I proudly present this behind the scenes video from one of my shoots with a famous hairdresser company in Norway called “Adam & Eva.” The scenes are taken in London at a place called The Bathhouse. There was a lot of laughing and fun this day. I am happy with the creative challenges it gave me and the product in the end. You can see the final results here…[Read More]
During its first four years, the Passion & Profession project has brought aspiring photographers into contact with the professional world of photography. Although many people are attracted to becoming professional photographers, they often don’t know in which direction to take their first steps.[Read More]
Mac users interested in trying out video editing often start with iMovie, but given the much reduced price of Final Cut Pro with the recent Final Cut Pro X version (down from four digits to $299) it’s not long before its worth considering an upgrade to Final Cut. However, while Apple has made upgrades to main processors and video cards in the Mac Pro tower over the last several years, thats about all it has done to it. This means that many people who are running advanced imaging apps are still using Mac Pros of vintages from 2006 to 2009. These older Mac Pros are chugging along when it comes to still image work, and unless Apple decides to update the Mac Pro in a big way, these users are likely to continue using these towers until something catastrophic happens. That might take the form or a post-warranty board failure; but it also might also mean a key application that will not run on those older machines.[Read More]
SpyderCHECKR produces color correction presets for Lightroom, ACR, and Phocus. These presets are typically applied to still images processed in these applications. Now that Lightroom 4 can catalog, clip, and even make basic adjustments to your video, the question of using SpyderCHECKR Lightroom Presets to correct color for your video cameras arises. This possibility is particularly interesting when it comes to adjusting video capture from different types of cameras, such as GoPro cameras and DSLRs, or different types of DSLRs, to match their color as closely as possible.
The answer is: yes, it is possible to apply an existing SpyderCHECKR preset, from a still image shot with your camera, to video shot with the same camera. However, since that preset was most likely shot in RAW, and certainly as a still image, its best to start from scratch, and shoot the SpyderCHECKR target in a video clip, to capture the actual video workflow for color correction.[Read More]
Datacolor’s SpyderLENSCAL is used to check the auto-focus on still cameras, and to micro-adjust the auto-focus on cameras with micro-adjustment controls in their in-camera menu. However, there are other uses for SpyderLENSCAL. This article describes how to use it to assist with focus settings in video, TV, and cinema capture workflows.[Read More]
Magic Lantern is an Open Source project that was created to provide extended features and more user control to the Canon 5D Mark ll camera, specifically for videography purposes. The project has since been extended (no surprise) to the 5D Mark lll camera as well, and offers some advantages even for still imaging. Magic Lantern is firmware that is run on top of the Canon firmware. As such, it involves “hacking” your camera to install it, but has a history of successful use without problems.
All this now becomes much more important, as Magic Lantern has recently been making progress that has captured the interest of the entire videography industry. They have moved on from “short burst” video capture to continuous capabilities, and now are able to capture 14 bit RAW data from the 5D Mark lll. The results of this are more than interesting; they may well be groundbreaking.[Read More]
Last week a company named Atomos announced a bundle that includes an Atomos Video Field Recorder/Display with a Datacolor Spyder, plus custom software and a special cable. Its a clever solution that allows these small, camera-mounted video displays to be color calibrated, so that they can be trusted for more than just seeing where the camera is pointing.
To appreciate the value of this, its important to understand how calibration differs between computer-driven displays and video displays (be they small field displays, or big, expensive video reference displays). With a computer, there is a standard end-to-end solution available. The screen can be read from a Spyder connected to the same computer that the display is connected do, and the resulting calibration can be downloaded to the video card that drives the display.[Read More]
This video is a series of quick outtakes from Ken Sklute’s excellent seminar on timelapse photography at this year’s California Photo Festival in San Luis Obispo. This is a series of short clips shot with a Canon 5D Mark II DSLR in video mode, using a Manfrotto video monopod. Enjoy!
Standard DSLR lenses of the type you already own for your DSLR cameras work quite well for shooting video, both with DSLR bodies, and with the next step up: Cinema cameras such as those from Black Magic and Camera Red, if the lens mounts are compatible. However there are also dedicated cinema lenses designed specifically for shooting video. This may leave you wondering just what is unique about these lenses, and why might you consider acquiring one or more of them.
The list of advantages of Cinema lenses over their DSLR brethren is relatively short, and the justifications may sound minimal as well; but they may add up to justify adding one or more dedicated cinema lenses to your collection, if you find yourself shooting an increasing amount of motion.[Read More]
How to get into reasonable quality video capture, without spending all your cash or going deeply into debt? Many small cameras and iPhones offer video capture, but few, if any, can deliver high-quality, reasonable resolution capture. Real-world people can’t afford a Camera Red (myself included), so what to do?
I’ve been looking into this, thinking long and hard about the opportunities. I’m particularly interested in creating video content for my educational efforts and in fine art imaging. In the latter case, I’m intrigued by the possibilities offered in capturing video with simultaneous camera movement. I’m convinced that one can capture an element of dimensionality and a realistic viewpoint in video not accessible in still photography. That’s a big statement, for a life-long still photographer.
So how to get started? I’ve been working with Barry Anderson and his team during the DSLR Digital Dynamics seminars (still ongoing – next session I will attend is in Miami, others can be found here.), and with Ken Sklute at the recent California Photo Festival, and I’ve picked up a few tips along the way that might be helpful to others.[Read More]