The Professional's Guide to HD Tools & Technique

Vol. 19 No. 9 | September 2011

IN REVIEW
NIKON D7000
GENARTS SAPPHIRE EDGE
RED GIANT SOFTWARE
MAGIC BULLET SUITE 11

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 3
xx
volume 19
from the editor
number 9

september 2011 | opinion

digital September 2011

EDITORIAL
EDITORINCHIEF Cristina Clapp

Color and Creativity

cclapp@nbmedia.com
MANAGING EDITOR Katie Makal
kmakal@nbmedia.com
TECHNICAL EDITOR Jay Holben
jayholben@gmail.com
WEB EDITOR Sarv Taghavian,
staghavian@nbmedia.com
CONTRIBUTING EDITORS J.R. Bookwalter,
James Careless, Chuck Gloman, Buck McNeely, In keeping with the theme of our DV 101 article
Carl Mrozek, Oliver Peters, Stefan Sargent, Jon Silberg,
Ned Soltz, Iain Stasukevich, Joy Zaccaria
on color correction (page 27)and related
reviews of GenArts Sapphire Edge (page 12)
ADVERTISING
EAST COAST SALES MANAGER Susan Shores and Red Giant Software Magic Bullet Suite 11
(page 14)Id like to invite you to an in-depth,
What
sshores@nbmedia.com 212. 378.0400 Ext. 528
WEST/CENTRAL SALES MANAGER Jeff Victor CONFERENCE PROGRAM
jeffvictor@comcast.net 847. 367. 4073 day-long seminar at Digital Video Expo on BEGINS ON PAGE 23
EUROPE SALES MANAGER Bob Kennedy
bkennedy@nbmedia.com
color correction. Led by DV contributing edi- are the
tor Oliver Peters, Color Correction Options
best color
011. 44. 1279. 861264
DIGITAL VIDEO EXPO SALES
Contact your DV representative
takes place Wednesday, Sept. 21, from 9 a.m. to 5 p.m.
CLASSIFIED AD SALES Susan Shores
sshores@nbmedia.com 212. 378. 0400 Ext. 528
Color correction is often the final threshold in finishing your production. Its the correction
time to correct, polish and even stylize the look of your video. Color correction has
ART & PRODUCTION
SENIOR ART DIRECTOR Nicole Cobban
become the defining element of many iconic feature films through the digital inter- tools
ART DIRECTOR Annmarie LaScala
PRODUCTION MANAGER Davis White
703. 852. 4615 dwhite@nbmedia.com
mediate process. But what are the best tools to use that are accessible to the typical
video professional?
that are
ADVERTISING COORDINATOR Caroline Freeland
cfreeland@nbmedia.com Oliver will break down the various options, including standalone desktop applica- accessible
tions, such as Apple Color and Blackmagic Design DaVinci Resolve; plug-ins including
CIRCULATION
ASSOCIATE DIRECTOR FOR Red Giant Magic Bullet Looks and Colorista II; and built-in tools within Apple Final to the
AUDIENCE DEVELOPMENT Tracey H. Dwyer
CIRCULATION MANAGER Kwentin Keenan
CIRCULATION CUSTOMER SERVICE
Cut Pro 7 and Final Cut Pro X, Adobe Premiere Pro and After Effects, and Avid Media typical video
Composer. The session will include an overview of each of these software tools and a
professional?
Michele Fonville

SUBSCRIPTIONS: demonstration of how to use them to achieve blockbuster results.

