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How to Clean Up and Cover Messy Audio page 60

OCTOBER 2014
Camera Motion
Research
Radian Pro
Nikon D4S
Low Budget
Horror Movies
Lighting Effects Editing Distribution
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VI DEOMAKER >>> OCTOBER 201 4
1
24
34
Features
Columns
2
42
48
52
56
60
Reviews
Nikon D4s
Professional DSLR
By Chris Monlux
Audio-Technica AT2020
Cardiod Condenser USB Mic
By Mark Holder
Camera Motion Research
Radian Pro
Unicast Wireless HDMI set
By Chris Monlux
Samsung Galaxy S5
4k Capable Smartphone
By Mark Holder
Sony Vegas Pro 13
Professional Editing Software
By Mark Holder
Aviator Rocket Slider
Camera Slider
By Paul Hildebrandt
8
12
14
18
20
22
37

64
Next Month
Why Your Tripod is your Most Important Purchase
Mirrorless & Single Lens Reflex Lens Shoot Off
What Lenses To Use
The Current State of Consumer Camcorders
On Sale September 23, 2014
Contents
Volume 29 Number 04
OCTOBER 2014
Viewfinder
Manipulating Emotion
By Matthew York
Basic Training
Deciphering Camera Tech Specs
By Kyle Cassidy
Distribution
Low-Budget Horror Movie Distribution
By Joshua A. Siegel
Lighting
How to Light a Horror Scene
By Terry ORourke
Editing
Timing is Key
By Chris Ace Gates
Audio
How to Clean Up and Cover Messy
Audio
By Chuck Peters
The Horrors of Rotoscoping
In the world of video production, there are some horrifying
things we face regularly. Rotoscoping has been long consid-
ered, a painful, but necessary evil.
By Russ Fairley
GoPros Reign: Can It Really Last?
GoPro dominates the action cam market, but their dedication
to professionals is dubious at best.
By Ty Audronis
Getting Started with Prosthetics
The techniques used to create Hollywoods most iconic
effects arent beyond the reach of most who dabble in
visual entertainment.
by Peter Zunitch
How To Build A Blood-Sqirt Device
The practical effect of blood being sprayed used so
often in horror and can be done using a mechanism that
will spray out liquid on command.
By Marshal M. Rosenthal
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On the Cover
Camera Motion Research Radian Pro
Nikon D4S
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2
Manipulating Emotion
Video is a highly effective means of
transmitting information. The trans-
mission of content through the use of
motion pictures and sound represents
a transformational development in
how humans communicate. Even the
simplest production is a powerful
vehicle for capturing and presenting
messages to people in far off places;
transporting the ideas of a presenter
to a viewer who may never have the
opportunity to meet the communica-
tor face to face. This ability to transmit
information via video as distance
learning can be leveraged for the
greater good of mankind. Think of all
the knowledge shared through video
distribution of TED Talks online.
Clearly, knowledge can be trans-
mitted through the power of video.
But theres far more to media than
mere messaging for the mind. Video
also contains the unique and power-
ful ability to inuence the emotions
of the audience. Video can elicit very
strong emotional responses from their
viewers; causing people to laugh, cry or
scream in fear. Interestingly, the power
of media to inuence emotion typically
has little to do with dialogue. The way
we feel about what we watch is more
often inuenced by the way a scene
is lit; the way the shots are composed;
the way the camera moves; and the
music and sound effects that accom-
pany the scene.
The direction, height, intensity and
quality of lighting that the producer
uses has great inuence over how
a viewer will feel about a subject.
Brightly lit scenes make the viewer
feel at ease, but scenes that are dimly
lit with small pools of light and heavy,
dark shadows make the viewer un-
easy. The reality that the emotional re-
sponse of the viewer can differ greatly
by moving a single light a few feet one
direction or the other is a fascinating
study in psychology.
The notion that we are afraid of
what we cannot see means that shot
PRI NTED I N USA
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standards or recommendations.
composition also plays an important
role in manipulating the emotions of
an audience. Tight, tilted shots that
only show part of an environment
make the viewer unsure of what
might be in the room with the hero or
heroine. This is particularly true when
the camera work is unstable and cam-
era movement is erratic.
Audio plays a large role in inuenc-
ing the emotions of a viewer. The very
same sequence of a person walk-
ing through an old house can feel
ordinary, humorous or frightening
depending on the music and sound
effects that are used beneath it. A
suspenseful soundtrack plays with
the minds of viewers, causing them
to watch in nervous anticipation of a
scary encounter.
As a maker of media, you have the
opportunity to create content that has
a powerful and lasting inuence on
your audience, both intellectually and
emotionally. By honing your skills in
shooting, editing, audio and lighting,
you can make videos that change
minds and effect hearts. Whether you
choose to make your viewers laugh,
cry or scream is up to you.
VIEWFINDER
b y Ma t t h e w Yo r k
subscription information
Videomaker Subscription Fulfillment
P.O. Box 3780, Chico, CA 95927
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Videomaker empowers people to make video in a way
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do this by building a community of readers, web visitors,
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YOUR JAW WILL DROP.
THE ONLY QUESTION IS IF ITS FROM
LOOKS OR PERFORMANCE.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and other countries. 2014 G-Technology, a division of HGST, Inc. All rights reserved.
With Thunderbolt 2 performance, these hard drives have equally beautiful
specs designed to make 4K video editing and creative workfows run smoothly.
Go see one in all its glory. Visit g-technology.com/pro.
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4
Go Mobile
Reading on the go? Find Videomaker on your iPhone and iPad along with apps
that help video producers on location. Go to www.videomaker.com/r/676.
SHOULD I USE A FIELD
MONITOR?
Question:
Dawodo: Im currently building a
computer which is primarily going to be
used for video editing and a little bit of
image manipulation.
I do know that the CPU and RAM is
the most important part of such a build,
but Im wondering whether I should buy
a fast graphics card or not.
The information Ive gathered so far is
quite contradictory. Some recommend a
workstation card like a Nvidia Quadro or
at least a high-end gamers card. Some
claim that the integrated Intel HD graph-
ic adapters are better than dedicated
cards for the given tasks.
Which GPU would you recommend for
video editing software like Magix Pro
X6 or Sony Vegas Pro and why?
Answer:
Mcrockett: If you have the money to
spare, it is well worth it to go with a
Quadro. You can save a little money
by going with a high-end GeForce, but
you really are sacricing performance.
Quadro cards are optimized for video
editing, image manipulation, animation,
etc. GeForce cards are built around giv-
ing you a high frame rate in games, but
at the sacrice of accuracy in creation
applications.
See more at: www.videomaker.
com/r/017
Nikon D4s Review
We test the performance of the Nikon D4s.
Check out all the specs and see how it performs.
www.videomaker.com/r/015
October 2014
Whats on Videomaker.com
Talk to us online!
Love Videomaker? Tell the world! Share your videos, nd extra content, talk to us! We want to know who you are.
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Getting Clients
Getting clients to sign on the dotted line is
essential for the survival of your business. Find
out how successful business owners do it, so
you can too.
Put Your Best Foot Forward
Entering the world of video
production is an exciting venture.
Knowing some of the fundamental
rules and techniques can help you
increase your production skills
while avoiding common pitfalls.
The editors at Videomaker have
created The Beginners Guide to
Professional Results, outlining the
things you need to know to get
presentable video right out of the
gate. Available in DVD and digital
downloadable formats. Watch the
preview video at: www.video-
maker.com/BestFoot
BlackMagic URSA Footage Makes a
Splah, Dazzles
After a rousing debut at NAB 2014 back in
April, Blackmagic Designs $6,000 power-
house, the URSA, is now giving lmmakers
some footage to analyze, examine, and if
Vimeo compression is ignored drool over.
Have a Video to Share?
We want to see your work!
The Videomaker community is
full of producers from all levels.
We invite you to share your
videos with us for community
critique. Just create a Member
Prole, and you can share,
comment and enjoy videos from
producers just like you. You may
even learn something in the
process.
329 D12 What's On.indd 4 8/20/2014 9:27:56 AM
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6
highest model to the mighty 4.0GHz mark. Larger Retina mod-
els are now rocking Intels latest N-Series i7 processors.
The 13-inch MacBook Pro models also received some love.
In addition to the 200MHz speed bump, all new models start
out with 8GB of RAM minimum. This might have been a quiet
update, but it will be a welcome one to those unhappy with the
previous minimum of 4GB of RAM.
The performance tweaks, bumps and updates should help
keep editors and motion graphic designers cranking out the
videos long after the release of Yosemite.
NEW GEAR
mocha Pro 4 and mocha Plus
Imagineer Systems, the Academy Award-winning devel-
oper behind mocha, has just shipped out mocha Pro v4
and mocha Plus. Mocha Pro 4 is the fourth generation of
the industry standard planar tracking, roto, stabilization
and camera solving tool.
Beyond the amazing capabilities mocha Pro has
proven through use in lms and television, mocha Pro
4 shoots for the next level with new features such as a
revamped interface, Python scripting support, customiz-
able keyboard shortcut interface and a stereoscopic 3D
workow.
On the lighter side, mocha Plus is the heir apparent of
mocha AE; a version of mocha which shipped with Adobe
After Effects. Now available separately, mocha Plus ups
the ante with new features, including a 3D camera solver
and lens correction tools for After Effects.
Both versions are available now, and Imagineer Sys-
tems is offering 20 percent off all upgrades.
Imagineer usage is widespread, featuring prominently
in major feature lms such as The Hobbit, Black
Swan, The Amazing Spider-Man, The Wolf of Wall
The Latest Updates in Software and Mobile Workstations
Street and the Harry Potter series.
Imagineers current product lineup includes:
mocha Pro 4: Planar Tracking and visual effects utility with
advanced modules for: tracking, roto, 3D camera solve, object
removal, lens distortion, stabilization and more. Supports
industry standard VFX, editing and nishing software.
mocha Plus: Planar Tracking and roto mask utility supporting
Adobe After Effects & Premiere Pro, Apple Final Cut Pro & Mo-
tion, HitFilm and Boris FX.
mocha AE CC: Bundled free with Adobe After Effects Creative
Cloud. Planar Tracking and roto mask utility.
mocha HitFilm: Bundled free with HitFilm 2 Ultimate. Planar
Tracking based 3D Camera Solver.
Imagineer Systems also licenses technology and software to
industry partners including Adobe, Quantel, FXHOME, CoreMelt,
Silhouette FX and MirriAd.
Apple MacBook Pro
In advance of the launch of OSX Yosemite this fall, Apple
rolled out a new lineup of MacBook Pros. Apples power-
ful laptop series saw minor refreshes across the board, but
ought to handle the new demands of the OS and upcoming
applications even better than the previous MacBooks.
The 15-inch MacBook Pro models saw a levelling of the
playing eld in the memory department, with all models now
coming equipped with 16GB of RAM, where previous entry
level models shipped with 8GB. Storage got a bump as well,
with a new option for 1TB of PCIe-based ash storage, much
like the storage Apples desktop superpower Mac Pro sports.
Also refreshed were the MacBook Pro's processors, with
all models receiving a 200MHz speed boost, pushing the
329 D5 New Gear.indd 6 8/18/2014 2:28:13 PM
Blackmagic URSA is the worlds rst high end digital lmcamera
designed to revolutionize workow on set. Built to handle the
ergonomics of large lmcrews as well as single person use, URSA
has everything built in, including a massive 10 inch fold out on set
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Blackmagic URSA features a modular camera turret that can
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Lenses and accessories shown are not included
Videomaker-URSA-Pool Shot-us.indd 1 15/08/2014 11:49 am
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8
REVIEWS
b y Ch r i s Mo n l u x
$6,500
Flagship Nikon
Nikon D4S
Professional
DSLR
Nikon USA
www.NikonUSA.com
STRENGTHS
60p in full 1920x1080
Rugged Build Quality
Lighter weight than the Canon
EOS-1DX
WEAKNESSES
Not all buttons easy to find
ISO not easy to change on the fly
E
ver struggle with a subject that wont
stop moving? Fast moving subjects
are difcult to capture, but when it
comes to capturing that special frame,
having a camera that can shoot fast
is key. Nikon upped the ante with the
upgrade to their agship model. The
predecessor to the D4S, the D4 was re-
leased in 2012 and is a superb camera.
But as with all technology, its always
evolving and improving. The D4S has
quite a few important changes. Starting
with the ISO range, you get double the
range with the D4S versus the D4 at ISO
25,600. When shooting continuous with
AF the D4S shoots 11fps, one frame
more than the D4. The battery life is
about 16 percent greater, taking 3020
shots per battery when using the EN-
EL18a battery. The video options have
been expanded as well, now shooting
60p in full 1920x1080. The Canon
EOS-1D X is Nikons big rival to the D4S.
They are equally equipped and very
similar cameras, down to their cost. The
D4S is $6,500, and for this review, the
$1,890 Nikon AF-S NIKKOR 24-70mm
f/2.8G ED was used.
With its extensive options and price
tag, we doubt many hobbyists will
be picking up the D4S. However, for
the pros, the quality of the product
it produces, and the ability to shoot
stunning video and photographs will
quickly help the camera pay for itself.
The super-fast 51-point autofocus
with 3D tracking is perfect for sports
and the ISO range makes the camera
very versatile, although the expanded
ISO at 409,600 is a bit absurd. The
photographs taken at that ISO are so
noisy, we can see it only being useful
for espionage. There isnt any Wi-Fi
connectivity unless being used with
the WT-5A wireless transmitter acces-
sory ($875). However, the speed of the
Ethernet port is now 1000Mb/s over
the 100Mb/s of the D4. You now have
the option of shooting both Compact-
Flash and XQD memory cards. The
image sensor is specially designed,
16.2MP FX-format CMOS. The pro-
cessing is new with the EXPEED 4
from the D4s EXPEED 3. Last, but not
least is the built in time-lapse control-
ler mode. The D4 had this option, but
now you arent limited to 999 shots
but 9,999.
Look, Feel and Features
Picking up the D4S, youll notice
its quite hefty. The body alone is 41.6
ounces or 2.6 pounds. That compares
to the Canon 1D X body at 54oz. or
3.4 pounds. With the lens, and battery
the D4S is a whopping 5lb. and 3.1oz.
The body is magnesium alloy and fully
Left side ports
329 C5 Nikon D4S.indd 8 8/20/2014 11:06:50 AM
9
view, the light meter isn't there; in-
stead its on the top of the camera, and
isnt conveniently viewed.
The D4Ss AF was very fast and adap-
tive to a moving subject and shoots
stunning photos. To test this, we shot
a fast moving subject; a young child.
Like most children, our subject moved
a lot, and was the perfect subject to test
the AF and the continuous shooting.
Quickly it became apparent that this
camera is fast! It's amazing at how well
it keeps up. Testing its speed, taking
frame after frame, it responded well. We
began shooting in RAW mode, shooting
only NEF les. But because we weren't
going to do any post processing to the
pictures, we changed it to shoot only
JPEGs to save storage space.
Although the child moved a lot, their
top speed wasn't great, so we moved
on to shooting fast moving trafc off
the highway overpass. It was a sunny
day, so we could shutter up, allowing
no motion blur to each car. They were
moving at roughly 60 mph, so unless
youre shooting a rocket, their speed
should sufce for a fast moving test
subject. Just as with the child, the adap-
tive AF worked wonderfully and it shot
continuous frames very fast. Take note
though, the shutter is very loud. Thats
not always an issue, but could be dis-
Nikon D4S
REVIEWS
weather sealed. Both of the handgrips
have been redesigned. Vertical and
horizontal grips feel nice and are very
comfortable. On the other side of the
camera, the ports are smartly laid
out, with all but one having their own
rubber ap. The mic and headphone
port share one, but if you're miking
something, you ought to be monitoring
it, so we dont see this as an issue. The
battery locks in, and on a silly side note,
has a fun PAC-MAN picture on the side
(not really, but it looks like it).
Mounting the lens is easy and offers
the Nikon F-mount. With the press of
the Pv button, you can see the effects
of the aperture. It shoots in continu-
ous autofocus with 3D tracking, Group
Area, single point, 9-, 21- and 51-point
AF. The 51-point AF even follows and
changes every frame during bursts.
In video mode you have ve full HD
1080 frame rate options including 24p,
25p, 30p, 50p and 60p; thats two more
options over Canons EOS-1D X. That
means 40 percent slow-mo in full HD
when slowing 60p footage to 24p. In
1080/60p at 42Mbps can record up to
10 minutes and 20 minutes in 24Mbps.
When shooting photos, you can
shoot in both NEF (RAW) and JPEG
at the same time. The NEFs can be
lossless compressed to 12- or 14-bit,
lossless compressed, compressed or
uncompressed. You can also shoot in
NEF (RAW) size S and TIFFs.
When shooting, you can use the
viewnder or Live View using the
screen on the back of the camera. A
simple press of a button toggles be-
tween the two. Part of that same button
allows you to change from video to
photo mode with the ip of a switch.
The operation buttons differ depend-
ing on how they are assigned. We
prefer shooting in manual mode, as it
gives us the most exibility and con-
trol. When shooting in manual mode,
your trigger nger adjusts the f-stop
and thumb adjusts the shutter speed.
To operate the ISO, you must hold
down the ISO button. While the trigger
nger changes ISO from manual to
auto, the thumb
adjusts the ISO
up or down. The
record button is in
a handy location,
but is surrounded
by other buttons
and is small, so it
can be easily lost.
There are 14
different white
balance modes
including two
different auto
types, a sliding
color tempera-
ture 2500K to
10,000K, Cloudy,
Shade, Direct
Sunlight, Flash,
seven types of uorescent, incandes-
cent, and Manual (up to six values can
be stored. There are also six different
picture control lters landscape,
monochrome, neutral, portrait, stan-
dard, custom and vivid.
Putting it Through its Paces
If you were picking up the camera
for the rst time, and not familiar with
where Nikon puts its buttons, you
will nd that they aren't that intui-
tively laid out. Some of the buttons are
small, some need to be pressed and
used with others. Their layout is less
than desirable. To change the ISO, for
example, you need to hold the ISO but-
ton down and scroll with your thumb,
but to change it from manual to auto
ISO, you hold down the ISO button and
scroll using your index nger. However
when not pressing the ISO button,
the scrolls change to controlling the
f-stop and shutter. Even someone that
doesn't normally struggle with buttons
and menus might nd themselves
frustrated with how these function.
Because of this, until you become
familiar with where everything is and
how it functions, it might be hard to
get a great frame. The light meter is
easily viewed through the viewnder,
however when the camera is in live
LCD screen
329 C5 Nikon D4S.indd 9 8/15/2014 10:42:16 AM page 8
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10

