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23X
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For more information on the GY-HM600 Series, talk to the Pros at JVC. Visit pro.jvc.com
DSLR
Mirrorless
Does it matter?
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2012 JVC. All trademarks and brand names are the property of their respective proprietors. Camera shown with optional shotgun microphone.
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Slow Motion. Animated Opens. Dust & Flickering Light. Exploding Logos. Loop Expressions. Day-for-Night.
Its all a part of the post-production magic at: videomaker.com/magic
Contents
NOVEMBER 2014
www.videomaker.com
Features
Other than your camera, a tripod is the only piece of equipment you
own that will go to every shoot. The best filmmakers never underestimate the importance of having a great tripod.
By David G. Welton
Zoom in; zoom out; telephoto; wide. Which lens do you use
and what feeling does that lens give to your viewer? The
answer is as much an emotional decision as it is technical.
by JR Strickland
22
HEAR THIS
On the Cover
Nikon D810 vs. Panasonic DMC-GH4
At 140 decibels, the human ear is past the threshold of pain. Its like standing within 165 feet of a roaring jet engine.
But the all-new H5 Handy Recorder can take it. More than any other field recorder, the H5
allows you to capture audio louder, cleaner and closer than ever before.
32
54
Columns
2 Viewfinder
Shooting for Fun
by Matthew York
46 Basic Training
50 Planning
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6
62
Whats On Videomaker.com
New Gear
Ad Index
Reviews
8 Panasonic DMC-GH4
4k Mirrorless Camera
By Chris Monlux
57 Audio
60 Editing
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Departments
57
54 Directing
Next Month
Volume 29 Number 05
64 Production Tips
18 Libec Allex
Camera Support
By David G. Welton
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VI D EO MA K ER >>> N O VEMBER 20 14
VIEWFINDER
by Matthew Y or k
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V IDEOMAKER >>> NOV EMBER 2014
Sound Focus
Isaac York
SYSTEM
CAMERA-MOUNT
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audio-technica.com
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.
November 2014
Whats on Videomaker.com
Advice Wanted
Question:
Trav Baum: In the past I have dabbled
with video editing here and there via
a video game podcast I was a part of
for a few years. Ive recently started a
new job, but after the bosses discovering some video work Ive completed in
the past, Im officially their audio/video
director. Ive been doing video professionally for 2 months now.
I enjoy the videos I have finished for
the company fairly well, but Id love
some outside constructive advice regarding the work Ive wrapped to date.
Videos will be linked out below. I edit in
Adobe Premiere Pro CS6.
Thanks for the advice, in advance!
vimeo.com/102482409
Reply:
Jackson Wong: Very cool work Travis.
Nicely composed shots on the whole,
and I especially loved the flying shots
in the Wonder Works video. Seems
like you really like editing with music,
my personal taste is a little smoother
between VO and music. I had to do
a double take to match the VO with
Marshall, though I can imagine the constraints you had there. Across all your
videos Id take a close look at the focus
and white balance. In the cooking class
video, some of the food and skin tones
look a little unnatural.... See more at:
videomaker.com/r/021
....
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With Thunderbolt 2 performance, these hard drives deliver extreme speed and immense capacity-equally beautiful specs designed to make 4K video editing and creative workflows run smoothly.
See them in all their glory at g-technology.com
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Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and other countries.
Designed by G-Technology in California. G-SPEED, G-Technology and the G-Technology logo are registered trademarks of HGST, Inc. and its affiliates in the U.S. and other countries.
2014 G-Technology, a division of HGST, Inc. All rights reserved. R0 09/14
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NEW GEAR
b y Ru ss F a ir le y
Sony Rolling out Alpha 5100 Mirrorless Camera with Pro XAVC Video Codec
With all of the buzz flying around the video industry about
the Sony a7S, another impressive mirrorless Sony cam
the Alpha 5100 (a5100) nearly flew under the
radar. The NEX-5Ts heir apparent brings some similar
technology and some new features to the table in a nice,
affordable package.
Similar to the NEX-5T, it replaces are a 24.3MP APS-C
ExmorCMOS sensor and BIONZ Ximage processor. The
big news for video enthusiasts is the inclusion of Sonys
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Super 35 Sensor
The large Super 35 size sensor gives you 12 stops of dynamic
range for beautiful, film like images. The cameras PL or EF
compatible mount combined with the sensors minimal crop
factor means you get familiar framing, great depth of field, and beautiful wide
angle shots from the lenses you already own! And because the sensor features
a global shutter, youll get perfectly smooth pans and camera moves every time!