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Oliver will also cover edit-to-color grading workflows and discuss how to maximize
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9786670352 Outside the US
Fax: 9786710460 If youre interested in attending, e-mail me and Ill get you a DV reader discount
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NEWBAY MEDIA VIDEO/BROADCAST GROUP
EXECUTIVE VICE PRESIDENT | GROUP PUBLISHER Carmel King
VP SALES | GROUP PUBLISHER Eric Trabb DIGITAL VIDEO EXPO KEYNOTE: JACOB ROSENBERG, CTO,
EDITORIAL DIRECTOR VIDEO Cristina Clapp
EDITORIAL DIRECTOR BROADCAST Carter Ross BANDITO BROTHERS WEDNESDAY, SEPT. 21, 2:30 P.M.
WEB DIRECTOR Ragan Whiteside-Johnson
ONLINE PRODUCTION MANAGER Robert Granger Jacobs Digital Video Expo presentation
NEWBAY MEDIA CORPORATE Raising the Digital Bar focuses on what you
PRESIDENT & CEO Steve Palm gain and what you pay for in blood, sweat
CHIEF FINANCIAL OFFICER Paul Mastronardi
CONTROLLER Jack Leidke and tears by throwing caution to the wind and
VICE PRESIDENT OF DIGITAL MEDIA Joe Ferrick
VICE PRESIDENT OF AUDIENCE DEVELOPMENT Denise Robbins
embracing new production technologies and
VICE PRESIDENT OF INFORMATION TECHNOLOGY Greg Topf solving their inherent problems in post. Jacobs
VICE PRESIDENT OF HUMAN RESOURSES Ray Vollmer
VICE PRESIDENT OF PRODUCTION & MANUFACTURING talk and interactive Q&A session is free and
Bill Amstutz
VICE PRESIDENT OF CONTENT & MARKETING open to all show attendees.
Anthony Savona
A digital technology expert, author and Jacob Rosenberg (with camera)
REPRINTS AND PERMISSIONS: filmmaker, Jacob has worked as a senior con-
Please contact our Reprint Coordinator
at Wrights Media: 877. 652. 5295
sultant to Adobe Systems Inc., on Adobes digital video software applications. He has
contributed his technical knowledge to a number of feature film projects, including
PUBLISHED BY
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his extensive experience as filmmaker, author and digital media expert to Bandito
Web: www.nbmedia.com Brothers, a full-service media facility that creates, produces, manages and distributes
audio-visual content.

dv.com
 4 Inside dv.com/Sep2011 |volume 19|number 9
contents | september 2011

update
6 News & Notes
Nelson shoots conservation doc with Sachtler,
Teradek Cube HD Video Encoder, FFV ships
sideKick HD digital video recorder, Company
3 colors action-packed Beastie Boys video,
Blackmagic Design releases free DaVinci
Resolve Lite.

in review
12 GenArts Sapphire Edge
Add a little or a lot with Sapphire Edge presets.
By Ned Soltz

14 Red Giant Software Magic On Our Cover: DV this month examines options for desk-
Bullet Suite 11 top color correction, such as (clockwise from upper left) Apple's
Magic Bullet Suite 11 is a mega-bundle of good. Final Cut Pro 3-Way Color Corrector (p. 27), Blackmagic Design's
By Ned Soltz DaVinci Resolve Lite (p. 10), GenArts Sapphire Edge (p. 12) and
Red Giant Softwares Magic Bullet Suite 11 (p. 14).
16 Nuwaste Studios Pocket Light Meter
This app is accurate, sensitive and affordable
(meaning free).
By Jay Holben

18 Nikon D7000
The D7000 is a video camera strong enough to
keep Nikon a contender in the DSLR filmmaker
market.
By Jon Silberg

features
20 Sweet Spot
Rhett McLaughlin and Link Neal perfect the art
of the local commercial on IFCs Commercial
Kings.
By Joy Zaccaria

columns
3 From the Editor
Cristina Clapp considers color and creativity.
20
22 Instant Expert
Ned Soltz examines itsy bitsy HD cameras. DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400.
Periodicals postage paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are
27 DV101 $39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All
rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital
Jay Holben explains color correction. Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted 2011 by NewBay Media L.L.C. All
rights reserved. POSTMASTER: Send address changes to DV, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses
34 Production Diary to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. DV makes every effort to ensure the accuracy of all information published in the magazine;
Stefan Sargent knows that it can only get worse. however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.