SUMMARY
With 11fps still shooting and full
1080 60p video with super-fast AF,
this baby is your ticket to fast, pro-
fessional performance.
Chris Monlux is the Creative Services Manager at a
local CBS, NBC and CW affiliate station.
tracting, depending on what and where
you are shooting.
Next, we moved on to the video side
of the camera. We were quite excited to
see that Nikon added the 60p option in
1080. Most DSLRs out there only shoot
60p in 720, causing one to need to edit
their project in 720 if they required
slow-mo, or want a real life feel. For
smooth slow-mo, shooting 60p works
great. Just forcing the frame rate to 24p
from 60p makes for great slow-mo at 40
percent speed.
We then tested the monitor, mounted
ush on the back of the camera. Turn-
ing on the monitor is simple. Nikon calls
it Live View. Press one simple button
and youre monitoring with the screen.
Using the menu isn't difcult as well,
if you want to Change the frame rate,
its easy to nd and maneuver. Testing
in all ve 1080 frame rate options, we
found that the dynamic range of the full
sensor was nice. When shooting both
very bright and dark areas in the same
frame, exposing so you can see each,
the bright wasnt too bright and the dark
wasnt too dark.
Using a tripod, we mounted the
camera to the plate of a Sachtler FSB
6 head. We noticed right away, that if
using the camera for video, that some
of the design for photography would
become more cumbersome. If shoot-
ing pictures in portrait, the plate is in
the middle of the grip. But thats what
happens when you shoot video on a
photo camera, or photos on a video
camera. Next, we shot handheld, ex-
periencing the balance of the camera.
When shooting handheld the balance
isnt the best. However, most DSLRs
are not balanced like a video cam-
era and are less than desirable when
shooting handheld.
Because the AF is so fast, we didnt
notice that the focal point was changing
when shooting video. When shooting
pictures, this was wonderful, however
when shooting video it just changed so
rapidly, that it didnt feel right. However
its easy enough to overcome, just turn-
ing the AF off solves the issue.
To test the different frame rate op-
tions, we shot a foosball table, spinning
the little men around, dollying past and
testing slow-mo. There weren't any
surprises the video came out just
as expected. The dynamic range was
great, and the picture was clear. We
slowed down 60p and 50p to test how
they looked when converted to 24p for
slow-mo. If the movement was too fast,
we got rolling shutter (as expected),
otherwise it performed great.
The Verdict
Over all, the D4S performed wonderful-
ly. If youre thinking about buying this
camera, we only have a couple reserva-
tions. First,, the controls could use some
more intuitive design, however some
time with the camera would solve that.
Second, because of its cost, and being
Nikons agship, we would hope that
there would be a 120p frame rate op-
tion, and there isnt.
Take a look for yourself at the test
pictures and video. There isnt any
let down with the end product. The
video and pictures look great. As one
would expect from Nikons agship
model, it performed wonderfully.
However, would this reviewer buy
one? Probably not, but that is only
based on the feel and non-intuitive
button design. If you get a chance to
get your hands on one, pick it up, get
a feel for the buttons and layout, and
decide for yourself.
Nikon D4S
REVIEWS
CompactFlash and XQD ports
TECH SPECS
Sensor Size/Type: CMOS,
36.0x23.9mm
Effective Megapixels: 16.2MP;
4928x3280
Video Format: MOV
Resolution/Frame Rate: 1920x1080
(60fps, 50fps, 30fps, 25fps, 24fps);
1280x720 (60fps, 50fps); 640x424
(30fps, 25fps)
Recording Media: CompactFlash, XQD
Display Size/Resolution: 3.2" LCD
(921,000 dot)
Lens Mount: Nikon F
Included Lens: Body only (for review
24-70 f2.8)
Audio In: Built-in Mic: With Video +
Voice Memo, Mono
Audio Out: 1/8"
Video Out: HDMI
Other Interface: LAN, USB 2.0, remote
Shutter Range: 30-1/8000 sec, Bulb
ISO Range: 100-25600 (Extended
Mode: 50-409600)
Battery: EN-EL18a Rechargeable
Lithium-Ion Battery Pack, 10.8VDC,
2500mAh
329 C5 Nikon D4S.indd 10 8/15/2014 10:42:26 AM
Sound Focus
Hi-def digital video
deserves hi-def digital audio.
Put the professional stamp on your video projects with Audio-Technicas new simple-to-use System 10 Camera-mount.
Operating in the 2.4 GHz range far from TV interference, this digital wireless system features advanced 24-bit operation
and three levels of diversity assurance to deliver the amazingly clear, natural audio your digital images demand.
Wherever your audio or video takes you, listen for more.
SYSTEM CAMERA-MOUNT
DIGITAL 2.4 GHz HIGH-FIDELITY WIRELESS
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12
REVIEWS
b y Ma r k Ho l d e r
$279
Edit Bay Audio
Audio-Technica
AT2020USB+
Cardioid Condenser
USB Mic
Audio-Technica U.S., Inc.
www.audio-technica.com
STRENGTHS
Captures excellent audio
Great build quality
Zero latency monitoring
No/low hiss
Ease of setup and use
WEAKNESSES
Pricier than many other USB mics
T
he traditional method of getting
audio into an editor connecting
a microphone and recording to a cam-
era or digital audio recorder, then cap-
turing the recording to the computer
is a tried-and-true method that
works every time. Sometimes though
its more convenient and time efcient
to record right into the edit. If youre
doing voice-over work, podcasting,
laying vocals over a music track or
any number of other tasks requiring
audio only, then a USB mic such as
the Audio-Technica AT2020USB+ may
be the right solution for you.

Stuff It Comes With
The AT2020USB+ is pretty straightfor-
ward and comes complete with a pivot
mount, tripod desk stand, 10-foot USB
cable and zippered pouch. A down-
loadable PDF of the instruction manual
may be found online.

Stuff About It
The build quality is excellent. The
mic capsule element is fully en-
closed in a sturdy wire mesh which
is, in turn, protected by a rigid metal
framework. Assembly is easy; simply
thread the pivot mount onto the
desk stand and spread the rubber
tipped tripod legs apart to provide a
sturdy base. Slide the mics threaded
base into the threaded collar on the
pivot mount and tighten the collar
while holding the microphone in the
desired position. A thumbscrew on
the pivot mount may be loosened
and retightened to adjust the angle.
Plug one end of the USB cable into
the mics base and the other into
your computer.
Position the mic so its front is
facing the audio source. The back is
also where you will nd the head-
phone jack. Beneath the label on
the front you'll nd two dials. One is
labeled monitor, and can be dialed
left for MIC and right for COM. This
is the mix control, used to monitor
existing audio on your computer
while recording new material. Dial-
ing towards COM adds more of the
existing audio to the headphone mix,
while dialing towards MIC favors
new audio. If you cant hear yourself
through the mic, the dial is probably
set all the way to COM. The other dial
Mix control
329 C5 Audio-Technica AT2020.indd 12 8/15/2014 10:33:50 AM

13
TECH SPECS
Element: Fixed-charge back plate,
permanently polarized condenser
Polar Pattern: Cardioid
Frequency Response: 20-20,000Hz
Power: USB Power (5V DC)
Bit Depth: 16-bit
Sample Rate: 44.1/48kHz
Volume Control: Mix control; head-
phone volume control
Output Connector: USB-type
Headphone Output Power: 130mW
Headphone Jack: 1/8" (3.5mm) TRS,
stereo
SUMMARY
The AT2020USB+ Cardioid Con-
denser USB microphone provides
a convenient way to record quality
audio directly into your preferred
recording software.
Contributing Editor Mark Holder is a video producer and
trainer.
enable button. We failed to mute the
track at rst and experienced severe
echo during recording.
To record, place the playhead at
the desired location on the timeline
and click the red record button at the
lower left corner of the Audio Mixer
panel. Click the Play button, or press
the spacebar, to start and stop record-
ing. Be sure to un-mute the track
during playback or youll wonder why
youre not hearing anything. Re-select
Write from the drop down list when
preparing to record again because it
automatically changes settings each
time you stop recording.
Hiss from this mic is virtually non-
existent. Its cardioid pickup pattern
captures sound most prominently
from directly in front with very good
off-axis rejection, particularly from
the rear. Zero latency headphone
monitoring is a great feature. With
headphones plugged directly into
the mic you can monitor previously
recorded material while recording
new audio with no lag or echo what-
soever. 16 bit 44.1/48kHz recording
assures crisp, bright, accurate sound
reproduction. Overall we were quite
impressed with the quality of this
microphone.
Those with a need for direct-to-edi-
tor audio recording will be very happy
with this mic. While there are cheaper
USB mics available, the quality of the
AT2020USB+ cardioid condenser mic
is unquestionable.
Audio-Technica AT2020USB+
REVIEWS
select the AT2020USB+ as the default
audio device. A detailed description of
the process is laid out in the down-
loadable instruction manual.

Stuff It Does
We attached the mic to a PC with
Windows 8 and opened up Adobe
Premiere Pro to lay down a voiceover
track. If you dont already have an au-
dio recording program here is a quote
from the AT2020USB+ instruction
manual, Many recording software
programs are available online. Audac-
ity is widely used free software for
recording and editing sounds. It is
available online at audacity.source-
forge.net.
In Premiere Pros audio hard-
ware settings we made sure the
AT2020USB+ was set as both the
input and output device (micro-
phone and headphones). In Premiere
Pros Audio Mixer, drill down into
the track label and select Write.
Enable the track for recording by
clicking the mic icon. Another drop
down list appears directly above this
icon, check it to be sure the correct
microphone is selected. Next, click
mute (speaker icon) to the left of the
on the front is the headphone level
control and should not be confused
with any recording levels. The mic
volume is adjustable through your
computers sound preferences set-
tings or your recording software.
Computer setup is fairly simple.
When you plug the USB cable into
both the mic and the computer, a blue
LED lights up on the mic to show that
it has power. The computer auto-
matically recognizes the device and
installs the appropriate driver. Next,
you'll likely need to go to your Sound
settings through System Preferences
(Mac) or Control Panel (Windows) and
Accessories Furnished: Pivoting
stand mount for 5/8"-27 threaded
stands; 5/8"-27 to 3/8"-16 threaded
adapter; soft protective pouch; tripod
desk stand; 10 (3.1m) USB cable
System Requirements: USB 1.0 or
2.0; 64MB RAM minimum; Macintosh:
MAC OS X; Windows: XP/Vista/Win-
dows 7
Dimensions (Lx[diameter]): 6.4" x
2.0" (16.3cm x 5.1cm)
Weight: 13.6 oz (385.6g)
Monitor volume dial
329 C5 Audio-Technica AT2020.indd 13 8/15/2014 10:34:01 AM
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14
REVIEWS
b y Ch r i s Mo n l u x
$849
Dont trip
its wireless!
Camera
Motion
Research
Radian
Pro
Camera Motion Research
CamotionLLC.com
STRENGTHS
Rugged build quality
Great for indoor or outdoor use
Simple set up and breakdown
WEAKNESSES
Lots of parts to misplace
T
he logistics of setting up a shoot
can be painful at times; its never
easy and is the less creative part to
making video. Its no easy task to
make sure all players involved are on
point, content is created and all-need-
ed equipment is fully functional and
working properly. Laying cables for
monitoring is a thing of the past with
the Radian Pro wireless HD transmit-
ter system. Set up a monitor for the
camera operator, one for the DP and
one for the director, and youll create
a tripping hazard. Shoot in multiple
locations, and forget it, youll be lay-
ing cable all day! But with this system
from Camera Motion Research, setting
up multiple monitor stations, moving
to multiple locations and tting in the
smallest set is simple.

Tools for Testing
For this review, the Radian Pro wire-
less HD transmitter system will be
used with a Canon EOS 7D DSLR and
MustHD eld monitor. In the eld, the
camera was mounted on a Glidecam
6-foot jib with a Glidecam VistaHead
II pan tilt head. For our dolly shots we
used a Hollywood MICRODOLLY with
12 feet of track.

Out of the Box
Right out of the package, the system
was an ease to set up with very intui-
tive cabling, making it a 10-minute
job the rst time, and minutes to set
up after that. The camera goes to the
transmitter with a HDMI cable, and the
same goes for the receiver. They are
both powered with batteries, hooked
up with USB cables.
You can use the small battery
packs for power, or you can plug the
receiver directly into the wall. They
can transmit to multiple monitor sta-
tions. The exibility of the system is
great. The transmitter and receiver are
easily mounted to your camera via the
shoe or to a monitor with their moni-
tor yoke. The yoke is rugged and is
made of steel. There is a clip to simply
attach the battery packs and go. This
needs a USB cable to go between the
batteries and transmitter/receiver.

Pro? Ill show you pro!
Many products get pro added in their
name to draw more money for their
Transmitter and battery
M
o
n
ito
r
a
n
d
c
a
m
e
r
a
n
o
t in
c
lu
d
e
d
.
329 C5 Camera Motion Research Radian Pro.indd 14 8/20/2014 11:09:42 AM
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16
Resolution: 1920x1080
Input/Output: HDMI
Range: 300ft+
Transmission: MIMO, OFDM
Encryption: AES 128-bit
Latency: 2ms.
Dimensions: RX: 3.9" x 2.2" x .9"
(9.9cm x 5.6cm x 2.3cm) TX: 3.7" x 1.2"
x .6" (9.4cm x 3.1cm x 1.5cm)
Weight: RX: 2.7oz. (76.5g) TX: 1.3oz.
(36.9g)
SUMMARY
With the Radian Pro wireless HD
transmitter system, tripping over
monitoring cables is a thing of the
past.
Chris Monlux is the Creative Services Manager at a
local CBS, NBC and CW affiliate station.
For comments, email: editor@videomaker.com, use
article #17107 in the subject line.
expanded to multiple transmitters and
receivers and can be truly wireless
with its on-mount batteries.

Whats my grade, professor?
The Radian Pro system does have a
drawback: many small cables to lose,
but that's not enough to tarnish our
high opinion of it. Whether you're on
location, on set or need to keep the trip-
ping hazards to a minimum, the Radian
Pro wireless HD transmitter system is
a good deal and a nice addition to a
shooters toolbox. Go get your hands on
this system, touch it and experience it.
Dont trip man, its wireless.
without distraction. The same can be
said about working with producers;
if they have a particular goal for each
shot, they will surely see how to help.
Its also helpful to have another set of
eyes helping point out better expo-
sure options or points of focus.
The Radian Pro didnt add too
much weight when it was mounted
on a camera with the jib, and it kept
wiring to a minimum. The nice thing
about using this system on the 7D is
that the exposure information trans-
mits just as well. It makes choices on
exposure, focal point and composi-
tion, the same as using the viewnder
on the camera. The color is great, and
offers no loss of signal. As long as we
were plugged in, it was transmitting a
clear HD signal.