Ultra HD 4K
The future of broadcast television and Digital Cinema is 4K!
With its massive 3840 x 2160 pixel image, Ultra HD is 4
times the size of 1080HD and matches the resolution of traditional 35mm film..
The Blackmagic Production Camera 4K lets you shoot the most amazing
high resolution music videos, episodic television programs, commercials,
documentaries, and more!
www.blackmagicdesign.com
2,995
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REVIEWS
REVIEWS
Panasonic
LUMIX DMC-GH4
MILC
TECH SPECS
Compact 4K
b y C h ris M onl ux
Panasonic USA
www.Panasonic.com
STRENGTHS
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$1,700
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REVIEWS
Panasonic LUMIX DMC-GH4
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10
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REVIEWS
REVIEWS
Adobe CC
Update 2014
TECH SPECS
Up in a Cloud
b y C h ris Ac e G ates
Adobe Inc.
www.adobe.com
STRENGTHS
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12
TESTED ON:
OS: Mac OS X 10.9.3
CPU: 2.93 GHz i7
RAM: 12 Gb 1333 MHz DDR3
Graphics / VRAM: ATI Radeon HD 5750
1024 MB
ADOBE CC 2014 SYSTEM REQUIREMENTS:
Creative Cloud desktop Apps: Microsoft Windows 7, 8 or 8.1, Mac OS X
v10.7, v10.8, or v10.9, internet connection required
FOR ADOBE AFTER EFFECTS CC AND
ADOBE PREMIERE PRO CC
Windows:
Intel Core2 Duo or AMD Phenom II processor with 64-bit support, Microsoft
Windows 7 with Service Pack 1, Windows 8, or Windows 8.1, 4 GB of RAM
(8 GB recommended), 5 GB of available
hard-disk space, Additional disk space
for disk cache (10 GB recommended),
1280 x 1080 display, OpenGL 2.0capable system, QuickTime 7.6.6 software
required for QuickTime features
Mac OS:
Multicore Intel processor with 64-bit
support, Mac OS X v10.8 or v10.9, 4 GB
of RAM (8 GB recommended), 5 GB of
available hard-disk space for installation,
Additional disk space for disk cache (10
New to the Adobe workflow is the ability to apply effects to the masked region
of the clip. This means users no longer
need to stack duplicate footage when
using masks and effects together. If a
video editor needs to perform greater
visual effects than what Premiere Pro
of the clip in use throughout the editors timeline. Features such as this,
and the increased efficiency of the
direct link between Premiere Pro CC
and programs like SpeedGrade CC,
definitely give the video editor more
time to work on their projects as opposed to wrangling their tools.
13
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REVIEWS
Adobe CC Update 2014
SpeedGrade Updates
As mentioned, Adobe SpeedGrade CC
2014 offers an improved Dynamic
Link with Adobe Premiere Pro CC.
In similar fashion, the SpeedGrade
upgrade includes the new Master Clip
effect, functioning just as it does in
Premiere Pro. This speeds the color
grading process along, especially
on long projects with multiple clips
pulled from a single master clip.
SpeedGrade also includes a new range
of SpeedLooks, preset color grading
looks which allow the editor to more
easily explore their creative options.
An important upgrade for video
editors is the enhanced video scopes,
as well as the new YUV Vectorscope.
These allow the editor to have a more
technically accurate reading of the
changes they make to footage through
the color correction process.
Performance Tests
The upgraded Adobe Creative Cloud
video applications were tested using
an older system. A 27 iMac with a
2.93GHz i7 processor, 12Gb of RAM
and running Mac OS X (10.9.3). Each
of the new features, as listed here,
were tested on various HD clips.
Everything worked as it should
without any hangups except for the
Dynamic Link between Premiere Pro
CC and After Effects CC when working with Live Text templates. The Live
Text templates feature did work and
was easy to understand, but it had a
tendency to lag whenever there was an
edit to the text. Rendering with the new
effects and features didnt create any
unexpected delays. In fact, timelines
rendered quickly as would be expected.
The Dynamic Link between Premiere
Pro CC and SpeedGrade CC was quick
and efficient. Tracking in Premiere Pro
CC was much faster and more accurate
than was expected, making it a nice efficiency for the video editor who needs
to blur out a face or color correct only
a small portion of a clip.