dv.com
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B e c a u s e i t m a t t e r s .
 6
Update |
news & notes | september 2011
Nelson Shoots Conservation Doc with Sachtler
Cinematographer Peter Nelson
recently completed a short
film profiling the White Oak
Conservation Center, a facility
in Florida dedicated to endan-
gered species conservation,
captive breeding and wildlife
research.
Our assignment was to film some
of the wildlife and center in a doc-
umentary style, combining obser-
>in focus:
mousing
around
>Michel Gondry and Peter
Sluszka Create Crystalline
for Bjrk
Director Michel Gondry and Hornets
Peter Sluszka collaborated on the
music video for Bjrks Crystalline,
which plays like a low-fi science
fiction movie, with shooting lasers,
growing crystals and hand-drawn
graphics. www.videography.com
>Randall Dark Gets Close Up
for Eddie Willis Glow Video
Director/producer Randall P. Dark
crafted an intimate feel for Eddie
Willis Glow. Lately, it seems that
music videos attempt to tell an unre-
lated story and rarely let you enjoy
the performer singing, says Dark.
vational wildlife footage and vrit I wanted the viewer to have a one-
footage of the veterinary activities to-one type of experience with this
and interviews with staff members, song. www.cinematographer.com
explains Nelson.
Nelson shot the project on a
Panasonic AG-HPX300 P2 camera. nd us online
Camera support was either my digital edition:
Sachtler Video 18 Plus or my shoul- www.myDVmag.com
der, often switching between the two facebook:
in seconds, says Nelson. When you www.facebook.com/
see a shot in a documentary situation, pages/digital-video-magazine
you have to respond quickly or miss online:
www.dv.com
it. A good tripod is the little secret
of good shooting and one too often twitter:
www.twitter.com/
overlooked. DVMagazine
Teradek Cube HD Video Encoder
Company: Teradek What It Is/Does: A miniature camera-top HD video encoder, Cube accepts video from any
camera, compresses it using H.264, and delivers the video over any IP interface, including Ethernet, built-in
Wi-Fi and cellular. Video streams from Cube can go directly to video-enabled devices, including set-top boxes,
smartphones, iPads and Web browsers, or to Cube decoders for on-site monitoring. Bottom Line: For live
video productions, users can stream video directly to viewers and devices. Price: Starts at $1,190 Contact:
www.teradek.com
dv.com
 New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2
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8 digital
Update video
tweets
news & notes | september 2011

FFV Ships >@SteadiOp

sideKick HD
FS100, 5D MK II & AF100 Depth
of Field Comparison: http://t.co/
GbzrIhs

Digital Video >@cristinavaldivi

Im not gonna lie... Im kind of
obsessed with this video right now:

Recorder http://t.co/nFaHgx7 @Khalid-

Mohtaseb + @JonathanBregel are
awesome.
Now shipping, sideKick HD from >@Sonysoftware
Fast Forward Video (FFV) is a Create DVDs and Blu-ray
straight-to-edit, camera-mount- discs with #VegasPro http://t.
able digital video recorder that co/79YcTZK
captures video directly from any >@Gizmodo
HD-SDI or HDMI output at bit 10 of the Most Mind-Blowing Slow
rates up to 220 Mb/s with 4:2:2 Motion Videos Youve Ever Seen
sampling and 10-bit resolution in http://t.co/UW4dX4N
industry-standard codecs such as >@donaldberube
ProRes. In Order to Be Good at Time Lapse,
sideKick HD records video onto You Need to Know What Good
standard 2.5-inch hot-swappable Time Lapse Looks Like http://t.co/
solid-state SATA drives and pro- GDP3oAe @3exposure @rhedpixel
vides a 4.3-inch color on-board #timelapse #dslr
confidence monitor that offers >@philiphodgetts
playback options including scrub The Trivialities and Transcen-
and jog. sideKick is available now dence of Kickstarter http://tinyurl.
for $2,495. com/3emfl46 Great background
on fan funding site and projects
its funded
>@VisionWrangler
dv.com most-read features (Direct links at dv.com/Sep2011) Directing on a Dime: Legendary
Producers Rep John Pierson on
the Current State of Indie Film:

< Evolve Digital http://bit.ly/nvyEHL

Cinema Explores for
Nat Geo Campaign
A four-spot on-air campaign for
National Geographic Channel,
shot and edited by Evolve
Digital Cinema/IMG, showcases
individual explorers in their
element.
Captain America Action Shots Captured with Canon 5D
Captain America: The First Avenger used Canons EOS 5D Mark II digital SLR cameras
to capture many of the movies action shots.
>@colorgradernet
DaVinci Resolve 8 - Lite vs. full
version http://bit.ly/rp4zuy
>@SnagFilms
Documentary vs. Docudrama, do
they need to be true? http://is.gd/
p3KsaZ
>@Autodesk_ME
Check out all four parts of Grant
Kays video series on #Autodesk
#Smokeonmac for #FinalCutPro
users: http://bit.ly/6SBvVk
>@MyDigitalVisual
Like Crazy - The HDSLR Film
That Made It Big http://t.co/
s36zq3a
>@indiewire
Watch: Raucous Trailer for Festival
Staple Shut Up Little Man! http://
ow.ly/1e5qQq

