you not... Read more