The new chroma key effects in After
Effects worked well in cleaning up a
Overall Impression
The Adobe Creative Cloud 2014 upgrade doesnt disappoint. Its a well
thought integration of the various
Adobe tools across their entire spectrum of applications. The new method
of versioning within Creative Cloud
answers many questions for users
concerned with interaction across multiple generations of workstations. The
strongest and most notable upgrades
of this release are present in Premiere
Pro CC. It appears the approach Adobe
is taking with their video apps is one
of a fully integrated suite, positioning
Premiere Pro CC as the central hub.
They continue to build upon their
base programs, Premiere Pro and After
Effects, while expanding their capabilities for specialized tasks, such as those
performed in SpeedGrade.
SUMMARY
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For comments, email: editor@videomaker.com, use article
#17604 in the subject line.
14
print
2014 NewTek, Inc. All rights reserved. TriCaster and 3Play are trademarks of NewTek, Inc.
REVIEWS
REVIEWS
TECH SPECS
Kino Flo
www.kinoflo.com
STRENGTHS
Even light
Low power consumption
Variable color temperature
Variable dimming
WEAKNESSES
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$4,570
16
Multipurpose dial
surface area 45-inches x 14-inches and there are zero hot or cold
spots. Perfectly even light over
that much surface means very soft
shadows with no need for umbrellas, filters or scrims. The Celeb 400
DMX does, however come with an
angled honeycomb (just in case).
The dimensions make for a perfect
studio light, but youd better have
a very strong stand in order to floor
mount it.
If you can afford the Celeb 400
DMX though, were pretty sure you
can snag a great stand or 10. The
cost of this light is exactly what
SUBSCRIBER
ALERT!
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VI D EO MA K ER >>> N O VEMBER 20 14
subALERT.indd 1
9/23/2014 2:00:08 PM
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REVIEWS
Libex ALLEX S
Kit Tripod/Slider
System
Silky-Smooth
b y D a v id G . W el ton
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$980
18
Legs of Three
The 8.4 pound (including head) ALLEX
aluminum tripod sits on three grippy
rubber feet. The 2-inch round feet
allow a generous range of swivel to
conform to uneven surface variations
like the top of a granite boulder.
Twist the rubber feet and a metal
spike appears. Keep twisting if you
wish the tripod to
Convenient, folding legs
sit on 100 percent
spikes perfect
for the fairway of
the local disc golf
course. Twist a little less if you want
a rubber foot with
just a hint of spike
in the middle.
Sturdy plastic
knobs secure the
tripod at the desired height. Two
nesting leg segV IDEOMAKER >>> NOV EMBER 2014
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REVIEWS
Libex ALLEX S
TECH SPECS
TRIPOD
Material: Aluminum and plastic
Weight (head attached): 8.4lb (3.8kg)
Height (head attached): 29-inches 65-inches (736mm - 1651mm)
Ball diameter: 75mm
Leg Sections: 2 stage
HEAD
Type: Fluid
Maximum Load: 9lb (4kg)
Drag Mode: Fixed
Tilt Angle: +90 / -80
Bubble Level: Illuminated
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20
Smooth Sliding
The 4 pound slider offers a silky
smooth range of 28-inches. The type
of professional camera movements
possible through this relatively short
distance is nothing short of amazing.
A clever design feature allows the
slider to attach directly to the tripod
via a 3/8-inch connection, freeing the
head to mount atop the slider. Adding
a second head directly to the tripod
increases the range of movement all
the way to 100 percent vertical. A
nice touch is a mount on both ends
of the slider for monitors and other
accessories.
Once removed from the tripod, the
slider uses its adjustable legs to sit on
any relatively horizontal surface. In
this configuration, the slider can acV IDEOMAKER >>> NOV EMBER 2014
Transfer les at
Thunderbolt 2 speeds.
TM
CM
MY
CY
CMY
A comprehensive line of hubs, card readers, and storage drives, Lexar Professional Workflow products allow you to quickly
transfer and back up files from multiple cards at once. The latest offerings include the Professional Workflow HR2 hub and
CR2 CFast 2.0 readerboth leveraging next-generation, high-speed Thunderbolt 2 performance, so you can quickly
transfer RAW image, high-res photos, and HD, 3D, and 4K video.
Pick and choose the right Professional Workflow products for your needs, add a selection of high-capacity Lexar Professional
line memory cards, and take control of your workflow.
2014 Micron Consumer Products Group, Inc. All rights reserved. Information is subject to change without notice. Lexar, the Lexar logo, and When Memory Matters are trademarks of Micron Consumer Products Group, Inc.