Value
When youre purchasing a wireless
HD transmitter system, there are a
few options out there. The Radian Pro
isnt the cheapest but it offers great
value. Small, lightweight and a trans-
mitting distance of 300 feet cant be
undone by its larger price tag. How-
ever, its still not expensive either, as
other systems can be more than four
times the price. Transmitting HDMI
instead of HD-SDI keeps the price
lower, but not as low as some systems.
The cheaper systems dont have the
range of the Radian, and they dont
offer FCC cleared channels for great-
est distance and clarity.
After a good spin around the block,
this small, simple and robust system
rates high our my book. It's a great
solution for most every need. It can be
manufacturers. In this case though,
it holds to the standards a pro would
need. The transmitting frequencies are
fully cleared with the Federal Com-
munications Commission and scan to
use the best channel, so youre sure
not to have any unwanted interference.
It offers a less than 2ms latency and
transmits HDMI as usual. Its video reso-
lution transition is up to 1920x1080
60p, uncompressed. It can operate in
temperatures from 32-122 degrees
fahrenheit.
The build quality of the Radian
PRO is top notch. Its rugged, small
and works like a champ. The transmit-
ter goes to 300 feet line of sight, and
for this review, was tested indoors
and outdoors. Although there wasnt a
need to be 300 feet away, it did work
wonderfully. It was used within a
building with thick walls and showed
no issue. There wasnt any noise out-
side, where interference can rear its
ugly head.
A lot of shoots consist of shooting
for a client such as making com-
mercials for business owners so
keeping them happy is always the rst
goal, which is easy with the Radian
PRO. Using this system saves the time
of reviewing the shots with clients, be-
cause they can observe from afar and
it will allow you to continue to shoot
Receiver and battery
THE RADIAN PRO ISN'T THE
CHEAPEST, BUT IT OFFERS
GREAT VALUE.
Camera Motion Research Radian Pro
REVIEWS
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18
REVIEWS
Price varies depending on service pro-
vider contract.
$650 with no contract
Pocket 4K
Samsung
Galaxy S5
Smartphone
Samsung Electronics Co., Ltd.
www.samsung.com
STRENGTHS
Beautiful display
High-quality camera
Great battery life
WEAKNESSES
USB cover attachment point a bit flimsy
Selective Focus can take many tries
before detecting the subject
L
iving in a multi-connected, multi-
media world, we are surrounded
by a plethora of devices designed to
enable our artistic expressions and
facilitate our need for zero time lag
communications. Probably no single
device sees more use in this world
than the ubiquitous smartphone.
Whether calling, texting, surng, gam-
ing, navigating or shooting, smart-
phones do it all in stride.
And while you may have a perfectly
good, high-end prosumer camera
tucked safely away in its bag in the
trunk of your car, it may not be the
right tool for the job. Sometimes the
right tool is the one you have in-hand
at the time of need, and if you hold-
out for your prosumer camera, you
may miss an opportunity. Can the Gal-
axy S5 serve as that right tool? Can
it deliver the photo and video goods
when called upon to do so?
The Basics
At 5.1 inches, the S5s display is slight-
ly larger than its predecessor. Sporting
a screen resolution of 1080x1920 and
432 pixels per inch, the Super AMO-
LED touchscreen display delivers bril-
liant color and sharpness. Compared
to others weve seen its surely one of
the best currently available.
Of particular interest is the excep-
tional battery life. Equipped with a
2800 mAh removable battery the S5
can record or play several hours of
video between charges and will easily
run all day under normal use.
Another distinctive feature is its
IP67 certication. This means it is
certied to be water resistant to a
depth of approximately three feet for
up to 30 minutes, and it is dust proof.
If youve ever dropped your phone in
the toilet, hot tub or cats water bowl,
you will surely appreciate this fea-
ture. We tested it by submerging the
S5 underwater while recording video.
It never missed a beat. Other than the
expected mufing of the audio, the
S5 continued to record underwater
and functioned normally in every re-
spect after we brought it up and dried
it off. To ensure the integrity of the
seal, the USB 3.0 charging port uses
a gasket equipped cover. The cover is
effective at keeping out the elements,
but it can be a little tricky getting
open and its attachment point feels
a bit iffy, so care should be taken not
to break it off. USB 3.0 enables faster
charging using the included cable,
which has sort of an oversized double
pronged connector look to it. A stan-
dard USB phone charging cable can
also be used, though charging will
take a little longer.

The Camera
Samsung introduces its new ISOCELL
image sensor technology in the S5 in
order to address challenges common
to small sensor, small pixel cameras
like the those found in smartphones.
The unique design is said to reduce
electrical crosstalk between pixels, re-
sulting in sharper images and greater
color accuracy. From our viewpoint, it
seems to work just ne.
329 C5 Samsung Galaxy S5.indd 18 8/20/2014 10:20:45 AM

19
TECH SPECS
OS: Android 4.4 KitKat
CPU: 2.5GHz Quad-Core
Display: 5.1 inch, Super AMOLED
touchscreen; 1080 x 1920 pixels
Front Camera: CMOS, 2MP
Rear Camera: CMOS, 16MP
Recording Resolution: (4:3) 640 x
480 (VGA); (16:9) 1280 x 720 (HD),
1920 x 1080 (Full HD), 3840 x 2160
(UHD 4K); at 30fps
Video Playing Format: FLV, M4V,
MKV, WEBM, WMV, 3G2, 3GP, ASF, AVI
Audio Playing Format: 3GA, AWB,
FLAC, MID, MXMF, OGA, OTA, RTX,
RTTTL, XMF, AAC, AMR, IMY, M4A, MIDI,
MP3, OGG, WAV, WMA
Internal Memory: 2GB RAM, 16GB
ROM
External Memory: up to 128GB
microSD card (optional)
Battery: 2800 mAh; removable
Connectivity: Wi-Fi (802.11 a/b/g/n/
ac 2.4G+5GHz); USB 3.0; Bluetooth 4.0
Sensors: Gesture, Fingerprint, HR, Hall,
Accelerometer, Geomagnetic, Gyro,
Light, Barometer, Proximity
Weight: 5.11 ounces
Dimensions: 5.59" x 2.85" x 0.31"
SUMMARY
In a world filled with a multitude of
smartphones, the Galaxy S5 offers
more usable features than most.
trainer.
range; textures and ne details are
captured with great clarity. Rolling
shutter issues appear to be almost
non-existent and low light shooting
results are pretty impressive with
very little grain, even in very low light
situations. If youre a golfer and want
to record your swing in slow mo-
tion for later analysis the S5 has you
covered with three slow-mo settings:
half speed, quarter speed and eighth
speed. In each case motion is smooth
and uid although there does seem to
be a slight increase in video noise in
lower light scenarios. Conversely, you
can also shoot in fast motion at two,
four and even eight times normal
speed. Again, motion is smooth and
uid but without any apparent degra-
dation in quality.
A couple of nifty features are the
Live HDR (High Dynamic Range)
and Selective Focus. Dynamic range
is a measurement of the difference
between the brightest parts of an
image as compared to the darkest.
HDR mode captures several different
exposures then blends them together
to give you the most natural appearing
image possible at least its sup-
posed to. Thanks to the S5s robust
Snapdragon 801 processing, Live HDR
allows you to see the effect on the dis-
play BEFORE committing to the shot.

Conclusion
We really do live in a highly com-
petitive world of smartphone photo
and video content creation. If the
device you reach for the next time
happens to be the Samsung Galaxy
S5, we predict that you will not be
disappointed.
Samsung Galaxy S5
REVIEWS
and spot Metering Modes, an Expo-
sure Value slider and White Balance
options of Auto, Daylight, Cloudy, In-
candescent and Fluorescent. A handy,
customizable sidebar allows you to
add up to three of your most used
functions for quick access without
having to go into Settings each time.
Still pictures may be snapped at res-
olutions up to 16MP with stunning re-
sults. Colors pop, contrast is high and
edges are crisp. Photo editing options
are available, such as the ability to ro-
tate, crop or resize; adjust contrast and
saturation, alter individual red, green
or blue channel levels, apply effects
like sepia, vignette or light ares. You
can remove red eye, brighten the face
and even add stickers or text. Video
editing, however, is limited to a simple
trimming function.
Video resolution options range
from VGA (640 x 480) through HD
and Full HD, up to Ultra HD (4K) at
3840x2160! Shooting in 4K is a great
idea and produces fabulous results. In
reality though, it isnt terribly practi-
cal due to the ve minute shooting
maximum, resulting in a clip that
consumes 1.68GB of space. Our
phone came with the currently avail-
able 16GB of internal memory (32GB
available at a future date). A sizeable
portion of this was already taken up
by the operating system and apps
leaving 10.5GB of free storage. A little
math reveals that this only leaves
room for approximately six of these
ve minute clips. With well planned
shots and frequent ofoads one could
shoot a commercial or short lm
in 4K but forget about weddings or
other events requiring longer shots.
In 1080p shot lengths extend to just
over thirty three minutes at 3.99GB
per clip. Fortunately, the S5 features
a microSD slot stacked over the SIM
port under the rear cover for up to
128GB of additional storage space,
although the ve minute 4K limit will
still be problematic in many shooting
situations.
In all cases, colors are beauti-
fully reproduced with good dynamic
Once in the camera app, the Mode
button offers up several shooting
mode options such as Panorama,
Virtual Tour and Dual Camera, with
the ability to download more from
Samsung Updates. A host of effects
are also available such as Vignette,
Sepia and Fisheye with the option
to download more.
For a more control, click the Set-
tings (gear) icon to pull up a neatly
arranged grid of options. Here you'll
nd manual controls such as ISO,
with setting options of Auto, 100, 200,
400 and 800; center-weighted, matrix
329 C5 Samsung Galaxy S5.indd 19 8/20/2014 10:20:52 AM
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20
REVIEWS
Pro Appeal
Sony
Vegas Pro 13
Professional
Editing
Software
Sony Creative Software, Inc.
www.sonycreativesoftware.com
STRENGTHS
Professional features
Collaborative app
Useful plugins
WEAKNESSES
Few enhancements over version 12.
A
wide array of video editing
software programs dot the post-
production landscape these days.
They may be simple, inexpensive
programs that allow you to toss in
a few assets, shake vigorously and
hopefully give you results youre
happy with. Or they may be very so-
phisticated and powerful with steep
learning curves and a price tag to
match. One thing Sony Creative Soft-
ware has managed to do quite well
with their Vegas Pro editor is balance
a powerful feature set with a begin-
ner-friendly interface and workow,
and a wallet-friendly price.

The Basics
Sony Vegas Pro 13 is a timeline-based
editor that is fairly easy to learn and
use. If you are already familiar with
version 12 you will nd that little
has changed, except for the addition
of a few new pro features, which
well cover later. Some of the func-
tions formerly located on an upper
toolbar have been moved beneath
the Timeline, bringing oft used tools
a little closer to the action. Five new
edit tools are accessible from this
new toolbar: Shufe, Slip, Slide,
Time Stretch/Compress and Split
Trim. These functions were previ-
ously available via the keyboard but
may now be accessed using click-
able icons. A few improvements have
also been made to project archiving
wherein all the media les related to
a project are saved into one location,
included nested timelines.

Pro Stuff
The real differences lie in the profes-
sional features that have been added
to this new version. Remember the
good ol days of having to jockey
the volume buttons on the remote
control because the commercials
would come on and blast you out of
the room? Well, when an overly loud
commercial interrupted a certain
congresswomans family dinner
a few years back, the result was a
broadly accepted piece of legislation
that became known as the Commer-
cial Advertisement Loudness Mitiga-
tion (CALM) Act. Television broad-
casters are now required to meet
certain specic audio guidelines in
their broadcasting or face penalties.
To facilitate compliance with the
CALM Act Vegas Pro 13 has intro-
duced Loudness Meters. Loudness
Meters will be a valuable addition
Vegas Pro 13 (tested):
Purchase $599.95; Upgrade $249.95
Vegas Pro 13 Edit:
Vegas Pro 13 Suite:
Trial versions available
Audio levels
329 C5 Sony Vegas Pro 13.indd 20 8/15/2014 10:38:37 AM

21
TECH SPECS
Operating System: Windows 7, 8 or
8.1 (64-bit)
Minimum CPU: 2GHz (multicore or
multiprocessor CPU recommended for
HD or stereoscopic 3D; 8 cores recom-
mended for 4K)
Minimum RAM: 4GB (8GB recom-
mended; 16GB recommended for 4K)
Minimum Hard Drive: 1GB required
for program installation
Graphics Card: GPU-acceleration
requires OpenCL supported NVIDIA,
AMD/ATI or Intel GPU with 512MB mem-
ory; 1GB for 4K
SUMMARY
Boasting several new professional-
level features and a trio of new plug-
ins, Vegas Pro 13 has a lot to offer.
Vegas Pro 12 users, however, may
not find enough new features to jus-
tify an upgrade.
trainer.
Sony Vegas Pro 13
REVIEWS
they can then comment on in the
same way, then later sync their proxy
versions back to the master project. To
more easily facilitate the process the
app also turns the iPad into a gesture-
activated control pad.
Finally, Vegas Pro 13 includes
seven really cool Hitlm effects from
FXHOME such as Bleach Bypass, Light
Flares, TV Damage, Witness Protec-
tion, and a bunch of goodies from
New Blue Fx including Chroma Key
Pro, Garbage Matte, Picture in Shape
and Saturation EQ. It also includes
iZotope Nectar Elements; a mastering
tool for your audio crammed full of
presets for sweetening and creating
special effects.

The Verdict
Sony Vegas Pro 13 is a powerful,
affordable editing program. If you
dont already have an editor or are
currently using a less sophisticated
program and would like to up your
game, you can download the trial
and take it for a spin. If youre a
non-professional user and are al-
ready using Vegas Pro 12, then you
may want to wait for the next update
to come around. Except for the new
pro features in version 13, not a lot
has changed. If, on the other hand
you are a professional user then
check out the pro features and see
what you think.
for those working in the broadcast
market. The average levels of your
audio are measured according to the
legislated standard so you can easily
conform it to the allowed range of
loudness units prior to broadcast,
saving the broadcaster from costly
nes and yourself from an embar-
rassing re-do.
Also great for the broadcast mar-
ket, Vegas 13s Proxy-First workow
can offer some real time saving ben-
ets. If youre shooting with the right
camera (XDCAM footage), and have
a Sony Wireless Adapter, you can
record hi-res les to the in-camera
media then wirelessly send lo-res
proxies back to your editor, who can
download and edit them, while you
hightail it back to the station. When
you get there, the edited proxy ver-
sion can be re-linked to the hi-res
les and rendered out just in time for
the evening news.
Vegas Pro Connect is an app that
allows multiple iPad users to collabo-
rate with one another as they review a
project, placing notes and markers di-
rectly into the timeline. Ofine mode
lets them download proxies which
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ART DIRECTOR: Ian Liu COPYWRITER: None
CAN YOU SPOT THE
COUNTERFEIT CHARGER?
E
x
t
e
n
d
a
r
t
S:2.125
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:9
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T:2.375
T
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22
REVIEWS
b y Pa u l Hi l d e b r a n d t
$479
Innovative & Portable
Camera Slider
Aviator Rocket
Travel Slider
Aviator Camera Gear
www.aviatorcameragear.com
STRENGTHS
Highly adaptable with affordable
conduit pipe
Portable
High-quality construction
WEAKNESSES
Must have two tripods or light stands
to mount off ground
Unstable center of gravity for top mount
T
he Aviator Rocket Travel Slider
is an innovative camera support
system which was created through a
Kickstarter campaign in May 2013,
as one of many projects created by
users for users, we were anxious to
try it out.
With the base kit you receive the
Rocket slider carriage, two ends with
fold out feet, a carry bag, and a selec-
tion of hardware. You can also opt to
purchase the Aviator Hi-Hat, for easy
use with a ball mount tripod head.
Now you might be wondering why
it doesnt come with any rails; thats
actually one of the best features about
this kit and well get to that later.
At rst impression its easy to feel the
high quality of the kit. The included
case is semi-hard, custom molded to t
the Aviator Slider, and works well when
transporting the slider. The slider and
hardware are constructed of a mixture
of different high grade plastics and
metal which contribute to the smooth
operation of this unit, the metal is also
anodized in a beautiful red nish. Its
easy to assemble and requires no ad-
ditional tools other than the included
allen wrenches which are used for
nite adjustment of the wheels.
The centerpiece of the kit is the
central carriage unit, which you attach
a at base tripod to, or use the Avia-
tor Hi-Hat. A rubber ring is attached
around the tripod screw to ensure a
tight t between your camera and the
carriage. This unit also has a ball level
so you can achieve proper orienta-
tion for your camera. The carriage
has four custom made wheels which
roll smoothly and are grooved to t
1-inch EMT conduit pipe. The carriage
is made of aluminum and has six
threaded accessory mounts for attach-
ing additional hardware.
So how about those rails? The Aviator
Travel Slider is designed as a modular
system, which means you can either
purchase the Aviator Carbon Travel
Tracks, or you can purchase up to 10
feet of 1-inch metal EMT conduit pipe
from your local hardware store. This
modular design allows you to change
the length of your slider very afford-
ably. It also means you can pack up
your slider in the compact case, take
it on the plane with you and then
purchase low-cost EMT pipe at your
Rocket Slider with 5' pipe
Rails not included
329 C5 Aviator Rocket Camera Slider.indd 22 8/20/2014 10:19:39 AM

