Footage In The Fast Lane?

Hands on with the super-fast G-Speed Shuttle SSD

Michael Guncheon

From a storage perspective, editors (or at least this editor) are always asking for more space and more speed. G-Technology has delivered a product that answers both of those requests: The G-Speed Shuttle SSD. I saw a unit at NAB and have been waiting to give one a test run. Recently, G-Technology sent me an 8 TB unit to try out. I was able to put it... Read more

Do NOT Do This With Your LUMIX GH5!

There's a combination of settings you can put a LUMIX GH5 or GH5S into that will actually NOT record when you hit the red button. It’s obscure, but it’s possible. Learn how to get there so you know how NOT to go there.

PhotoJoseph

The LUMIX GH5 and GH5S are phenomenal cameras. You can record up to 4K30p 422 10-bit or 4K60p 420 8-bit internally. And if you want to record the best of both—4K60p 422 10-bit, this requires an external recorder. This is amazing! However, if you enable that, then connect an HDMI monitor (not a recorder), there’s one more setting you can enable... Read more

Where To Begin? Part II

It’s not just about big venues

Michael Guncheon

Last time I talked about how your audience will start viewing your edit. I brought up concerns about whether they’ll pay attention: How a movie theater experience is geared toward settling down an audience and getting them ready to watch, but how other large venues might require your help getting the audience’s attention. Many of you might have... Read more

Where To Begin?

It seems like a simple question, but is it?

Michael Guncheon

While it is popular to inject the term “storytelling” into every aspect of filmmaking, I’ll skip it and instead focus on my job as an editor—communicating a message to an audience. Sometimes that message involves storytelling, and sometimes it doesn’t. Terminology aside, what’s critical is creating a piece of content that works. And... Read more

The Myth Of 4K, Part II

Shoot wide, compose later. Or just compose?

Michael Guncheon

Last time, I talked about correcting somebody’s misconception about 2k versus HD. I listened to their idea of shooting 2K with their new 4K camera instead of HD so they could “push in.” They didn’t want to shoot 4K and use a lot more storage. I’ll admit, I was pretty pleased with myself as I explained the difference between HD and 2K. Instead... Read more

Where Does Your Media Live?

Using an intelligent media management strategy

Dan Brockett

I’ve been in production on two documentaries for almost a year and a half. One of the documentaries has had a pretty diverse media menu that breaks down as follows: A Camera – RED Epic Dragon, Canon C200, Canon C300 MKII B Camera – Canon XF405 x 3 Gimbal Cameras – Canon 80D, iPhone 8 Plus Go Pros – Between six and 10 GoPros for each shoot Still... Read more

The Myth Of 4K, Part I

If you finish in HD, you can just shoot one framing. Not.

Michael Guncheon

Okay, I’ll admit it. The title is a little hyperbolic, but stay with me here. A few years ago, when 4K cameras became a little more accessible for purchase, I talked with a producer during an edit session. They told me how their company was going to purchase a new camera and said it would be 4K. I listened to all of the details about which camera... Read more

The Line Between Pro/Prosumer/Consumer

Using non-pro gear under the constraints of professional production?

Daniel Brockett

First, let’s define who you are. Are you a working professional in production? A hobbyist? A newbie who has just stuck their foot into the water? A line that has become blurred over the past decade or so is the one between professional and hobbyist as far as gear and what each person needs a given piece of gear to deliver to them as a result. There’s... Read more

Master Pedestal, Highlight And Shadow And Luminance Levels

Master Pedestal, Highlight and Shadow and Luminance Levels are critical settings in your camera that, depending on what you're doing, either absolutely need to be adjusted or should definitely be left alone

PhotoJoseph

How familiar are you with Master Pedestal, Highlight and Shadow and the Luminance Levels settings in your camera? Have you adjusted the Pedestal because someone told you it would give your camera more dynamic range? Are you trying to match cameras from different manufacturers? Do you care about getting technically accurate black, white and gray levels... Read more

OMF Is My Ham

Make sure your workflow works and flows.

Michael Guncheon

There’s an old story about grandma’s ham. It seems before she put it in the oven she’d saw off part of the bone. Her daughter followed this tradition in hopes of making a ham that tasted just as good as her mom’s. Finally, the third generation cook paused before getting ready to continue the cut-off tradition. She couldn’t understand... Read more

How To Get The Most From Your Cheap eBay Russian Lenses On A Micro Four Thirds Body

M42 screw-mount vintage Russian lenses are plentiful and cheap on eBay. But how do you use them on your mirrorless micro four thirds cameras?

PhotoJoseph

eBay is full of interesting looking old, vintage lenses, quite often from Russia. They’re almost always screw mount, and one of the common sizes is called M42. You can easily adapt M42 to micro four thirds for next-to-nothing using a straight, glassless adapter. But, if you spend a little more money, you can get what’s effectively a speed... Read more

Media Matters, Part II

Moving on up to the speed side

Michael Guncheon

In part one of my examination of SD acronyms, I covered a little of the history of SD cards and how we progressed from SD to SDXC. But if you have a card that’s an SDXC UHS-II, U3, Class 10, V90, what do you really have? Let me break it down in order. UHS stands for Ultra High Speed. This is the specification that deals with how fast data can... Read more