Micron Consumer Products Group is an authorized licensee of the CompactFlash trademark. The Micron logo is a registered trademark of Micron Technology, Inc. CFast is a trademark of the CompactFlash Association.
Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and/or other countries. All other trademarks or registered trademarks are property of their respective owners. Micron Consumer Products
Group, Inc. is a subsidiary of Micron Technology, Inc.
333-464 VM Rev A
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or
DSLR Mirrorless
With so many cameras available from so many manufacturers, purchasing your first interchangeable lens camera can be a daunting task. Your first question might be mirrorless or DSLR?
BY ODIN LINDBLOM
Size Matters
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22
VI D EO MA K ER >>> N O VEMBER 20 14
Image Sensors
DSP
23
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Viewfinder
Many mirrorless cameras lack viewfinders. Those that have them use
electronic viewfinders, or EVFs, which
can make it difficult to see detail.
Fortunately, many come with the advantage of being able to digitally zoom
from within the EVF for focus assist.
When a DSLR is in video mode, the
optical viewfinder is disabled, and the
video is viewable on the LCD screen,
much like a mirrorless camera.
Autofocus
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24
Lenses
Compression
Accessories
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VI D EO MA K ER >>> N O VEMBER 20 14
25
Cordless
Projector?
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26
HB Optoelectronic Co.
HBP200 Pico Projector
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How to Decide
BY JR STRICKLAND
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28
VI D EO MA K ER >>> N O VEMBER 20 14
29
Why wide?
50mm
Wide
Telephoto
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30
Why telephoto?
Review
How to Improve
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11 YEAR
VI D EO MA K ER >>> N O VEMBER 20 14
31
Reasons Why
a Tripod is Your
Most Important
Purchase
Other than your camera, a tripod is the only piece of equipment you own that will go to
every shoot. Despite all the talk of the latest 3-axis gimbals or drones, you should never
underestimate the importance of having a great tripod.
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BY DAVID G. WELTON
32
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VI D EO MA K ER >>> N O VEMBER 20 14
33
of these three-legged creatures easily overshadows the minimal effort required in hauling one
around. Well meet five videographers challenged by very different filmmaking scenarios
where a tripod becomes their best friend.
Lets explore the dance recital scenario described at the beginning of the article. The
biggest challenge to overcome is distance the
space between the camera and the stage. A tight
shot is necessary in order to see the expression
on a young dancers face. To get a tight shot
from the back of an auditorium, the magnifying
magic of a zoom lens is necessary.
At high zoom settings, the lens will accentuate even the tiniest twitch and bob. No human
can hold a camera steady for an extended time
even with image stabilization technology.
Solution: Use a tripod with a good quality head.
The head is the single most important
mechanism on a tripod. It must offer silky
smooth video camera movement anything
less is intolerable. Tripod heads designed for
still cameras are typically not smooth enough
for video use.
A good tripod head offers dependably consistent resistance to movement. That movement
can take the form of a pan (side-to-side movement) or tilt (up and down movement). The
steady resistance allows the operator to execute
controlled movements like smoothly following
The fluid drag
on a video tripod head, like
this Manfrotto
502, is what
separates
video from
photo tripods.
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34
Most tripods
have a bubblelevel, but due
to positioning,
visibility can
be an issue.
In the case of
this Miller Air
head, thats
not the case.
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VI D EO MA K ER >>> N O VEMBER 20 14
35
Hello Dolly
Being able to
remove the
tripods head
means you can
attach sliders
or other
advanced
support
systems.
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36
Lumix DMC-FZ1000
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Used Equipment
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Lens not included
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Page 1
Supports4K,
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Supports
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Supportsboth
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Built-In
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FullHD
HD1920
1920xx1080p
1080pRecording
Recordingatat60
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#CAHFG30
#CAHFG30
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15
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#SOFDRAX1 ..........................$4,499.00
#SOPXWZ100 .......................$5,499.00
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#CAXF100..........................$2,499.00
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#CAXA25$2,499.00
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#PAAGAC130A ....................................
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#CAXF300..........................$4,999.00
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Page 3
THE
RAPID
EVOLUTION
OF
THE
CONSUMER
CAMCORDER
BY RUSS FAIRLEY
Rewinding
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40
VI D EO MA K ER >>> N O VEMBER 20 14
41
800-323-2325
THE RAPID EVOLUTION OF
THE CONSUMER CAMCORDER
Whats DV?
resolution comes a few challenges, including the need for more storage, and
cheaper storage. Today, camcorders
rely on digital storage using memory
cards and solid state drives to hold the
large footage being shot. This shift to
readily available and inexpensive storage has lowered the cost and simplified the workflow of modern cameras.