23
TECH SPECS
Material: Anodized metal & plastic
Load Capacity: 45lb. (20.4kg)
Attachment: 3/8"-16 and 1/4"-20
mounts
Case Size: 16" x 9.5" x 2.5" (40.6cm
x 24.1cm x 6.4cm)
Levelling Bubble: Yes
SUMMARY
The Aviator Rocket Slider is a high-
quality, professional and innovative
camera slider system that allows you
to use various lengths of available
conduit pipe to change the length of
your slider rails and remain mobile.
Paul Hildebrandt is a documentary, wedding, and narra-
tive filmmaker fromChico, CA.
Aviator Rocket Travel Slider
REVIEWS
facing the oor, this way the camera
and tripod go through the rails, allow-
ing the weight of the camera to hold the
carriage onto the rails. This produced
even better results and allows camera
moves typically not seen with tradi-
tional sliders and dolly systems. Note
that in order to achieve this you must
have each end of the slider attached to a
tripod or light stand, and that this slider
cannot be mounted on a single tripod.
Even with this limitation, the Rocket
Travel Slider gives you the functionality
of a traditional dolly plus the compact
size of a smaller camera slider.
If your subject is lying on the ground,
the Rocket Travel Slider is a perfect solu-
tion for shooting overhead and is great
for shooting products. The extended
length would produce impressive results
if combined with a motor assembly for
time-lapses.
Overall, the Aviator Rocket Travel
Slider is well-built and can serve a
number of various needs at your next
lm shoot.
nal destination, making this far more
compact than traditional sliders for air
travel situations in which you dont
want to check a lot of extra baggage.
PVC pipe would technically work, but
the weight of the camera bows the pipe
and it's not as effective.
We purchased a 10-foot conduit pipe
and cut it half to produce two 5-foot
sections. Each pipe secures to the feet
of the Travel Slider with the plastic set
screw handles and the carriage then
sits on the pipe. The construction-
grade pipe rolls quite smoothly and the
creative opportunities for such a long
slider are endless. The end pieces each
have two fold out feet which lock down
with rosettes, securely holding them
into place. Each foot also has rubberized
pads so they will grip more securely on
a smooth surface, and minimize dam-
age to soft oors such as wood.
We attached an EOS 5D Mark II and
Manfrotto 501 tripod head to the slider
and tested out some moves with the
slider on the ground. The carriage rolls
very smoothly and produces excellent
results. When the carriage is mounted
on the top of the rails however, it is
largely impractical to tilt the camera
upwards as the center of gravity is
thrown off too far, causing one side to
come off the rails. Using this slider in
the upward position is best suited for
shooting objects at around the same
level as the slider. Perhaps in the next
model this slider could include a second
set of wheels on the bottom to help with
balance. We ipped the carriage upside
down so that the camera mount was
Top-only wheels
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DATE:
THI S ADVERTI SEMENT PREPARED BY GREY WORLDWIDE
CLIENT: Canon USA Inc SIZE, SPACE: 2.375 x 10.5, 4C
PRODUCT: Anti-Counterfeit PUBS: Magazine
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ART DIRECTOR: Ian Liu COPYWRITER: None
HOW ABOUT NOW?
GE NUI NE
Built with heat management
technologies for your safety.
COUNT ERF EI T
Built with no regard
for your safety.
Counterfeits are harder to spot
than you think. And more
destructive than you think.
Take the quiz and see if
you can spot the fake at
usa.canon.com/SpotTheFake
2014 Canon U.S.A., Inc. Canon is a registered
trademark of Canon Inc. in the United States.
S:2.125
S
:9
.7
5
T:2.375
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:1
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.5
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:1
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Rails not included
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24
Getting
Started
with
Prosthetics
Weve all seen the
extravagant monsters in
the movies. The techniques
used to create these iconic
images seem like an art form
beyond the reach of most
who dabble in entertainment.
The truth however, is that
a basic understanding of
materials and concepts is all
thats needed to get started
in making your own imagined
creatures come to life.
BY PETER ZUNITCH
Y
ou can dress up in the most extravagant
costume, and paint the most intense
makeup over your entire body, but noth-
ing screams different louder than physically dis-
guising your bodily structure. Youre not a beast
until you have an extended forehead. Youre not
a demon until you have horns. Youre not a mu-
tant unless you have those little spikey things in
a pattern down your back. In the entertainment
industry, these are accomplished with what is
known as special effects prosthetics.
Such radical changes should not be taken
lightly. A good actor and director know how to
make a successful monster without altering ap-
pearance. Rather, prosthetics are best used for
impact or to represent deviation from the norm
or a change that has taken place. Like any other
prop, they should accentuate the character and
help explain its personality, not stand in for it.
Good prosthetics will still allow for emotion
to show through and will remain solid and con-
sistent throughout the performance. The most
329 f12 Getting Started With Prosthetics.indd 24 8/15/2014 3:39:49 PM
25
basic of applications can be used to simply
hide effects mechanisms, like blood tubes and
incoming bullet hits. The most complex will
render the actor completely unrecognizable as
a human. Regardless of level, the best appli-
ances will help tell the story of the character
in such a way that the viewer will understand
the character simply looking at them. Such an
effect doesnt come easily though. Prosthetics
are tough to master. People work for years to
perfect the art and many never achieve a level
they and their viewers are truly happy with.
That said, getting started is actually easier than
you probably think.
There are three types of appliances. The rst
is pre-made, which are preformed shapes that
come ready-to-apply right out of the package.
Alternatively you can make your own, for more
customization and variety. However, for a perfect
t, youll want to construct your appliances via a
lifecast, in which an impression of your model is
taken and a truly custom t appliance is con-
structed. The appliance you should use depends
on the situation in which they will be used and
the detail at which they will be presented.
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26
Bald Cap Imagine a thin skin-like shower
cap that is glued to the head over the hair to
conceal it or protect it. The bald cap is another
item that is harder to nd outside of Halloween,
but youre likely to spot it in your local party or
novelty joke shop and theyre not too tough to
nd online.
Spirit Gum (Pros-Aide) Specially formulated
glue that is applied to the skin and holds down
appliances like nobodys business. Medical
supply stores may have an equivalent medical-
use adhesive. This substance is also used to
coat prosthetics to remove stickiness or to
provide a proper surface on which makeup can
be applied.
Modeling Clay An oil-based plasticine clay that
can be sculpted into the shapes of your prosthet-
ics. From these negative molds are made, which
can then be lled with Latex, silicone or the like
to make your nal prosthetics. Find it in any local
crafts store.
Alginate A plant-based powder that when
mixed with water can be used to safely take
impressions of body parts or objects. Thin lay-
ers can also be used as a separating agent when
making molds. This can sometimes be found in
medical supply stores, but most likely youll have
to have it shipped. Casting gel is a product that
is similar to alginate but with slightly different
properties found in craft stores.
Gypsum Cement Harder than Plaster of Paris
when dry, this substance is too heavy to form
an appliance itself and is never used directly on
the skin. Rather it is used to form a hard shell
for your mold inside which prosthetics can be
shaped. The most popular type in the lm indus-
try is Ultracal 30. Small batches of hydrocal can
rarely be found in art stores and mixtures used
for other purposes (though still decent for molds)
can be found in home improvement stores.
Plaster Bandages A burlap-like fabric soaked in
plaster powder. When wet and applied in conjunc-
tion with the gypsum cement, they will dry and
harden to form an outer shell around the cast.
Likewise it can be applied to alginate without the
hydrocal (using cotton or some other stringy mate-
rial as a joining element) to form a thinner, lighter
mold of its own. It can be easily found in medical
supply stores, or you can create your own by using
actual burlap fabric over the regular plaster.

The Basic Materials
It might surprise you to learn that most of the
materials used, or their equivalents can be
found in arts and crafts, hardware and medical
supply stores. Below are some of the more com-
mon items.
Liquid Latex Clear or tan colored liquid that
can be applied in layers, built up and formed
into skin-like textures. This and its foam coun-
terpart will most likely be the hardest items to
acquire. Typically, you can only nd it locally
in small amounts at party supply stores during
the Halloween season. Short of that, its best to
nd a theatrical makeup supply store and have
it shipped to you.
Foam Latex This mixture expands as it dries
to form a tight sponge-like substance that will
hold shapes when hardened yet be exible
enough to allow movement. Foam tubing and
Paper Mache can be found locally and can
sometimes be used just as effectively.
Silicone Similar to liquid latex, only with
more of a shiny texture and less tackiness when
dry. This substance can set quite fast and be
tricky to manipulate accurately, even for experi-
enced users.
What looks like something to be locked behind glass in a phar-
macists ofce is actually the foundation of a good prosthetics
kit: liquid latex, cold foam, spirit gum, silicone and gel foam.
Your data is the most critical
part of your professional life.
Our mission is to support
your workows with quality
products backed by an
industry-leading warranty.
For over 20 years Glyph storage solutions have been
designed for content creation workows needing speed and
capacity. The all-new Studio family is equipped with rugged
all-metal enclosures, pro-grade internal power supplies, disk
health monitoring, and intelligent cooling systems.
Every Studio series hard drive is backed by Glyphs
outrageous, industry-leading warranty and a team of tech
support professionals who know and understand your
production environments.
The original drive for professional content creators.
3 YEAR HARDWARE WARRANTY 2 YEAR LEVEL I DATA RECOVERY 1 YEAR OVERNIGHT ADVANCE REPLACEMENT
27
Separating Agent A slippery seal-
ant (like oil or Vaseline) used to coat
the inside of a mold before the latex
or silicone is added. If no separating
agent is used, the prosthetic will likely
fuse to the mold as it hardens, making
removal all but impossible.
Makeup Removal Compound Makes
removal and cleanup easier and
less painful for the talent and helps
remove prosthetics while minimizing
damage. Any makeup supply store
should have good removal and cleans-
ing agents.

Application Tips and Pitfalls
Lets say you have a prosthetic youd
like to apply. Hows it done? Assuming
youve already laid out your overall de-
sign, youll need to consider where to
place everything and if there is overlap,
which should go on top of the other.
Your appliances should generally con-
form to anatomy, either of a person, or
the creature youre trying to emulate.
The less you conform, the less people
will be able to understand it. The audi-
ence needs recognizable elements in
order to dene what youre trying to
convey. Unfortunately the human body
doesnt always lend itself to your de-
sign. Hair for example, is often a major
obstacle to be overcome.
Well start with pre-made appli-
ances. These are the simplest to use,
but they offer the least amount of
customization. Use these when you
dont have a lot of time to invest, but
be aware the one size ts all nature
of these items can lead to design
limitations and ill-tting applications.
Dont be afraid to use pre-made ap-
pliances in ways they are not meant
to be used. Lets say you have a pair
of pre-made horns. Instead of using
them on the head, use them as tusks
or shoulder spikes instead.
If you do place them on top of the
head, youre going to have to deal
with your subjects thick head of hair.
You could ask them to shave it all off,
but dont expect a positive response.
In this case were going to apply a
bald cap over the hair that will also
serve as a new foundation for appli-
ances. Flatten the hair as much as
possible with a strong hair gel. Place
the cap over your subject. Long hair
can be at braided and fed down the
back of the cap and tucked inside the
wearers costume. You may have to
shape around the ears, but keep at
least a quarter-inch border to cover
side burns and hairlines. (Figure 1)
Mark trim lines with a wax or grease
pencil and trim smooth edges. Leave
the back as long as possible as you
can tuck it inside the wardrobe.
Your data is the most critical
part of your professional life.
Our mission is to support
your workows with quality
products backed by an
industry-leading warranty.
For over 20 years Glyph storage solutions have been
designed for content creation workows needing speed and
capacity. The all-new Studio family is equipped with rugged
all-metal enclosures, pro-grade internal power supplies, disk
health monitoring, and intelligent cooling systems.
Every Studio series hard drive is backed by Glyphs
outrageous, industry-leading warranty and a team of tech
support professionals who know and understand your
production environments.
The original drive for professional content creators.
3 YEAR HARDWARE WARRANTY 2 YEAR LEVEL I DATA RECOVERY 1 YEAR OVERNIGHT ADVANCE REPLACEMENT
page 26 page 27
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28
Apply a small line of spirit gum to the inside
edge of the mask along the forehead (Figure
2). In most appliances you need only apply the
glue to the prosthetic, but since this is the most
important seam, and will suffer a good deal of
strain, you might want to apply some to both
surfaces. This, however, could make removal
more difcult, and provides an increased risk
of lumps, so minimize this practice as much as
possible. When the glue is very tacky, smoothly
lay the seam back down onto the skin and hold
lightly until it sets. Continue to glue down the
sides and around the ears. Stop at the top just as
you start to go down the back of the ear.
Have your subject tilt their chin up slightly now
and tape or glue down the back of the bald cap to
the base of the neck (Figure 3). When they return
to a normal posture, the cap should be without
tension, yet taught and without wrinkles. At this
point, nish gluing down the remaining edges
from the top of the ear down the neck. Learning
how to avoid bunching, folds and loose edges will
mean the difference between a successful appli-
ance and a sad one. Always glue from one loca-
tion outward. You never want to start at the sides
and work to a central point. If you need to glue
down directly over thick hair, like eyebrows or
sideburns, then be sure to coat them in Vaseline
so they dont pull the hair out upon removal.
A light brushing of spirit gum or latex over the
cap will provide a base suitable for makeup and
other attachments. You can now glue the horns
anywhere on the head or cap. Whenever possible,
keep seam lines to shadows and undercuts, or
CONSIDER YOUR OPTIONS
Prosthetics must work well with the situation at hand. If youre just
making a Halloween costume, you can get away with a bit more than
you can if youre creating a creature for a movie. There are many con-
siderations when designing a makeup application. Will the makeup
be seen close up or from far away? Will the talent be required to
act through the makeup and to what extent? What will the light-
ing and costuming look like? Will the genre be silly or serious? If the
appliance is required over many days can you recreate it with speed
and accuracy? What will the lighting be like? Will your creation hold
up to action or getting wet?
Perhaps you can get away with a rubber mask instead of a full pros-
thetic appliance makeup instead of a mask or a costume to sug-
gest a creature instead of building one. Knowing how you are going
to present your creation to the world will help you make smart deci-
sions in designing and fabricating your prosthetics. Finally, remember
to take photographs of your finished product for consistency should
you ever need to recreate it, or for inspiration on your next makeup.
Figure 1
Figure 2
Figure 3
Figure 4
Voila!
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at least away from the direct camera
sight. Smooth transition lines as neces-
sary with latex or morticians wax
using a makeup sponge. You can also
hide edges with hair or makeup (Figure
4). Finally, keep in mind the textures of
your appliances. Horns shouldnt op
when the character moves. On the oth-
er hand, making them too heavy can
make them uncomfortable or cause
them to fall off. Packing hollow appli-
ances with light foam or even cotton is,
in most cases, all thats necessary.
If youre going to conceal blood
tubes, lights, or other effects under
your appliances, run them rst. Follow
the same seam lines and run them to
hidden access points under cloth-
ing or hair. Be sure not to pinch your
tubes when you apply the makeup.
Applying makeup effectively is an
art all its own and requires as much
practice as prosthetics themselves.
Stippling with sponges, drawing with
brushes and even airbrushing are
all techniques to experiment
with and develop over time.
As a beginner, try your best
to follow this rule: blending is
important to the overall look
and accentuating the transition
from light to dark will help dene
your shapes.