dv.com
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Update

Company 3 Colors Action-Packed

Beastie Boys Video
Postproduction house Company
3 completed dailies and final color
work on the Beastie Boys music
video Dont Play No Game That I
Cant Win (featuring Santigold).
Billed as an action-adventure
spectacular, the video, directed
by Spike Jonze, features the hip-
hop group portrayed by action photography Wyatt Troll to re-
figures; the trio is in the middle of create the look and feel of semi-
a performance when set upon by nal 80s action films like First
a ruthless band of assassins. The Blood. This is basically the action
videos concept is the brainchild movie you wanted to make when
of MCA (Adam Yauch). you were a kid, says Masick.
Company 3 colorist Tim The videos full of action and
Masick worked with director of explosions.

Blackmagic
Design Releases
Free DaVinci
Resolve Lite
DaVinci Resolve Lite, a free,
reduced-feature version of
DaVinci Resolve that includes
many powerful color correction
features in a downloadable soft-
ware package, is now available
at www.blackmagic-design.com.
Resolve Lite includes all of the processing ing, curve grading, XML import/export, 32-bit float
of the full DaVinci Resolve, but limits projects processing, YRGB image processing, multi-layer
to SD and HD resolutions, two color correction timelines, stabilization, window tracking, primary
nodes, a single processing GPU, and a single and secondary color correction, real-time process-
RED Rocket card. ing, capture and playback with deck control, and
Resolve Lite offers high-quality optical resiz- compatibility with third-party control panels.

dv.com
 WASHINGTON, DC

CONFERENCES: Nov. 29 - Dec. 1 | EXHIBIT HALL: Nov. 30 - Dec. 1

Walter E. Washington Convention Center
www.gvexpo.com

Innovation at work.
Plan now to attend the East Coasts largest pro video and broadcast expo, held November 29 to
December 1 in the heart of our nations capital. Learn about cutting-edge video technologies and
techniques in a comprehensive conference program produced by the experts at DMDC; get hands-
on with the latest video gear in an exhibit featuring over 120 suppliers, dealers and distributors; and
attend FREE special events and networking opportunities to further your knowledge and career.

For a FREE exhibits pass and/or to view discounted conference options, visit gvexpo.com.

Attention Exhibitors Book your booth now and get in front of thousands of high-level equipment
buyers working in government, broadcast, pro video, corporate media, law enforcement and edu-
cation. Call Jackie Gospodinoff at 212-378-0493; jgospodinoff@nbmedia.com for more info.