Resolution Revolution
options, the GoPro succinctly showcases the evolution of todays consumer camcorder.
All of the cool factors going into
the Hero over the years have made
them wildly popular, and the action
camera market has seen explosive
growth as a result. This past March,
the company went public and has a
current valuation in the neighborhood of 3 billion dollars.
Fixed-Lens Cameras
Interchangeable-Lenses
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DSLRs and the latest wave of mirrorless cameras, while not specifically
camcorders, all take advantage of the
large photo sensor theyre packed with
to shoot video. This larger sensor can
make for some brilliant image quality. They are a good and inexpensive
option for video, though moving from
a camcorder to an interchangeable lens
camera will involve a learning curve, but
can yield some really dramatic results.
A snapshot from
Videomakers
camcorder buyers
guide from 1989.
42
www.videoguys.com
Whether youre a beginner or professional, were available to answer all your questions before, during and after the sale. Well even stand behind our
recommendations with a 30-day money-back guarantee and FREE tech support a policy unmatched in the industry! Check out Videoguys.com for
our complete product catalog, Video Tutorials & Guides, Daily Updates & Sales, System Recommendations for video editing & live production and more.
569
1,250
NewTek TriCaster 40
All-in-one Live Video
Production Solution
A complete HD multi-camera video production studio that enables anyone to
create professional streaming television on a small budget. TriCaster 40 gives
students, schools, small organizations, video bloggers, and indie producers
access to the same production capabilities used by major networks
including customizable animated transitions, titles &
$
00
graphics, improved file interoperability and more.
4,995
Adobe Creative
Cloud for Teams
All of the newest Adobe
CC Applications plus
Cloud Storage, Behance
Prosite, Digital Publishing
Suite and more
2,99900
3,99900
4,99900
Deliver mid-sized
webcasts & events
with SDI cameras and
TV-style production
$
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starting at...
visuals; streamed or
aired live, or saved to the drive, and done
ATTN TriCaster Owners: Save up to 40% Off when you trade-in now!
9,995
69900
599
00
2,19500
Roland VR50-HD
Multi-Format HD Mixer with:
USB 3 for 1080p Streaming
3G-SDI, HDMI, RGB & Comp. In
High Def Mixing Engine up to 1080p
Advanced 12 Channel Audio Mixer
7 Multiview Preview Monitor and more
649
7,49500
299
999
33900
ts simple: EDIUS Pro 7 is the fastest and most versatile real time editing
software4K, 3D, HD, SD, and almost any format from 24x24 to 4Kx2K,
all on the same timeline, even in nested sequences, all in real time. And
now EDIUS supports Matrox and Blackmagic Design hardware for added
capabilities including affordable 4K workflows. The perfect finishing tool for
broadcast news and studio programs, as well as corporate, documentary,
and 4K theatrical productions.
BUNDLE! SONY
Vegas Pro 13 with
Pioneer BDR-XU03
NewBlue FX Titler
Pro
Live
Streaming
without a PC
Crossgrade
Live Streaming
Appliance with
Recording
995
599
Monarch HD
Creative Cloud for teams includes the latest 2014 versions of Premiere
Pro and After Effects for professional video editing and compositing; plus
Adobe Photoshop, Illustrator, Flash & much more to complement your
complete content creation workflow. A subscription gives you access to new
products and features as soon as theyre released. Just download the latest
whenever you want. Plus Behance and the
$
00
Adobe Digital Publishing Suite.
1-year
Subscription
G-RAID STUDIO
G-Technology
G-DOCK ev
NewTek
TriCaster 410
New desktop versions of your favorite creative tools & services, check.
Immediate access to new features and updates, check. And thats just the
beginning. Everything you need to create intuitively & collaboratively is
included - for one affordable subscription price.
00
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Affordable, Flat Rate
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StreamVu features ease of use technology designed to meet the needs of
beginners & broadcast professionals alike delivering high quality video.
Flat Rate plans are locked in price points for 3 months of service, with
no overage charges. If you do not exceed projected usage your price is
renewed for a new 3-month term. If you exceed projected usage, we take
your monthly data usage average and multiply that by the Base Rate to
establish your new pricing.
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New cases and mounts transform smartphones and tablets into legitimate
camcorders.