Making Your Own
To reiterate, the key points of a good
prosthetic are smooth and even appli-
cations, small and hidden seam lines
and well blended concealing makeup
that denes the form of the anatomy.
Achieving this is a little trickier with
premade effects, which are by ne-
cessity one size ts all and may not
be exactly what youre looking for.
Fabricating your own appliances out of
latex, light foam or even paper mache
allows you to better t your pieces into
the exact places theyre supposed to
The wound above is made of a skin-
like material called Gelax.
go and creates the exact structure you
desire. Such fabrication is yet another
art form and will require a good deal
of renement. In the end though,
things may not be perfect enough to
allow your talent to emote through the
makeup. For this you need to conform
even closer to your talents anatomy.
For a truly perfect t, you will need a
lifecast. This means you have a perfect
statue in essence of your subject and
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FullPageAD_NEWTemplate.indd 48 8/13/2014 10:02:06 AM 329 f12 Getting Started With Prosthetics.indd 29 8/15/2014 3:40:42 PM
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30
Peter Zunitch is an award-winning video editor based
in NewYork
can work in ne detail to create pieces
that exactly match the application site
of your talent on one side, and create
the new textures and shapes on the
other. This is an advanced technique
and should be eased into only after the
basics have been learned.
To that end, wed be remiss in our
discussion if we didnt talk about
how this is done. There are different
methods to lifecasting, so for now
well touch on one of the easier ones
to try rst. In your local craft store,
youll nd the sculpting and mod-
elling section. There you can nd
modeling gel. Detailed instructions
are on the packaging, but essentially,
youre going to create a quick setting
liquid that will form a rm gel when
its ready. If you placed your hands
inside a bucket of this liquid as it
hardened and remained very still,
you would be able to remove your
hands to reveal a negative mold of
the anatomy. The biggest issues to
avoid at this stage are moving around
too much which will destroy the
impression and creating under-
cuts where the hollow space
bends back up upon itself creating
inevitable air pockets in the cast and
may even prevent extraction from the
mold without destroying it. Making
sts is okay, as is keeping your n-
gers mostly straight, but curling your
ngers under will cause the cast to
fail as the ll material will not be able
to reach and settle in all areas evenly.
Since this mold is disposable, we
can proceed to pour a plaster mix into
the cavity. Pour a little bit at rst and
roll it around to make sure all sides in
are covered. Proceed to ll up the rest
of the impression being sure to tilt the
mold to free tight areas of air pockets.
Once the mold is full of plaster set it
aside to dry. Be aware that the tempera-
ture of the water you use plays a big
role in how many of these products re-
act. A few degrees difference can mean
the difference between a mold taking
too long and one that sets up too fast
to be usable. When the plaster has at
last hardened and cooled, remove the
gel and touch up any imperfections in
the cast. You now have an essentially
accurate sculpt of your hands.
To create your prosthetic, apply plas-
ticine (non-air drying) clay to the sculp-
ture. You can now sculpt shapes that
will perfectly conform to your hands.
Once your creation has been designed
make another impression of the outside
of the clay using the same plaster cast-
ing method described above. Youll have
to build in dividers using thin tin ash-
ing playing cards, or whatever works so
you can separate your mold, otherwise
youll have to break the plaster to get
your prosthetic out. When hardened,
SAFETY CONSIDERATIONS
Now that weve wet your appetite wed
hate to scare you off, but like those
annoying pharmaceutical commercials,
wed be remiss if we didnt at least
mention the potential complications
involved with prosthetics and special
effects makeup. These rarely pop up,
but they do from time to time. You
should always be conscious of safety
considerations, and be prepared to
take precautions against any issues
that may come to pass.
People can be allergic to the chemi-
cals and compounds used in special
effects makeup and prosthetics. Test
for reactions on small areas before
doing any application. Take steps to
avoid large amounts of hair being pulled
out and keep chemicals like spirit gum
out of the eyes at all costs. Some people
find prosthetics itchy and uncomfortable
or even claustrophobic. They may make
skin feel dry and sensitive for a few days
after removal. Makeup and compounds
can stain and be hard to remove. Strong
scrubbing will likely be needed. Read
instructions carefully and be aware of
potential increased risk of flammability.
Always be aware of your subjects safety,
especially when cutting, applying and
painting appliances. Dont forget that
some applications may lead to impaired
mobility or restricted line of sight, so your
subject may have a hard time getting
around obstacles.
Lighter considerations such as wasting
time and money on an unsuccessful
mold, or the incredible mess that cast-
ing can create are less severe, but
more prevalent. There is a moderate
initial investment that is required as
well, and youll probably have a good
deal of waste at the end. Reusability of
anything is not guaranteed and some
steps just cannot be rushed. Practice
not only makes perfect, but it will help
you avoid or overcome all of these
issues and result in safe, efficient and
awe inspiring makeups.
separate the molds and clean out the
clay. Paint in your separating agent with
a brush being sure to get all the nooks
edges and corners. Reassemble the two
molds together and pour latex, foam or
silicone into the cavity where the clay
used to be. If you make the mold strong
enough and separate carefully you
should get more than a few uses out of
the same cast.
Creating, applying and conceal-
ing prosthetics is an art form that
will take quite a long time to develop
and rene, but dont be afraid to try
it. Getting started is easier than you
think, and most materials are as close
as your nearest hobby shop, craft
store and home improvement outlet.
Overall success will depend on your
knowledge of the materials, your
creativity and your ability to remem-
ber the golden rule of special effects:
they look best when they dont call
attention to themselves; rather they
t seamlessly into your creation as a
whole. You can develop the skills to
create the character you envision in
every way. Dont be afraid to take the
necessary rst step. Experiment, cre-
ate, amaze and enjoy!
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Blood-Squirt
Device
34
The practical effect of blood
being sprayed can be done
using a mechanism that will
spray out liquid on-command.
BY MARSHAL M. ROSENTHAL
H
orror movies overemphasize
everything, including blood
spraying from someone who
has just been cut by a deranged, masked
killer. Independent and low-budget lm
productions dont have access to all of the
technologies used in high-end produc-
tions, like super high-resolution cameras,
but there is technology thats the same for
every production: devices that perform a
task on-camera must be rst assembled
and then used live.
One of the most frightening of all the
practical effects is where blood sprays out
from a person caused by someone be-
ing stabbed, shot, decapitated or impaled.
Regardless of whats causing the wound,
the result is that blood sprays everywhere
sometimes as a dribble and sometimes
as a river. This is accomplished by mak-
ing a blood squirt device.
There are three parts to making a
blood-squirt device. The rst part is the
blood; the second is the bladder, or the
device that the blood resides in until its
How to
Build a
329 F12 How to Make a Blood-Squirt Device.indd 34 8/15/2014 10:35:09 AM
35
show time; and the third part is the mechanism
that propels the blood. Simplicity requires that
when the mechanism is activated, the person
who the blood is going to spray from can control
it him or herself as well as from off-camera. Ad-
ditionally, the mechanism should be such that
it can be used repeatedly and does not have any
contents which can fail, such as an explosive
charge that fails to detonate, ruining the shot.
A blood-squirt device that relies on air pressure
to propel the blood fullls these needs and also
makes for an inexpensive device.
The blood-squirt device, at its core, is similar
to that of the classic smell the ower on my
lapel and get a spray of water gag that was a
mainstay of the 1920s jokester. All thats needed
is tubing, which can be surgical or plastic tubing
acquired from a surgical supply house. The main
necessity is for it to be exible, although it also
needs to be thin in most cases (except as where
a huge amount of blood is to be dispensed). The
length will be based on both where its to be
positioned on the actors body, along with where
the trigger will be. For example, if the actor is to
Photos from left to right
show the syringe and tub-
ing needed, the syringe
and tubing with the fake
blood, and then surgically
taped on. Next, throw the
shirt over, smash down on
the plunger, and let that
blood y.
How to Build a Blood-Squirt Device
initiate the blood, it needs to be long enough to
reach his or her waist and extend a little past
that. If the trigger is to be done by someone off
camera instead of the actor, the length might be
slightly longer.
The device that will hold the blood and
provide the air pressure to push it through the
tubing is a common syringe. The size of the
syringe again is dictated by how much blood
will be dispensed, along with the physical size
of its tip and the tubing, as these two must be
mated together. There are different sizes of
syringes, so it is necessary to view the choices
in order to select the one most suitable. The
tubing can also be larger than just one that ts
over the tip of the syringe. For example, ap-
plying momentary heat to the tip of the tubing
can cement it in position over the end of the
syringe. Alternatively, a drop of super glue will
accomplish this as well.
The nal step is to make the blood. This
must not be so vicious as to impede its owing
freely more like water rather than molas-
ses. The ingredients should be intense in color
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36
surgical supply store, a drugstore and
grocery store. The following how-to
has the blood coming out from the
upper body, but the tubing could be
concealed in a hand for a nger being
chopped off, etc.
Supplies: Length of surgical tubing/
plastic tubing, plastic syringe, surgi-
cal tape
Construction
1) Make a small hole in the bot-
tom and front of a shirt pocket, or at
whatever area on the front of the shirt
where the blood will exit, that will be
worn by the actor.
2) Have the actor put on the shirt, but
leave it unbuttoned.
3) Run the length of tubing against
the actors chest from the waist-level
and secure it with strips of surgical
tape. Insert the end into the hole in
the shirt from the inside, taking care
that it doesnt emerge out of the shirt
or is visible. If the blood is to emerge
from the pocket, then the tubing will
run up, through the hole at the bot-
tom of the pocket and back into the
hole at the front of the pocket. Close
the shirt.
4) Insert the end of the syringe into
the dish lled with the blood. Draw
the plunger up to ll the syringe. Afx
the free end of the tubing over the end
of the syringe. Alternately, the tubing
can be placed over the syringe, with
the free end placed in the dish and the
plunger raised to ll the syringe with
the blood prior to the tubing being af-
xed to the actor.
5) Depending on the shot, either the
actor or another person can hold onto
the syringe and depress the plunger of
the blood-squirt device either slow or
fast when the time comes.
Follow these instructions and you
should have a fully-functional blood-
squirt device to help sell any gory
action or horror scene.
enough to be easily identied
since the blood is to be seen as it
exits and sprays into the air as well
as drenching the immediate area
surrounding the wound. There are a
number of recipes for making blood,
each having their advantages/disad-
vantages which relate to the shoot-
ing. For example, chocolate syrup
makes for a very bloody look, but
only if lmed in black and white.
At its core, there are a few ingre-
dients that are generally used, such
as red food coloring, corn syrup or
corn starch. But the look of all these
recipes vary, so it becomes a per-
sonal preference as to which is the
best for the particular production in
which blood is needed. Almost all
of the recipes suggest pouring out a
few drops onto a white card or pa-
per towel to see how color looks
keeping in mind the abruptness of
the spray might require the blood to
be less so its more noticeable when
it appears.
Doing a test shoot with the same
lighting that will be used will aid
in seeing how the blood looks both
in-camera as well as when viewed
in post-production. But some things
are universal such as the fact that
whoever will be making the blood
will end up getting it all over their
hands and clothes. Hands can be
washed or latex gloves worn), but
even though the ingredients are all
biodegradable, it wont hurt to wear
an old T-shirt when mixing the blood
working in a sink or on a surface
covered with paper towels.
The blood-squirt device that fol-
lows is notable for both its simplicity
of creation, low price and ease of
use. Supplies can be acquired from a
Marshal M. Rosenthal is a technology and consumer
electronics freelance writer based on the West Coast.
EXPLOSIVE
BLOOD SQUIBS
A useful method for
propelling the blood is
to make a squib this
blood-squirt device is
basically a small, plastic
bag filled with blood-like
liquid which is detonated
by an explosive charge
set off by an electrical
signal obviously the
charge is non-lethal. The
squibs main purpose is
to shoot the blood out
with great force. The
result being a splatter-
ing effect having been
derived as if from a
gunshot wound or some
other object causing a
massive trauma to the
body.
As you can imagine, mak-
ing such an explosive-
powered squib should
only be done by a trained
professional. You should
never try this at home!
This is why alternatives
have cropped up, such
as the use of a CO2
cartridge to trigger the
blood flow, or building up
air pressure inside a bal-
loon or similar object that,
when the air is released,
forces out the blood
without relying on either
explosives or a detona-
tion trigger.
CHOCOLATE SYRUP MAKES
FOR A VERY BLOODY LOOK, BUT
ONLY IN BLACK AND WHITE.
How to Build a Blood-Squirt Device
37
BY RUSS FAIRLEY
W
rinkly greenscreens
ooh! D
ead batteries
oooooh!!!!
M
ism
atched fram
e rates
O
O
O
O
O
O
H
!!!!! R
O
TO
S
C
O
P
IN
G
!!! A
A
A
A
A
A
G
H
!!!!!! N
O
!!!!! N
O
T TH
AT!!!!
I
n the world of video production, there are
some horrifying things we face regularly. Ok,
ok, its not quite that dramatic, but rotoscop-
ing has been long respected as a time-consum-
ing and difcult art form, but hated, considered
at best a necessary evil.
So what is rotoscoping?
By denition, rotoscoping is a technique where
a subject either live or animated is traced
over, frame by frame, to create a matte so that it
may be composited with a different background
or environment.
The term rotoscoping comes from the name
of a piece of equipment which could project one
frame of live action lm at a time, originally with
an easel containing frosted glass, upon which an
animator could trace the live subject as a drawing
using paper on top of the glass. The device was
called a rotoscope.
While this device was used for many years,
modern rotoscoping takes place on computers
329 F6 The Horrors of Rotoscoping.indd 37 8/18/2014 2:25:40 PM page 32 page 37
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38
tions from Betty Boop to Snow White and the
Seven Dwarves.
Over the years rotoscoping has been in con-
stant use, not only on television and in movies,
but also in music videos. Famous examples are
The Beatles Lucy in the Sky With Diamonds
video and A-Has Take on Me. The shaky lines
in Take on Me are the result of what is called
boil or jitter, which is caused when an image
isnt traced consistently from frame to frame.
The boiling in A-Has video was intentional, but
careless rotoscoping can lead to this happening
without intent.
To give an idea of the amount of work that
goes into a roto-heavy production, the Take on
Me video involved rotoscoping 3,000 frames of
live action video, and it took more than 16 weeks.
More famously, rotoscoping has been used in
all of the Star Wars movies to create their iconic
lightsabers. To create the lightsaber effect, a matte
was manually added to each frame of a stick held
by each of the actors, then a line with a colored
glow was added all done frame-by-frame.
Seems like a lot of work, but the results were
fabulous!
Sounds like fun. Why do we all hate it?
Rotoscoping has gotten a bad rap over the years,
and for some good reason. Rotoscoping is a time-
intensive process, laboring over every frame that
needs compositing. When shooting video at 24
or 30 frames per second, those frames add up in
a hurry.
For special effects, its tough to criticize the
process, but there are many occasions where
rotoscoping is necessary as a result of sloppy
production work and, ultimately, a decision to
x it in post.
Goulish Tales of Roto-horror
There are many examples of times when roto-
scoping shouldnt be necessary, or isnt properly
prepared for, but still ends up on the roto artists
desk. Some common issues come up, even in
tightly controlled studio environments.
The Errant Gesture - during a simple green
screen shoot, the talent reaches outside of the
screen coverage. Regardless of the insistence of
the Director or DP, the talent will always have a
mind of their own and may not be interested in
sticking around for multiple takes. Some talent will
choose to ignore directions such as, do not raise
your hands over your head or they will extend
beyond the top of the green screen, or, only walk
as far as the tape marks or we cant use the shot.
The errant gesture is when talent being shot
on a green screen footage allows a limb to pass
outside of the area of the screen. In these cases,
its possible to simply rotoscope out these few
pretty much exclusively now. Programs such
as Adobe After Effects, Imagineers Mocha and
Silhouette all have powerful tools to help make
the roto artists job easier. Primarily, a roto artist
will use masks to create their mattes, often us-
ing multiple masks to assemble the shape that
needs rotoscoping.
Rotoscoping? Since when?
The rotoscope was invented by Max Fleischer
around 1914, and he used it to create a three
part series called Out of the Inkwell. The
series was created specically to show off the
potential of the rotoscope.
As for talent, Max used his brother Dave to
portray the series character, Koko the Clown.
As Dave was performing as a clown on Coney
Island at the time, he was a natural t, and
inspired the look and live action movement
reference for the groundbreaking show.
Dave would perform on lm, and the ro-
toscope would project his image onto Maxs
easel, so that Max could trace his movements to
paper, one frame at a time.
In 1915, Max patented his invention, and
before long it was being put to use in produc-
The music video
for Take On Me
by A-Ha uses a
combination of
live-action video
and rotoscope
animation. The
animation ap-
pears to boil or
jitter, due to the
differences be-
tween frames.
THE HORRORS OF ROTOSCOPING
329 F6 The Horrors of Rotoscoping.indd 38 8/18/2014 2:25:53 PM
39
walking, it is common for inexperienced artists
to start at a random frame and create their matte
in one large mask selection, surrounding the
entire head and body. While this would be ne if
the person wasnt going to move, this is imprac-
tical for managing issues like when an arm or
leg passes behind another part of the body, or as
body parts bend.
While keeping the basic shape of the subject
is possible, the number of points required to
make the selection will likely vary, meaning
frames manually and add their mask to the keyed
footage.
The Sloppy Keyer - From wrinkled back-
grounds to bad lighting, there are many factors
that can mess with pulling a clean key and will
necessitate some rotoscoping.
Weve all been guilty of it at one time or
another not having the exact right tools to
pull off good green screen. Forgetting clamps to
