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
We checked out Cine Gear Expo 2018 to take in what’s new in the world of digital cinema and production gear
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
Zeiss has been integral to the history of cinematography, long before digital capture was the dominant production method for motion Read more…
By David Schloss
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... Read more
Fiilex has recently added two newly designed fixtures to their roster of lighting solutions. The Matrix II RGBW, which heralds 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