Get Smart
TAKE SHOOTING WITH A CONSUMER CAMCORDER TO THE NEXT LEVEL
Consumer camcorders are great for
shooting video. Many include options
for stabilizing the picture, continuous
autofocus, automatic exposure settings, beautiful bright screens for monitoring a shot, and many other great
options. Even with all of those tools
available, there are some conditions
which can leave a camcorder wanting.
Fortunately, there are tools to complement a camcorders drawbacks and
take them to the next level. Here are a
few popular choices:
Stabilization - Wait a sec. We just
finished saying that camcorders often
have stabilization options built in.
While many image stabilizing features
help a shot tremendously, theres no
replacement for a truly stable shot.
Some options to add usability and
stability to a camcorder are tripods
and stabilizing systems. Tripods are
the standard go-to for video pros and
enthusiasts alike. They can be placed,
adjusted for height and angle, and
can provide panning and tilting shots
as well as locked off shots without any
of the shake associated with handheld shooting. Stabilizing systems can
be as simple as a hanging counterweight below a camera to smooth out
shake, or as complicated as a near
exoskeleton full-body system which
can mount lights, monitors and other
peripherals. For getting started, a
tripod or simple stabilizing system will
do the trick. Start with durable options
from Manfrotto or Sachtler and work
from there.
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44
Conclusion
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45
BASIC TRAINING
BASIC
BASIC TRAINING
TRAINING
NOVEMBER 2014
b y Ky l e Ca ssi d y
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46
Part of a directors
job is to call attention to any issues
that arise, then
decide how to resolve
them smoothly and
quickly to stay on
schedule.
You're Ready
to Make a Documentary.
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47
BASIC TRAINING
BASIC TRAINING
NOVEMBER 2014
NOVEMBER 2014
Dont be afraid to
admit if youve made
a mistake. Cast and
crew will respect
transparency.
need to reshoot. In 1962, Director John Frankenheimer was horrified to discover that the focus
was off in a shot of Frank Sinatra from The
Manchurian Candidate so he re-shot the scene,
but Sinatras performance wasnt as good. Eventually, he used the out-of-focus shot.
Kyle Cassidy is a writer and artist living in Philadelphia with his wife
and four cats.
For comments, email: editor@videomaker.com, use article #17025 in the
subject line.
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48
be costing you dozens or hundreds of dollars. Making the decision to pay an editor
to work for two hours to fix something may
make sense, but very often it doesnt.
Dont get overwhelmed when things
go wrong. Before asking yourself if it can
be fixed in post, ask yourself, Can I just
skip this thing? Too often, movie makers get distracted fixing small problems
at the expense of time, when the most
expedient way to resolve the issue might
just be to skip over the thing thats not
working. Camera crew showing up in a
cast members sunglasses? Rather than
spend half an hour having a grip come up
with dulling spray or moving the cameras
to cut down on reflections, consider just
removing the sunglasses.
Before you start shooting, spend time
thinking of ways to avoid situations where
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VI D EO MA K ER >>> N O VEMBER 20 14
49
PLANNING
PLANNING
NOVEMBER 2014
bb yy Od
Od ii nn LL ii nn dd bb ll oo mm
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Story
Outlines
Treatments
Scripts
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50
Storyboards
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VI D EO MA K ER >>> N O VEMBER 20 14
51
PLANNING
Shot List
Lookbook
Playlists
PLANNING
NOVEMBER 2014
Budget
Scheduling
Meetings
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Pre-production software like Adobe Story helps organize your shot list and itinerary.
52
NOVEMBER 2014
Releases
If youre shooting a dance competition for a website, your audience can view your video on their
living room TV or their phone. If youre shooting
PRODUCTION INSURANCE:
DO I REALLY NEED IT?
Best practice for businesses dictates having
general casualty insurance. This is particularly
true for the videographer who is venturing into
production whether its shooting weddings or a
web series. Production insurance can protect
you from lawsuits that can arise from any unfortunate accidents on set. If you have a company,
your business policy may also cover your creative
work. If not, you may want to get a policy for your
shoot. Many locations will not allow you to shoot
without insurance.
Production insurance may or may not cover gear
rental. Most rental houses will not lease you gear
if you do not have insurance or they may require
larger deposits.
Being prepared is important for pre-production,
but its also a necessity for protecting yourself
and your business from any unforeseen accidents that can occur.
Conclusion
contents
Odin Lindblom is an award-winning filmmaker who also shoots commercial and corporate video.