pull a screen tight, not having sufcient light to
ensure even light across the entire screen or hav-
ing a cable run through a shot are all possibilities
when were not careful.
Regardless of which of these gaffes are made,
there is a chance that the x is to rotoscope the
footage in post.
This is with the warning that there are great
differences in the mattes generated by a keying
plug-in versus rotoscoping. The edges created
by rotoscoping are very clearly dened (though
blur can be added if appropriate), where edges
created by keying are based on which pixels t
the prole of the screen as dened in the plugin
settings. Combining the two methods is an art
form in itself.
Replacing the Inexperienced Roto Artist -
when rotoscoping something, such as a person
This sloppy
green-screen
shot, while
almost sufcient,
has edges that
are too soft to
use.
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40
pelvis. This way the shape for the calf and foot
can remain relatively constant while the joint re-
quires little change from frame to frame as well.
A good tip for creating these masks is to make
them each on their own solid layer, so that they
can be toggled on and off without affecting the
video layer.
The Director Who Doesnt Know What he
or she Wants - Sometimes a roto artist will
receive a section of footage and be asked to
remove an element say a background
from the scene. If the footage is thirty seconds
long, shot at 24 frames per second, that makes
720 frames requiring the change. In actuality,
the nal cut of the scene may only use frames
35 through 100. The solution? Demand direc-
tion of which portion of the clip requires the
rotoscoping done.
Is manual rotoscoping the only way to do it?
A recent development in the world of rotoscop-
ing is Rotobrush. Rotobrush is a tool in Adobe Af-
ter Effects (CS5 and later) which allows an artist
to make a selection (similar to the Quick Select
tool in Photoshop) and by tracking the footage
forward or back the selection will if everything
goes to plan follow the selection.
While not as foolproof as rotoscoping manu-
ally, this tool can be handy in a number of situa-
tions and save the artist scads of time.
Picture this: A client has an idea of how they
want their headshot video taken. She asks
to be shot in front of a wall in her ofce. No
problem. The video team lights her up, gets
her micd up and they shoot their video. The
Only problem? The color of the wall matches
her skin tone too closely. Or maybe it clashes
with what shes wearing. Luckily, with the back
being a nice, constant color Rotobrush can be
used to select the speaker over the course of
there will be too many points in some places and
too few in others.
The solution is to look at the body and think
of places where basic shapes can form a portion
of their outline while facilitating the type of
movement going on. Multiple masks are neces-
sary to really free up the roto job create a
shape for a knee joint, or for an ankle joint, then
create a mask for the lower leg, upper leg, feet,
hands, lower arm, upper arm, torso, head and
A Scanner Dark-
ley was most no-
table for having a
surreal anima-
tion style that
was achieved by
rotoscoping vec-
tor shapes over
the top of live-
action video.
STEPS TO A FIRST ROTOSCOPING EFFORT
When its time to get started rotoscoping, try some test runs.
Take little pieces of stock footage with a prominent subject
and work on removing the subject or background consistently.
The first step in any roto job is to assess the shot. There
are many ways to accomplish the same goal, so decide your
plan of attack.
Create a mask around the subject, or multiple masks if it is
a complex shape, such as a person. Keyframe the mask path
at the first frame of the shot.
Track the footage with Mocha, After Effects motion
tracker, or whatever tracking tool is available. Even just
keyframe the mask position in After Effects roughly over the
course of the composition to provide a starting place.
Add the tracking data to the solid layer(s) that the mask(s)
sit on. Having the subject tracked will minimize the amount
the masks will need to be adjusted in each frame.
Instead of keyframing every frame, scrub to the final frame
of the shot and adjust the mask(s) to fit the shape at the end.
Drop back to around the halfway point and look at the
mask(s). The mask will need adjusting. Adjust the mask to fit
the shape.
Continue adjusting in this manner check the mask path
at halfway points between keyframes and adjust. Repeat until
the track is accurate.
This can be a time consuming process, but the results of
rotoscoping can be fabulous. The more time and effort that
goes into a roto job, the finer the results can be. It can be a
truly rewarding process!
Uncompromised
Quality
Full Compass offers a wide range of video cameras
and accessories from leading manufacturers
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Today! Request your FREE
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41
Russ Fairley owns a Toronto-based video production company and is
the host of RFShow.TV.
For comments, email: editor@videomaker.com, use article #17164 in the
subject line.
the clip and allow a new background to be
composited into the scene.
Another fun thing to use Rotobrush for is cre-
ating perspective in a shot. Similar to cutting a
Photoshop PSD into multiple layers and spread-
ing it out in Z space in After Effects, Rotobrush
can select a subject which can be duplicated and
pulled forward in Z space. This is a quick and
easy way to create that cool 3D perspective.
How can I hate rotoscoping less?
There are lots of little things that will help
new roto artists get more comfortable with
rotoscoping. While no one tip or trick will x
every problem, there are some best practices
that will help them keep their cool over longer
projects.
1) Choose a mask color that is visible. Like,
really visible. Why struggle to see a mask path
that blends in with the subject its tracing when
you dont have to?
2) Turn off the mask mode. Set it to none,
versus add or subtract. Not doing so may
mean youll be cutting a whole in your video.
3) Practice working with the pen tool. Get
used to creating smooth bezier curves to cut
down the number of mask points necessary.
Remember when creating a smooth curve with
the handle on a bezier curve point, its possible
to adjust one side of the handle at a time.
4) Look for negative space in the image. If it
makes more sense, strip away what isnt neces-
sary instead of trying to simply select what is.
5) Break down large and complex subjects.
Turn a person into a bunch of selections which
combine to make a great matte. Single, complex
paths can be unwieldy after only a few frames.
6) Use separate layers for each mask and
label each layer clearly.
There are many more tips, and many experts
out there that can impart more knowledge about
rotoscoping. It is a set of techniques, tricks and
methodologies which has evolved over decades
to what has become modern rotoscoping.
The best tip of all is to look at how as many
people as possible handle their rotoscoping
projects and take away the practices which work
best for you.
Uncompromised
Quality
Full Compass offers a wide range of video cameras
and accessories from leading manufacturers
Call a
Sales Pro
Today! Request your FREE
540-page catalog
Follow Us
Call 800-356-5844
or shop fullcompass.com
Leading The Industry For Over 35 Years
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BASIC TRAINING
42
editing suite, thats not a problem.
But if you have a Nikon and a Canon
DSLR, you cant swap the lenses out
the way as you can swap your Sony
Creative, Cyberlink, Avid and Adobe
software. That gets in the way of your
horror movies.
Camera specications are just an
agreed upon set of standards that
describe things from the diameter of
lters which will t over the lens to
the voltage requirements necessary
to power the camera, to the size and
makeup of the sensor. Cameras have
all sorts of specs, mixing and match-
ing these is one way that manufactur-
ers come out with different models
from consumer to professional.
Some specications are very im-
portant to pay attention to, like if your
camera has an XLR input, and others
The chupacabra is the most terrify-
ing monster in the history of horror
movies, ponticated Cole, raising an
index nger in the air as if to sample
the wind.
Our lm is called Blood of the
Chupacabra, added Sean.
The chupacabra wagged its tail and
licked its side.
Did you smear jelly all over this
dog? I asked.
This is, indirectly, why we called
you, said Sean, Wafes keeps eating
the makeup and we have to have this
whole horror movie done by Monday.
And none of our gear seems to work
with the other gear. He forlornly held
up a bucket of random lm and video
equipment.
Well, I said. Lets hose off the dog
and go out to the equipment rental
place and check out the tech specs on
everything.
Reading and understanding the
technical specications of your
equipment is vital to getting the right
stuff and being sure that it will work
with the rest of your gear. If you have
a Dell and an HP computer in your
Deciphering Camera Tech Specs
A list of tech-specs is one of the
first things you should look at
before making a camera purchase,
so understanding that list of jargon
is key.
b y Ky l e Ca s s i d y
like does it have a digital zoom, less
so. But the more types of specialty
videography you do like low light
or slow motion the more important
others can become.
Lens Mount
Not so very long ago, most videog-
raphers didnt have to worry about
lens mounts because camcorders
typically came with a built-in zoom
lens. But with the advent of video
capability being added to most DSLR
cameras, a wide availability of really
great lenses has opened up. But not
all lenses can be used on all camer-
as. This typically has to do with how
far behind the lens mount the image
focuses on the sensor, this distance
varies from camera manufacturer to
camera manufacturer. You can add
The lens mount
specification can
tell you if a lens
will work with your
camera. From left to
right, Sony E-mount,
Nikon F-mount,
Canon EF-mount.
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44
BASIC TRAINING OCTOBER 2014
space by way of a spacing tube, but you cant
subtract space. This means you can mount a
Nikon lens on a micro four thirds camera, but
you cant mount a micro four thirds lens to
Nikon camera.
Camera manufacturers add a lot of electronic
capabilities to their lenses, like autofocus and
auto aperture. Typically, when you mount a
lens made by one company on a body made
by another you lose all of these and youre left
with a manual focus, manual aperture lens, if
you dont have to change focus quickly, this
isnt a deal breaker. In fact, there are manual
focus lenses being made now specically for
video making, like those from SLR Magic (www.
slrmagic.com).
Lens
The two most important specications that a
camera lens has are its maximum aperture and
its focal length. The maximum aperture is the
maximum amount of light it will let in and the
focal length tells you how tight or wide your
angle of view will be when using it.
Focal length can be a bit confusing, so if
youre not 100% sure what it is and how it
works, this article explains it: www.videomaker.
com/r/772.
One thing that makes focal length a little
more complicated is that because sensor sizes
arent all uniform, the focal length of a lens
can actually give you very different angles of
view on different camera bodies. A lens thats
wide on a full frame Nikon body, is moderately
telephoto on a Panasonic micro four thirds
body, for this reason youll often hear talk of a
lenses' effective focal length, which is what
the focal length would be on a lens mounted
on a full frame 35mm camera that gave you
the same eld of view. Whats a bit confusing
there is that the focal length of a lens is always
the same, but the effective focal length can
change depending on the size of the sensor
your camera has. You may also be interested
in this article about aperture and the out of
focus areas of your video, which is more im-
portant than you may think. www.videomaker.
com/r/773.
Image Sensor
The image sensor is where it all happens its
where the lens focuses the light and it gets
converted to electronic values and turned into a
digital picture. While its easy to nd a 30-year-
old lens thats really awesome, the tech specs of
sensor technology is changing rapidly as scien-
tists can gure out how to pack more into less
space. Typically, the bigger the sensor you have
the better it is. Sensor size affects not just resolu-
tion, but the effective focal length of lenses and
low-light performance.
Sensor types are either CMOS or CCD, which
are two competing technologies that, like
everything else, each have benets and detri-
ments. Also, different sensors will use either
whats called a global shutter or rolling shut-
ter each of which has advantages and disad-
vantages. Theres more about that here: www.
videomaker.com/r/774 plus an image of a rolling
shutter in action.
Horror movies have been shot on all sorts of
equipment, from 35mm lm to iPhones. For
more on image sensors, types and sizes, check
out this article: www.videomaker.com/r/775
Sometimes a really high-end camera is useful
in ways that you might not have expected. If, for
example, youre shooting a lm in 1080p why
would you need a 4k camera?
People do have all the technology they
could ever need to make a polished lm on the
cheap, said Justin Benson, Director of the Tribe-
ca Film Festival, award-winning horror movie
Resolution, and the upcoming lms Spring and
V/H/S Viral. It is preferable to shoot 4k speci-
cally in the low budget world because the ability
to punch in and crop can save you when you
dont have the money/time for a ton of coverage.
I pull that trick quite a bit because our singles
are usually pretty dirty, with the opposite actor
very much in the foreground. Without the ability
to punch in and crop wed often be in trouble
simply due to continuity issues.
Control Rings
Touch screens allow you to have a lot of features
and customize your camera easily, but a touch
screen is rarely as convenient as a control ring
that you can turn to select aperture or focus or
zoom. If your camera has them, you may be
The Nikon D4s has
a full frame sensor;
the Canon 70D has a
smaller APS-C sen-
sor; and the Canon
1D Mark IV splits the
difference with an
APS-H sensor.
329 C10 Basic Training.indd 44 8/15/2014 3:38:27 PM
45
built in, the big difference is wheth-
er its in the camera body or in the
lens, thatll be in the tech specs. If
you have a bunch of non IS (Image
Stabilization) lenses, and you can t
them on a body with IS, that could
save you some money.
Recording Options
We could write a whole article on the
tech specs of various video le for-
mats. (Oh, wait, we already did: www.
videomaker.com/r/776.) Two that your
camera is likely to have are AVCHD
and mp4. To oversimplify, some edit-
ing software is designed to optimize
AVCHD, while mp4 has an easier le
structure to work with, but may be
more compressed.
In addition to le formats, most vid-
eo cameras will let you select between
a number of frame rates from 24
which transfers much more easily to
able to re-assign them to do other
tasks. The more dedicated control
rings the better. Because adding things
like rings is expensive, manufactur-
ers sometimes use one ring and a
toggle switch that makes it do differ-
ent things. Less expensive, but not
as convenient. Pay attention to those
tech specs.
Image Stabilization
Lots of horror movies actually rely
on shaky cameras. Remember that
shaky footage of bigfoot Patterson
and Gimlin got in 1967? The guy
jumps off the horse and swings
his camera all over the place and
you maybe see bigfoot shambling
through the trees but bouncing all
over the place like crazy? Well, that
wouldnt happen today, most likely
because of image stabilizing tech-
nology. Many video cameras have it
lm if youre looking to distribute that
way, and also has more of a lm look
to various high frame rates like 60
fps or higher that will allow you create
frame-accurate slow motion.
Audio Options
However great your camera is, the on-
camera microphone that came with it
isnt what you want to be using if you
have the option. Professional sound
engineers will insist on a quality re-
cording and your editor will probably
like you more if your sound is synced
with the video. Pro and prosumer
level cameras will have an option for
adding a microphone with an XLR.
The initials dont stand for anything
particularly useful; everybody just
says XLR. or 1/8" mini-plug. Of the
two, the XLR will give you better au-
dio since its balanced, which means
it's less susceptible to outside inter-
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46
Kyle Cassidy is a writer and artist living in Philadelphia with his wife
and four cats.
For comments, email: editor@videomaker.com, use article #17023 in the
subject line.
ference, but the connector is about 10 times as
big. Youll want to be sure youve got the proper
audio equipment and connectors to get great
sound into your camera.
Recording Media
Just like there was VHS and Beta, 35mm and Po-
laroid, there are different recording mediums for
various digital video cameras. Its great if all your
cameras use the same media and you dont have
to keep track of which goes with what. Popular
recording media are SD (Secure Digital) and CF
(CompactFlash). SD has a number of sub speci-
cations like miniSD and microSD and variants
such as SDHC (Secure Digital High Capacity) and
SDXC (Secure Digital eXtended Capacity), which
are not all interchangeable. Check the specs to
be sure that you have the right media for the
right cameras.
ISO Range
ISO increases your cameras sensitivity to light
typically ISO values range from 100 (low) to
1600 (high) some cameras might have lower
values and some may go higher. A high ISO
allows you to shoot in darker locations and
a lower ISO allows you to use wide aperture
lenses to get shallow depth of eld. Boosting
the ISO comes with the trade-off of noise in
your footage. At some point, the trade off isnt
worth it as the noise begins to take over your
image. When a camera boasts an enormous ISO
range, be sure to check reviews to see what the
highest useable ISO is.
Outputs
Your camera may have outputs that let you
playback directly to a television screen, or
separate audio and video outputs or no outputs
at all. Common outputs are SDI (Serial Digital
Interface) or HDMI (High Denition Multi-Media
Interface). Whatever camera you get, if you want
to playback on your TV screen or eld monitor,
youll need to make sure the outputs and inputs
are compatible.
Display
Whatever you shoot, you want to be able to see.
Some cameras have LCD displays built into the
back, others have displays that you add as ex-
tras, and some have ELFs or Eye Level Finders
meaning you compose with your eye up to the
camera rather than by looking at the back of the
screen. With some sophisticated video setups
it's convenient for a number of people to watch
whats being shot at once. If you plan on watch-
ing from a tent while your director of photogra-
phy handles the camera, be sure your camera
supports an external display. If youre going to
be shooting in bright sunlight, an EVF is easier
to see than an LCD on the cameras back.
Weight
The weight of your camera matters not just
when carrying it, but when buying accessories
such as tripods and camera stabilizer mounts
which are rated for a certain weight. You dont
want to get everything in the eld and then dis-
cover that your camera plus your fancy telepho-
to lens is too heavy for your tripod to hold still.
Conclusion
The best equipment isnt always the best
equipment for your project. Comparing camera
specs in the store or online will help you nd
the cameras, lenses and gear that work best with
each other and your horror movies.
The most important thing an upcoming lm-
maker can learn, said Justin Benson. Is when
to scale back the attempted visual spectacle
and let the story do the heavy lifting. The best
example of this in horror is that if you dont
have much money for practical effects or visual
effects to augment them, your lm will be more
effective relying on conceptually frightening
ideas. Sometimes even if you have the money,
its better to scale back and let those concepts
simmer on your audiences brain.
So go ahead, get the dog, get the jelly, get your
camera, but spend most of your thoughts on
how to tell a really good story.
An 1/8" mic input
can get the job done,
but XLR inputs are
the ideal way to
capture audio.
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DISTRIBUTION