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VI D EO MA K ER >>> N O VEMBER 20 14
53
DIRECTING
DIRECTING
DIRECTING
DIRECTING
NOVEMBER 2014
M F T L E N S S E R I E S : CA P TU R E R EA L LIF E BEA U T Y
b y Pe t e r B i e st e r f e l d
Director:
Director: Hands
Hands Off
Off the
the Camera
Camera
Filmmaking is a team sport. Trust
your director of photography to interpret your cinematic vision and spend
your time with actors and focusing
on story.
Stepping it Up
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54
Its no secret there are celebrated directors who cant keep from fiddling
with the lens and are actually not bad
shooters. James Cameron and Stanley
Kubrick come to mind. The latters
shooting chops went down in cinema
lore on 2001 A Space Odyssey, with
this oft-told tale: After many takes,
Kubricks camera operator couldnt
quite frame up that iconic slowmotion close-up of the animal bone
soaring high into the air after the
monkey whacks it. Move over Rover,
let Stanley take over Kubrick
nailed it on the first take. Its his shot
you see in the movie.
Cameron can be excused. Hes a tinkerer a cinema technology innovator. Kubrick came from still photography, so he knew lenses. And so should
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DIRECTING
AUDIO
NOVEMBER 2014
by C hris M onlux
job is to make sure
that it all ends up
on the screen,
whether the scene
advances the story
with a plot turn
or signposts a
transformation in
the protagonists
character.
Reading the
screenplay should
make your imagiConsider directing your next project without ever watching a monitor.
nation soar. You
Try to free yourself of technology and focus on the actors performances. can see with your
minds eye how
you will shoot a scene and cut individspecial knowledge and experience to
ual shots together in editing, but knowmake your film the best it can be.
ing the purpose of a scene will inform
This frees you up to concentrate on
everything you do as a director.
the most important tools in directing
Looking through the viewfinder
the script and your actors. Emotion is
yourself when the camera rolls to make
everything in a film thats what audisure the framing is just so and your
ences remember. Once youve commucamera moves are perfect will take up
nicated the technical requirements of a
all of your concentration leaving little
scene, dont hang with the crew to see
room for attention to scene content.As
how they do it. Instead, go spend time
director you should be concentrating on
with your actors and with the script.
what your actors are saying and doing,
Shooting coverage is not directing. and how theyre moving. Is it working
for the scene and the story? Is it authenIf youve had any kind of production
tic? Is it believable?
training, youll be schooled in the mechanics of coverage shooting a scene
Searching for Your DP
or an action from a variety of camera
angles and shot sizes for editing purpos- So, how do you get an experienced
DP to work for you?
es. In fact, if youre a newbie director,
Short answer: Start by networking.
youll be preoccupied with coverage.
Browse online filmmaking hangouts
But shooting coverage is not directing.
to find out who is doing what; CraigDirecting is knowing your screenplay
slist.org is good for that. Go to their
and the purpose of every scene. Your
PREPARATION
As a serious indie filmmaker, the best thing you can do for
your film is to be prepared.
Read the script several times and make notes for every
scene. Write down your visual ideas and the purpose of the
scene in the overall story.
Then start making lists: make a list of actors and extras;
make a list of locations and indicate how long it will take
to shoot at that location what technical challenges might
that location present; list your props, wardrobe requirements and other production elements, such as vehicles.
A script breakdown document is useful for identifying
everything you need for every shoot and set-up. Breaking
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56
down the script is typically done by the first assistant director or the production manager, but on an indie, low-budget
project, be prepared to do a lot of this work yourself.
With production documents in-hand and an intimate
understanding of the script and its production requirements,
you have a solid foundation for bringing a worthy film to the
screen. And most important, you now have some resources
that will let you communicate effectively what you want and
need to cast and crew, especially to your DP. Filmmaking is a
team sport. Let your team play.
Take off your technicians cap, sit down in your directors
chair and focus on story, story, story.
Next to the gain on most professional quality mixers are two buttons:
one is a bass roll off, allowing you to
roll off low frequencies being picked
up on sources that shouldnt have
low frequencies. Using this feature
prevents undesirable low frequencies
from muddying up your mix. The
second button is a pad. Pads come
in many ranges,-10db, -20db, -30db
and so on, but for the purpose of this
article, well say its -20db. Choosing
to use the pad would reduce the input
gain by 20 decibels. This will allow
you to utilize the gain knob when the
incoming signal is too hot (loud), even
when the lowest amount of gain is being applied. This may be a particularly
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57
AUDIO
NOVEMBER 2014
contents
AUDIO
58
NOVEMBER 2014
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EDITING
b y Ch r is A ce Ga t e s
Subscribe to Videomaker
Whats in a name?
One of the biggest favors a video editor can do for themselves is to come
up with a standard naming convention that they consistently apply to all
files in all of their projects. A naming convention is simply a standard
taxonomy for the structure of a name
given to files. It should be easy to understand and allow you to immediately
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60
Laying Tracks
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ADVERTISING INDEX
EDITING
EDITING
NOVEMBER 2014
NOVEMBER 2014
CLASSIFIED NETWORK
equipMent & accessoRies
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Some of the greatest organizational tools in video editing programs lie outside of the
timeline. The UI (user interface) is an exceptionally well designed organizational tool.
Developers go to great extents to make sure their UI designs are practical and efficient for their users. They also understand that a UI is not a one size fits all solution;
thats why most video editing programs have a customizable UI. The customizable UI
allows the user to manipulate the appearance of the software to best support their
workflow. Here are five quick tips on how to best utilize a customizable UI for video
editing.
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the
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OMPT __________________________ 27
contents
video tracks 7, 8,
and 9 would be
for graphics and
overlay effects.
This technique can
scale to the size
and scope of the
project. It doesnt
always hold up, but
its a good place to
start when laying
out a rough cut.
This same
technique can be applied to audio and
many times its a much more efficient
technique for audio work. Different
audio tracks can be assigned to different
voices within a piece, regardless of the
videos intent. Likewise, different tracks
can be assigned for sound effects and
music tracks. This makes it especially
marketplace
62
efficient for a video editor who is auditioning various music beds, they can
mute and solo individual tracks knowing they will only hear what is intended.
One of the greatest pervasive advances in video editing software is also
one of the simplest: color coding. The
majority of video editing programs
allow the video editor to color code
tracks and even individual clips. Just
like naming conventions, a consistent
use of color coding will help you visually identify various clips and tracks in
the timeline. Color coding is especially
helpful in those situations where you
have established tracks for particular
types of media and shots, but needs to
place a clip out of context within that
structure to create a particular effect.
Color coding is also useful in identifying
nested sub-compositions within an edit.
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PRODUCTION TIPS
b y Ru ss F a ir le y
The possibilities for creating animations with Adobe After Effects are
pretty close to limitless. We can composite complex scenes, add thousands
of lens flares to Star Trek footage, or
create fun graphics without any live
action footage whatsoever.
So with all of these possibilities,
how does one figure out exactly
where to start? After Effects basically
boils down to two things: animating
parameters anything that can be set
with a number like scale, brightness,
blur, etc and manipulating layers
how the visuals are stacked on top of
one another.
Lets take a look at two beginner techniques that illustrate these concepts.
Basic Animation
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To start, lets create a new composition, or comp, that matches our footage dimensions and settings. Select
the footage to be used in the Project
window, and click and drag it onto the
Create a New Composition icon right
at the bottom of the Project window.
This will automatically format a composition to match the settings of the
footage being used. It will match the
size, frame rate and length of the clip
being used.
Now that we have a comp, youll
notice the footage appears as a layer
in the timeline window, and a look
at the first frame will show up in the
Composition window.
First thing were going to animate is
the opacity of the footage to make it
fade in. Were going to fade in the beginning of the footage over one second.
Look for a small twirl-down arrow
to the left of your footages name in
the timeline. Click the arrow to reveal
64
the Transform properties for the footage. All of these properties Anchor
Point, Position, Scale, Rotation and
Opacity can be animated. Note
the small stopwatches next to each
property name. Well use these stopwatches to create keyframes, which
will determine the property value at
that time on the timeline.
Start by clicking on the 100%
property next to Opacity and replace
100 with 0. This will reduce the layer
opacity to 0%. That layer should now
be invisible.
Now click the stopwatch next to
Opacity. This will create a keyframe
on the timeline, locking in 0% as the
opacity value this time on the timeline.
Next, drag the Current Time Indicator, or CTI, to the one second mark.
Change the opacity value to 100.
This will increase the opacity of the
layer to 100%. Notice the footage has
appeared.
Take the CTI back to the beginning
of the footage and hit the spacebar to
preview the animation.
Congratulations! Youve completed
your first animation and have learned
the basis for one half of the foundation of After Effects. Just about any parameter in any effect in After Effects
can be animated with keyframes. Look
for the stopwatches, apply effects and
experiment.
Remember: there are no rules, so
dive in and see what you can do!
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