48
when DVD and Blu-Ray sales continue
to fall. Audiences are moving to VOD
while studios and lmmakers struggle
to adapt and prot.
So how can an independent lm-
maker thrive in these changing times?
By knowing your market. Whats your
niche? Where does your target audi-
ence purchase their lms?
If your movie is about evil aliens,
research similar sci-
horror lms on
IMDb.com and Rot-
tenTomatoes.com.
Visit fan websites,
blogs and forums.
Which sci- horror
lm DVDs are they
reviewing? What
companies distrib-
ute those lms?
Connect your
lm to your audi-
ence by creating
a plan before you
even start lming.
Create promotional
material with cast
photos and behind
the scenes vid-
eos, not as overt
marketing but as
a way to build a relationship with fans.
The earlier you start to build a buzz, the
more time it has to spread before the
lm is released. Create enough buzz and
you wont have to look for distributors.
Theyll come to you.
Traditional Distribution
Every lmmaker wants to see his or
her movie in theaters, but theatrical
Youve maxed out your credit cards
and spent many sleepless nights
making your independent horror
lm. Now what? If you want to make
a prot and have your movie seen
by anyone besides the cast and crew,
youll need a distribution strategy.
There are many different avenues
you can pursue for distributing your
horror lm. Traditional lm distribu-
tion companies sell movies directly
to theaters and retailers in regional
markets. You can also self-distribute
with the help of many online ser-
vices. Well discuss the benets and
drawbacks of each avenue and how to
determine which distribution strategy
is best for your lm.
Film Meets Audience
What do we mean by distribution?
There are actually a wide variety of
avenues to deliver your lm to the
platforms and markets where it can be
viewed and purchased by the public.
Movie theaters, cable television, DVDs
and Blu-Ray discs on retailer shelves
and now online VOD (Video on De-
mand) platforms, all provide ways for
the audience to pay a fair price for
their entertainment.
Cheap Scares
Horror movies have remained popular
over the years, and theres a steady
demand for low-budget lms to satisfy
fans of blood and scares. The digital
video revolution has made it easier
than ever to make these lms. Unfor-
tunately, micro-budget horror features
have ooded the market at a time
There are many ways to get your
low-budget horror films out there.
The key to success is creating
a marketable film and a well-
researched distribution strategy.
By J o s h u a Si e g e l
Find a Horror Film Distributor
Film festivals can be an effective way to get distribution companies
interested in your film.
329 C12 Distribution.indd 48 8/20/2014 1:32:05 PM
DISTRIBUTION

DISTRIBUTION OCTOBER 2014
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49
distribution is rare for a low-budget
horror lm. Most go straight to video
or VOD, if they are distributed at all.
So whats the difference between
the movies that nd distribution and
those that sit on the directors book-
shelf? Marketability.
What makes your lm market-
able? Having high production values
and recognizable names attached are
two major factors. But even a low-
budget lm with no famous actors
can be sold if it has a strong story and
connects with the target audience.
Distributors typically nd these lower
budget movies at lm festivals and
lm markets.
Winning or even being accepted to
a lm festival increases the odds that
a distributor will be interested in your
horror movie. Knowing your target
audience can help you target which
festivals will best showcase your lm.
There are many festivals just for hor-
ror lms.
You can also try selling your movie
at a lm market. Film markets are
like trade shows for producers and
distributors, requiring a large up-front
cost and the help of a sales agent,
who will take a percentage of revenue
from any distribution deals. Why go
through the trouble? Because its one
By J o s h u a Si e g e l
Find a Horror Film Distributor
Research films with
a similar genre as
the film you want to
make to find distri-
bution companies
who might be inter-
ested in your film.
of the few ways to get your horror
movie in front of large international
distributors.
Traditional distribution companies
can help get your horror lm into a
wide variety of channels and foreign
markets, but they also take exclusive
ownership of your lm. For those who
seek more control over the marketing
and sales of their movie, self distribu-
tion has become a viable option.
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DISTRIBUTION OCTOBER 2014
50
What If I Dont Do Horror?
No problem. There are niche markets for every genre from documentaries to
faith-based films. The strategies weve outlined for selling a horror film can be
applied to these kinds of movies as well. Know your target audience and create a
distribution strategy that will deliver your film to them (and a profit to you). Create
a marketable film thats ready to sell. Have a plan before you even start filming,
and youll improve your chances for distribution success. For comments, email: editor@videomaker.com, use article
Do It Yourself
Some lmmakers prefer to skip the
middle-men of sales agents and dis-
tributors, opting to sell and promote
their lms through their own website
and various digital platforms. Un-
fortunately, most retailers and large
VOD services like iTunes dont accept
submissions directly from lmmakers.
Instead, you must rely on the services
of aggregators companies that
distribute lms to the various digital
channels for an upfront fee and/or a
percentage of sales.
You keep a much higher percent-
age of revenues by self-distributing,
but youre also responsible for all
the marketing. It can be difcult for
a small independent lmmaker to
stand out amid all the other horror
lms, especially those which have the
weight of large distribution companies
behind them.
Making the Deal
There are several key questions you
should ask when considering your op-
tions. Which territories and channels
First Dollar Split Deal which offers no
advance payment to the lmmaker.
Be aware that there is usually
a shared cost for deliverables and
marketing. Know how much these
expenses will cut into your revenue
before signing any deal with a sales
agent or distributor.
The Changing Market
The audience migration from physical
discs (DVDs and Blu-Rays) to digital
delivery systems has left traditional
distributors scrambling to keep up.
Filmmakers receive pennies for each
download of their lm, much less
than a disc sold at retail. Until re-
cently, many distribution companies
would consider VOD deals only as a
last resort because they were believed
to cut into sales of DVDs.
Digital distribution also facilitates
piracy. Sadly, many horror movie fans
download and watch lms for free,
not realizing how seriously this affects
independent lmmakers. Without rev-
enue to pay for our movies, how can
we make more?
Conclusion
The Digital Age has widened the range
of distribution options for low-budget
horror lms. Whether you make a deal
with a traditional distributor or go at it
yourself, its more important than ever
to place your lm where your target
audience can nd it for a fair price. It
doesnt matter what percentage youre
getting if nobodys buying the movie.
As you create a distribution strategy
for your horror lm, remember that
the key to success is good marketing.
You have to do the research and hard
work, even when you have a deal with
a great distribution company. The dis-
tributor sells your lm to retailers, but
you have to sell it to the fans.
Dont let your low-budget horror
movie go unseen. There are options
out there for any budget lm, so get it
distributed today!
The distribution
company requested
changes to the title
and artwork of this
film to make it more
marketable. The left
image is the original
art, and the right is
what was created
after the distribu-
tors feedback.
does the distributor sell to? How long
does your contract last, and can you
get out of it if certain terms or sales
goals arent met? What selling rights
do you retain? Most distributors will
let you sell autographed DVDs on
your website or at fan conventions,
but others can have tight restrictions
on lmmaker sales.
You also need to know what deliv-
erables are required by a distributor,
ideally before you even start lming.
Here are just a few of the items dis-
tributors will require: talent contracts,
music licenses, production photos and
an electronic press kit (EPK). Many will
also want E&O (Errors and Omissions)
insurance and Closed Captioning,
which is now required for all U.S. titles.
The most important thing to under-
stand is the distribution of revenues.
Who makes money, and how? In
whats called a Gross Adjusted Deal,
the distributor pays the lmmaker an
up-front sum then splits the rev-
enues 50-50 after the distributor has
recouped costs. However, most low-
budget horror lms can only expect a
Joshua A. Siegel is a filmmaker and visual effects artist.
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52
gift seekers, so why not join them
in the fun! And what better time to
celebrate our fascination with horror
than Halloween Season?
The best way to venture into the
dark is with dramatic light, because
without light there really can be no
dark. The rst term that comes to
mind when one balances dark and
Halloween has become the second
biggest holiday in America easily
overtaking Thanksgiving, Presidents
day and even, everyones favorite,
Groundhog Day. Of course Christmas
still reigns supreme in that category,
but when you consider how many
Hollywood, foreign and indie lm
producers continue to favor horror
as their genre of choice you have to
ask yourself; do they like to scare the
stufng out of their audience or make
them feel good with touchy-feely
bows, ribbons and Christmas cookies?
Of course they like to scare the heck
out of their audience. Who wouldnt?
Even many Christmas lms ultimately
degrade into horrible characters with
axes and knives chasing greedy little
LIGHTING
Creating suspense in a horror
movie requires everything in your
lighting toolkit: light, shadow,
shape and color. Youll need it all
for maximum effect.
b y Te r r y O Ro u r k e
light is lm noir: a classic style of
lighting that gained popularity in the
1940s and continued to its dominance
well into the 50s due to its innate abil-
ity to quickly invoke a sense of mys-
tery and danger. Here we learn how
to take advantage of the mystery
component of lm noir lighting and
apply it to simple lighting techniques
that will have your audience squirm-
ing in their seats in anticipation of the
next axe to drop!
Think Dramatic
The great thing about lm noir light-
ing is how easy it is to apply, because
you only need simple lighting xtures
and a robust imagination. Since most
of your subject matter lives in the dark
side of your lighting, all you need to
do is allow glimpses of the scene. This
can be done with simple, raw, harsh,
contrasty lighting.
Figure 1 is a great example of how
one simple light in a room behind the
subject creates a wonderful silhouette
invoking a sense of mystery. There
is virtually no light on the subject
but obviously she is a woman who is
standing in a somewhat provocative
manner. Her stance, the room behind
How to Light a Horror Scene
Figure 1 Figure 2
329 C13 Lighting.indd 52 8/15/2014 3:35:48 PM
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54
entering a bank to make a deposit or
make a withdrawal, if you know what
I mean!
Once again, one light to create
some horror lighting but in gure 4
there is a simple prop, too. Yep, thats
fabric and there is only one light,
which is slightly behind the subject
and camera right. The light is not
directly behind the subject because
you can see shadows in the face and
you can move the light around while
shooting to create a great effect. Move
it fast and edit for a quick reveal or
move the light slowly and change
from a white light to a red gel and
watch your audience cringe. Throw in
a bit of creepy music, yank the cloth
to reveal a bloody face and you might
just nd your audience outside catch-
ing their breath.
Use Color
Speaking of red gels, how about some
horror lighting that includes a bit of
blood-red effects? Figure 5 is dra-
matic horror lighting with two lights
on the subject. Both are unmodied
raw lights, each with their own gel.
Since the lights are simple xtures
here is another opportunity to move
the lighting around to create some
LIGHTING OCTOBER 2014 LIGHTING
spooky effects. You could substitute
the green gel for a blue gel, make
them both blink to simulate a police
scene. Or you might try an orange gel,
make it icker by shaking a cookie
or correctly referred to as a cucoloris,
or cookie, to simulate a classic camp-
re scene where everyone carefully
weaves tales of chainsaw, axe, knife
wielding creeps wandering around in
campgrounds looking for unsuspect-
ing tourist sitting around campres
telling scary stories.
Cookies are easy to make; just nd
a sturdy piece of cardboard, cut vari-
ous size holes and jiggle it in front of
your light. The beauty of Halloween
lighting is just how simple it is. With
todays modern camcorder you dont
even need a lot of lighting power to
effectively create horror scenes.
Clever Misdirection
Sometimes in horror lighting you
want to direct your audiences atten-
tion to one part of the scene while
suddenly, or even slowly, revealing
something in another scene. Thats
where the deep shadows come in.
Mystery lives in the shadows and
slowly unveiling the mystery pro-
motes tension and suddenly releasing
her and the total lack of light revealing
anything about her allows the viewers
imagination to run wild, and each
viewer will have a different response.
Moving on to gure 2 and her inten-
tions are quite obvious and sinister!
This set-up is quite simple. An open
door, a white background and one
light yet it is so powerful. Take ad-
vantage of your camcorders inability
to render dark shadows and use it to
move your audience into a place of
apprehension or fear.
Figure 3 is another example of
using one light to create a dramatic
lm noir scene. Here the subject is
standing with the light behind him.
Since the light is so low it casts a very
long and ominous shadow, which
not only exaggerates the shadows,
but the movement of the subject as
well rendering each step he takes
especially long and owing. Here the
sun, near sunset streams across the
concrete oor, which is impossible for
your camcorder to capture without
losing detail in the shadows, which is
exactly the point! Once again use the
cameras inability to capture full detail
in a contrasty scene and exploit your
audiences ability to jump to conclu-
sions! Who knows, he could simply be
Figure 3
Figure 4
Figure 5
55
LIGHTING OCTOBER 2014
Contributing editor Terry ORourke specializes in retail
advertising photography and videography for clients
worldwide.
that tension creates a shock for the
viewers. A great way to create this
situation is to place the victim in soft,
attering window light while the perp
hides in the shadows. Imagine an
unsuspecting person in a warmly-lit
room where the setting sun drapes
the room in soft window light as a
gentle re warms the room. A soft,
low tension situation while down
the hallway lurks in the shadows a
dimly lit tall gure with something
perhaps something sinister in
his hand. The lighting is just a bit too
dark for the viewers to make out ex-
actly what is in his hand and cutting
back and forth from the soft, warm
room to the dark gure in the hallway
creates tension and the audience be-
gins to sense something is wrong just
because they cant make out what the
perp is carrying. As the audience lls
in the blanks left by the dark lighting
the perp suddenly opens the door and
offers the victim a nice cup of tea and
once again all is well.
If you repeat this technique several
times during your horror lm, youll
have the audience in the palm of
your hand. When they become ac-
custom to your mind tricks and no
longer fall for it, you can nally un-
leash the real horror. This just goes
to show how easy your audiences
mind is to fool. So, go ahead and take
advantage of that weakness and scare
the stufng out of them. Who knows,
some day they might just want to
return the favor.
USE SHADOW TO MOVE
YOUR AUDIENCE INTO
APPREHENSION.
Learn the craft of
cinematography
and editing with
critiques of
iconic Hollywood
scenes by the
masters of cinema
Videomakers newest series will have you analyzing and critiquing the most
iconic scenes in cinema history until youre doing it in your sleep. Learn from
the cinematic masters and study their techniques so that you can apply
them to your next video project. Learn more at: videomaker.com/masters.
videomaker.com/masters
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EDITING
56
In horror movies, the victims
always shows up at the wrong
time. Theyre either a little bit early
or a minute too late. But the only
reason the victims timing is so
poor is because the editors timing
is right on.
There is no set formula for building
suspense through timing and pacing,
but there are some basic guidelines
that serve as a solid foundation.
The actual time span or length of
clips used will make an impression on
the audience. A quick succession of
fast-paced short clips will disorient an
audience. Quick cutting with fast mov-
ing clips creates a pace in which the au-
dience starts to believe that everything
on screen is being performed in haste
and they feel a sense of urgency. Its best
to use the quick pace, short style when
there is a lot of action taking place and
more than one perspective to see. Close-
ups and handheld
camera work lend
to the urgency of a
scene.
Just as short,
fast paced clips
can build dramatic
tension, extended
uncut clips can
be used to grow
suspense. As
the tension in a
scene builds, the
audience antici-
pates progression,
The suspense and tension that is
built during a dramatic and horrify-
ing scene keeps the audience on
their toes and coming back for more.
Horror lms work because of the edi-
tors efforts and decisions. The horror
genre is one place where the editor
needs to meticulously work their craft
in order to get a desired outcome
from the audience. Even better still, a
video editor can translate the lessons
learned from cutting a horror piece
into building dynamic tension into
almost any video. In turn, the video
editor hooks their audience grab-
bing ahold of their attention.
Timing is Everything
Suspense is built on the audiences
anticipation. A video editor can use
the timing and pace of clips to build
this anticipation and grow suspense.
Timing is Key
b y Ch r i s Ac e Ga t e s
whether its through the reaction of the
subject on-screen, the introduction of a
new and surprising element, or a simple
cut to a new shot or perspective. When
a shot is held on-screen for longer than
expected, the audience starts to feel
discomfort and anticipates a change
to come. The greater that discomfort
builds, the bigger the anticipation and
accordingly, the editor should use the
pent up anticipation for a big reveal in
order to satisfy their audience. Holding
on a shot can be difcult, because the
editor wants to hold onto their audience
and not lose their attention. Thats why
when an editor chooses to extend a
shot, it should be part of sequence that
has already built up the dramatic ten-
sion and has a grip on the audience.
Its an odd dichotomy that two very
different clips, and often different
schools of thought on video editing,
can both achieve the same goal in
eliciting a response from the audience.
Both of these techniques are valid and
can produce great results when used
creatively. The key is to remember
that each shot doesnt work by itself,
but is a small part of an overall se-
quence. Thats why you need to weigh
the rhythm and pace of your edit in Short, fast paced clips can build dramatic tension.
329 C3 Editing.indd 56 8/15/2014 3:34:09 PM
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EDITING OCTOBER 2014
58
response to the story being told, the content of
the footage and their target audience. Each au-
dience has different expectations and different
tolerances for tension. By understanding and
knowing their audience, youre better prepared
to hold their attention.
Choose Wisely
A suspense-lled scene is built by more than
just the timing and pacing of its shots. The shots
themselves and the way they are composed
are just as important. Hopefully, when footage
arrives on your desk, its a product of careful
planning and skilled craftsmanship. Even in the
best-case scenario though, the journey of this
footage has just begun. One of the trademarks
of the horror genre is well composed shots, in
which the blocking of subjects is set up to reveal
something to the audience without the protagonist
of the scene knowing whats happening. Moving
cameras are often utilized for this effect.
Heres an example of a single shot with de-
tailed blocking. Picture a protagonist walking
through a dimly lit house while talking on the
phone; the camera follows them as they pace.
As they pass by a window, its revealed that its
a clear moonlit night. They continue to pace,
reaching the far side of a room only to turn
around and pass by the window again. This time,
unbeknownst to the protagonist, a bloodthirsty
monster can be momentarily spotted watching
them through the window, only to have the cam-
era follow on with the protagonist. As the camera
pans back a third time, but this time the window
is once again empty.
A single shot like this can strike terror into the
audience. If you werent aware of the purpose
of this shot, you may have chosen a take in
which the protagonist passed by the window but
directly between the camera and the monster,
never giving the audience a glimpse of the hor-
ror outside. Its important for you to be familiar
with the script, the directors intention for each
shot and the detailed content within each take.
This information will help you choose wisely
and make selections that will develop the story.
The horror genre makes extensive use
of the false scare tactic. This doesnt
mean that there isnt a clear and pres-
ent danger for the films protagonist, it
just means that the frightening reveal is
delayed and more shocking because of
the audiences false sense of relief. The
false scare scenario plays out following
these basic steps.
1. The protagonist is setup in an
isolated area, their vision is limited
because of either darkness, blocking
through close quarters or both.
2. Tension builds as the protagonist
reveals their own anxiety about their
current predicament. They sometimes
call out to nobody in particular or emo-
tionally express their concern.
3. Unbeknownst to the protagonist,
the antagonist is revealed. This is done
Extended, uncut clips
can build suspense.
TEN STEPS TO A GOOD SCARE
by the blocking of the shot, the protago-
nist moves about as the antagonist waits,
unobserved but clearly present. This can
also be accomplished through a point-of-
view shot from the antagonist.
4. The antagonist is hidden from view
once again. The protagonist shows that
their anxiety is building and they are
unaware of how close the antagonist was.
5. Tension rises in the scene, whether
its accomplished by a rise in the music or
a slow move-in by the camera, the evident
danger is obvious to the audience.
6. The scene is now set-up, tension
is high and the scene blocking has the
protagonist positioned for the surprise of
their soon to be shortened life.
7. The false reveal occurs when a door
closes, the protagonist turns around, or
an object falls off the shelf. With a quick
movement and an exaggerated sound
effect the audience is shocked for a
moment as nothing is revealed except for
a startled protagonist.
8. There is a sigh of relief now coming
from both the audience and the protago-
nist as they pick up the broken pieces
of the scene, knowing they survived this
moment.
9. The protagonist starts to move about
with their guard down and their cour-
age up. Unfortunately, not all is settled
with the audience, as the editors pacing
reveals that there is still a present threat.
10. The protagonist hesitates for
only a slight moment, but that moment
is a hair too long and the antagonist is
fully revealed. Its too late for the unfor-
tunate victim and the audience gets a
big surprise.
329 C3 Editing.indd 58 8/15/2014 3:34:22 PM
EDITING OCTOBER 2014
59
to create a realistic soundscape. In hor-
ror lms, that kind of thinking goes out
the door. What a sound reveals is what
should take priority with your deci-
sions. A dripping faucet is most usually
a faint audio element in the real world,
and subsequently in the normal audio
mixdown. However, in the audio mix
for a horror lm, a subdued clip like a
drop of water might be more effective
as the most dominant audio element.
The priority of the audio mix is to
increase the dramatic tension tak-
ing the audience away from reality and
building anticipation sometimes means
ipping the script. Sometimes the best
soundtrack is the one that doesnt exist.
Audiences are used to a continual bar-
rage of dialog, music and sound lling
every second of a production. The ab-
sence of sound is a surprising element
and will often times make the re-intro-
duction of audio feel as if it is amplied
or at least more signicant.
There are few things as fun as a
good old-fashioned scare. Suspense
and tension dont just happen because
theyre written into a script, they occur
because theyre feelings that are built
by you, the editor.
There is no single technique that
builds tension by itself. The horror
genre is crafted by a good blend of
tried and true scenarios, a bit of cre-
ativity and precise timing.
Chris Ace Gates is a four-time Emmy Award-winning
writer and video producer.
Sometimes, its not what you see.
One of the most important factors in
setting the stage for deep suspense
and thrilling terror is what the audi-
ences hears, and sometimes what
they dont hear. Music beds and sound
effects all go into making a creative
audio mix that can build just as much
tension as the visuals.
A music bed in and of itself can set a
mood and tone by its arrangement and
instrumentation. What the you do with
a music bed adds layers of suspense
into the nal edit. Music is inherently
connected to the pacing of a video
edit. The video should be intentional
about using music that works with the
pace of their edit, and edit the video
to coincide with the music. Musical
swells, stings and hits should be timed
to surprise the audience and cue up the
next big reveal in the edit.
Sound effects shape the environ-
ment of a scene just as much as
the visuals. They give life to lifeless
objects on screen and reveal what
the viewer never sees. Just like music,
sound effects should be used to build
a rhythmic pace, and used to surprise
the audience. Its quite natural for an
audience to have anxiety and fear
build around something they know
is there but cannot see. Sound effects
help to build this unseen tension.
The audio mix of a horror lm is one
of the most creative audio endeavors a
video editor can attempt to tackle, and
is a lot of fun as well. There is a normal
hierarchy for audio when mixing most
videos, often with dialog taking prece-
dence and sound effects being mixed
Adding music and
sound effects is
an effective way to
control the tension of
a scene.
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60
plate. In reality, audio quality is every
bit as important as video image qual-
ity. In fact, we might instead consider
the postulation that as video image
quality increases, audio quality should
increase proportionately, because the
expectation of quality has been raised
within the viewer. Furthermore, in the
mind of the viewing audience, a video
production will typically be remem-
bered, and therefore judged, based on
its weakest component. So, no matter
how good a video production looks, a
poor soundtrack will taint the entire
production in the mind of the audi-
ence. In light of this, video producers
must raise their awareness of audio
and increase their attentiveness to
cleaning up and covering messy
audio.
The good news is that even a little
attention to audio goes a long ways.
You do not need to become a master
audio-sweetening technician to great-
ly improve your videos. There are two
approaches to audio editing: eliminat-
ing problems with source sound that
would create distractions, and adding
audio effects and elements, like sound
effects, to build a soundscape. In
this article, we focus on reducing or
eliminating common audio problems
like hiss, distortion caused by clipping
and weak, hollow sound. If you nd
yourself confronted with unsatisfac-
tory sound quality when you sit down
to edit, here are ve strategies that
might help you make the most of a
bad sound situation.
1) Mute It
The rst step is to determine whether
the offending audio track is critical
to the success of the video or not.
If, for instance, a news production
about the county fair that is driven
by voiceover narration, or an on-
camera host includes a problematic
soundtrack that is associated with
ambient audio that accompanies
B-roll video, eliminating the problem
may be as easy as muting the audio
Its no secret that video producers
put a lot of effort into shooting and
editing videos that look good. Consci-
entious shooters pay careful attention
to variables like lighting, lens selec-
tion and camera settings when they
capture their footage. Likewise, they
are attentive to the potential compro-
mises that compression can introduce
during editing and export, and may
invest hours of effort to perfectly
hone their color correction and effects
lters to treat their footage in a way
that makes it look like a feature lm.
Shooting and editing video produc-
tions that have a beautiful aesthetic is
a wonderful thing, but even the most
visually appealing productions can
come across as amateurish attempts
if they are accompanied by a sub-par
soundtrack.
Most students of the art of video
production have heard it said that
audio quality makes up 50 percent
of a productions perceived quality.
Upon careful consideration however,
this is a vast understatement of the
truth. Even one blotch of mold ruins
the entire loaf of bread. If a customer
nds one hair in her salad, or one y
in the soup, the whole dish is tainted,
no matter how good it looks on the
AUDIO
Taking time to clean up awful
audio can make or break your pro-
ductions. Here are six strategies
that can help you make the most
of a bad sound situation.
b y Ch u c k Pe t e r s
Five Ways to Fix Messy Audio
Adding a music track
can cover up noise
in your mix, and help
smooth out rough
transitions.
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62
AUDIO OCTOBER 2014
3) Add Ambiance
One very com-
mon audio prob-
lem is introduced
in editing when
an audio track is
chopped up and
the dialogue is
spread out on the
timeline. When
recording voice
overs or on-cam-
era talent, ambi-
ent environmen-
tal background
sound is captured
along with voice
track recordings.
This contrasts
heavily with the ultra silent gaps
between sound bites, resulting in
increased awareness of the noisy
background sound during the voice
segments. The solution here is to
cycle through the source footage to
nd sections of ambient room noise
that may have been captured between
takes without the voice. This room
ambience can then be edited into the
gaps on the timeline to smooth out
the silences between audio edits. This
is such a common occurrence that
video professionals make a regular
practice of recording several seconds
to a minute of ambient sound on their
sets as a part of their shot lists so that
they have all the ambient room sound
needed to ll these aural interludes.
4) Apply Noise Reduction
Another common cause of audio
interference is 60 cycle hum that may
be introduced by power cords that
cross over microphone cables or by
bad cables that are poorly grounded.
This sounds like a low hum or buzz.
that coincides with the B-roll. While
the editor may have preferred to in-
clude the sound of the carnival mid-
way, the integrity of the story would
not be compromised by omitting the
track. If the track is plagued by buzz
or distortion, it can be cut altogether.
Likewise, if the audio problem oc-
curs in a short section of non-crucial
audio delivered by an on-camera
host, but the rest of the delivery is
ne, a decision can be made as to the
importance of including that specic
line of dialogue. Cutting out prob-
lematic sound altogether may be an
acceptable option.
2) Add Music
In the case where audio delivered by
an on-camera host or in a voiceover
narration includes a small, but notice-
able hiss, a fast and easy solution may
be to simply add a music bed. When
the offending audio track is exposed
and alone it welcomes a greater de-
gree of scrutiny. The viewers ear may
be drawn to the hollow quality of the
track. Adding a music bed gives the
ear something else to hear and draws
attention away from minor audio
imperfections. Use care to not make
the mix too hot, however. The goal is
to blend the music track in such a way
that it supports and lifts the primary
sound source, not in a way that com-
petes with it.
Always record room tone on set, even if your set isnt in an actual
room. You need it to bridge mismatched audio clips in post-production.
BLEND THE TRACK SO THAT
IT DOESNT COMPETE, BUT
SUPPORTS THE SOURCE.
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329 C4 Audio.indd 62 8/18/2014 2:29:13 PM
63
Chuck Peters is an Emmy Award-winning producer,
writer, host and former Managing Editor at Videomaker.
AUDIO OCTOBER 2014
Most of todays video editing applica-
tions include built-in lters that are
designed to reduce or eliminate noise
within an audio clip at a specic
frequency. There is typically a drag-
Noise reduction tools, like a DeHummer effect,
can help get rid of troublesome frequencies
that interfere with your dialogue tracks.
and-drop preset option, or a manual
slide control that allows the selec-
tion of a targeted range; In this case,
60Hz. Manual controls also allow the
manipulation of resonance around the
selected range that let the user limit
the frequencies that the lter affects.
This lets the editor achieve a narrower,
but cleaner frequency range and can
effectively reduce unwanted audio
buzz.
5) Software Solutions
Some audio problems cannot be xed
so easily and require the use of highly
specialized audio editing software
with a much greater degree of control.
Some examples are Sony SpectraLay-
ers, Adobe Audition and Avid Pro
Tools. While audio controls within
video editing applications are limited
to frame-level accuracy, these profes-
sional audio tools allow manipulation
at the sample level. They allow you to
carve out unwanted sounds and sam-
ple objectionable background noise to
remove it for impressive results. While
there may be a learning curve to oper-
ate them prociently, these profes-
sional audio editing software solutions
can salvage sound that video editing
applications could not save.
Find Your Fix
Dont just settle for a sub-par
soundtrack in your video production.
With a little effort you may nd that
there is a simple solution to clean up
and cover your messy audio anoma-
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64
cable shows, the entire pipeline slows
to a crawl on GoPro footage, and any
video editor knows that GoPro footage
slows down their video editing soft-
ware. Better codecs with less mud in
low light are another prediction Ill go
on record with.
Manual Controls
NO! GoPros have a ridiculously large
depth of eld, but if you want a more
dramatic look, lets take a look at the
Lytro camera. If GoPro incorporated
a Lytro-like sensor where there
is effectively an individual lens on
each pixel sensor, and focus informa-
tion is stored with the image you
could adjust focus and depth of eld
in your video editing software in
post. The last thing you want with an
action camera is to be ddling with
manual controls during a shoot. Can
you imagine a motorcycle rider doing
insane jumps over a canyon and ad-
justing focus in mid air? Lets be real
here; acquisition manual controls
would be ludicrous. The Lytro sen-
sors arent ready for video just yet,
but maybe the Hero 5 or 6?
Summary
GoPro will be the top of the market for
a long time to come. There are so many
mounting options and uses from 80-
foot jibs, to stereoscopic rigs, to the DJI
Phantom 2 specically tailored to
the GoPro. At least for the moment, no
other camera comes close. There are
also a ton of directions they should go,
and most likely will.
Funny enough though, despite the
Pro in the name, GoPro has had
a difcult time in the professional
market. Due to their strict format
guidelines, cable networks require
production companies to gain special
dispensation to use the camera;
workow specialists and engineers
have pulled their hair out on the
slow workows because of the lens
distortion and shutter roll; and DPs
have been plagued by the exposed
lens when not in a case, and using an
iPhone as a eld monitor. Dont mis-
take it though; GoPros are the most
widely used action cameras on the
market by professionals and consum-
ers alike. But where are they going in
the future?
The Almighty 4K
Sure, the GoPro technically shoots 4K.
But lets face it, 15fps is nowhere near
good enough for an action camera at
any resolution. Really, the best way
to avoid shutter roll and blurring on
an action camera is to shoot at 60fps
or better. And believe us when we
tell you that the higher the resolu-
tion, the more obvious shutter roll
is. With 4K televisions available at
Costco nowadays, 4K is an obvious
must. Is it practical though? Critics
would argue that its completely un-
necessary. However, if you think back
to 2005, people said the same thing
about 1080p on an action camera. So
yes, if GoPro has a prayer of staying
ahead of the market, and being the
proverbial Jonses everyone else must
keep up with denitely. In reality, if
they want to stay at their spot on the
curve, they should really start thinking
in terms of 6K. Why?
When the rst of the GoPro 4Ks
hit the market, the RED ONE, a 4K
b y Ty Au d r o n i s
GoPros Reign: Can it Really Last?
camera, was the rage for digital cin-
ema. Now with the higher resolution
cinema cameras like the RED EPIC,
GoPro should have 4K at 60fps and 6K
at around 12fps. Dont count on it yet
though. Ill go on record as saying the
Hero 4 will probably just handle 4K
at 30fps at best maybe even only
24fps. After all, they need to keep the
price down below $500 to be viable
for consumers.
Consumers vs. Professionals
At the top end, GoPro lays in the
murky prosumer land. Why do
people postulate that GoPro has
really left the consumer behind?
After all, they have their Silver and
White editions. The price point of
each is on par with the more con-
sumer Contour Roam 2 camera. But
who wants to buy anything but top
of the line? Its like buying a Ferrari
with a Kia engine. Sure, its emotional
and not logical. However, critics of
the necessity for higher resolutions
and frame rates on GoPros have those
options. But even if you never use 4K,
why remove such a feature? Here, Ill
refer to Clarences Rule: Its better to
have it and not need it than need it
and not have it.
Truly though, if GoPros are going to
be a viable professional camera, they
need to take a hard look at their co-
decs. On ingest and format conversion
for professional editing on national
Ty Audronis is an editor, special effects guru, and con-
sultant for studio technology.
QUICK FOCUS
When people think of action cameras, GoPro comes to mind. In fact, much like people
called photocopies Xeroxes in the 80s, people are referring to all action camera foot-
age GoPro footage, regardless of the camera used to shoot it.
AT THE TOP END, GOPRO
LAYS IN THE MURKY PRO-
SUMER LAND.
328 D4 Quick Focus.indd 64 8/18/2014 2:27:31 PM
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