12 InxxxReview
gear | september 2011
Look Inside
Add a little or a lot with Sapphire Edge presets.
BY NED SOLTZ
A good script or compelling docu-
mentary subject is the beginning.
Of course, having well composed,
exposed and creatively shot visuals
helps. And dont forget audio. Bad
audio is a surefire way to lose your
viewers. But it is the look that con-
veys the true feel of any piece.
GenArts recently released
Sapphire Edge, a $299 collection of
some 350 customizable looks presets
combined with a one-year subscrip-
tion to its new FX Central service.
Now some readers might say, There
are tons of free looks out there on
the Web, and besides, I can create
my own. Both are true. However,
what sets Sapphire Edge apart from
many albeit well constructed home-
brew looks is the Sapphire render
engine. The Sapphire engine is fast
and its rendering is precise. It is the
Sapphire core that makes Edge well
worth the price of admission.
Sapphire Edge is available in
GenArts
Sapphire Edge
score
PROS: Virtually unlimited choice of
looks. Fast and accurate rendering.
Constant updated looks through FX
Central.
CONS: Some editors find pre-
packaged looks constraining.
Perhaps price sensitivity for FCP X
users.
BOTTOM LINE: Sapphire Edge
gives a definite edge to editors and I
heartily recommend it.
MSRP: Sapphire Edge: $299. FX
Central: First year free with Sapphire
Edge purchase, $99 per year there-
after
ONLINE: www.genarts.com
information and customized looks
that can be downloaded. GenArts
has promised to post a new set of
looks each month. Following the
initial one-year complimentary sub-
FxPlug format for Mac (meaning transition youve selected. Presets scription, FX Central costs $99 per
Apple Final Cut Pro 7, Motion 3.02 are searchable by keyword. Clicking year.
or greater, Final Cut Express 4.0) and on the preset shows a real-time pre- Sapphire Edge provides a simple
Sony Vegas Pro for PC. An update view of the clip with preset applied. but powerful tool to add dramatic
due by the time you read this review This feature can be turned off if impact to your clips. The available
will add FCP X compatibility. desired. In my test system, the built- presets plus those downloadable
I tested Sapphire Edge on an in CUDA-aware acceleration of Edge from FX Central create virtually lim-
Apple Mac Pro running OS X 10.6.8 combined with my Quadro 4000 itless possibilities for creative film-
with an Nvidia Quadro 4000 and card to produce smooth previews. makers. Its powerful render engine
Final Cut Pro 7.0.3. Installation is Click Apply and there it is in your is fast, the architecture is 64-bit, and
straightforward, and it works like Viewer window. Tweak the sliders it is precise.
any other effect or transition plug-in. to refine or customize your look or A question remains whether buy-
Select the clip and apply transition. Its that simple. ers of Apples $299 Final Cut Pro X
the filter or select the EXCELLENCE The software is GPU- would spend another $299 on an
edit point and apply the accelerated for Nvidia effects package. My answer is simply
transition. Effects plug- CUDA cards, but even if that they should. FCP has always
ins include FilmStyle, you dont have a CUDA- been enhanced through plug-in
FilmDamage and capable card, the engine packages and standalone plug-ins. I
TVDamage. Transitions AWARD is multiprocessor-aware. It lament the loss of direct FxPlug sup-
are Sapphires renowned remains to be seen wheth- port in FCP X and welcome any plug-
lighting effects: DissolveLensFlare, er this produces the same advantage in that works to enhance the creative
DissolveGlow and DissolveGlint. in FCP X, with its ability to use all juices. Sapphire Edge gives a definite
Thats where the fun begins. processor cores. edge to editors and I heartily recom-
Click the Presets tab and a separate Currently in beta but set to mend it to FCP and to Vegas editors.
screen appears with all of the avail- launch shortly, FX Central provides Your viewers will admire you for your
able presets for the Edge filter or continual updates, tutorials, useful choice. dv
dv.com
14 Red Giant Software
InxxxReview Magic Bullet Suitexx
11

score
gear | september 2011

Plug-In Power Pack

Magic Bullet Suite 11 is a mega-bundle of good.
PROS: Excellent value in suite.
Powerful controls. Plug-ins work
well in combination. Grinder ingests
AVC/H.264 files quickly and converts
to ProRes.
CONS: Steeper learning curve
than preset applications. Seems to
work better in AE than in FCP 7.
BOTTOM LINE: Once again,
Red Giant hits one out of the park.
The bundle represents excellent
value.
MSRP: $799
ONLINE: www.redgiantsoftware.
com

Magic Bullet Looks main window

BY NED SOLTZ with long clips. I made the mistake Looks differs from the preset
Red Giant Software is taking both of applying Denoiser to a 30-min- wherever direct reading of DSLR notion of Sapphire Edge. In Magic
a bundled and unbundled approach ute point-the-camera-talking-head and other H.264/AVC files is incon- Bullet Looks 2, you are creating
to its latest update of the Magic clip (I knowits what the client venient or impossible. your own look with extensive tools
Bullet line of plug-ins. The Magic wanted and I aim to please) and The two new components of not only to preview but also to
Bullet Suite consists of nine applica- FCP was simply unable to render MB Suite are Cosmo v1 and Looks monitor technical parameters of
tions that can be bought separately it. It worked fine on small clips, and v2. Cosmo is one of several digital the shot with scopes.
or in the $799 bundle. that long clip was able makeup apps in the marketplace, Then add Magic Bullet Mojo to
The bundle represents to render in AE CS5. (It but it stands apart from its com- the stack. Mojo extends the func-
EXCELLENCE
the best buy, since indi- took 10 hours, but it ren- petitors by the great amount of tionality of looks with the ability
vidually those packages dered.) The results were control it offers. to tint, warm, cool, add punch or
would cost more than stunning: noise removal Magic Bullet Looks 2 is the bleach bypass an image.
$1,500. Included are with very minimal soft- centerpiece of the suite. Its power The combination of Colorista II,
Colorista II, Denoiser,
Grinder, Instant HD,
AWARD ening of image. Lesson
here is to apply Denoiser
mask parameter allows keyframe-
able masks so you can apply a look
Looks 2 and Mojo provides a com-
plete color grading solution within
Looks 2, Mojo, Cosmo, to shorter clips. The bet- to a specific portion of the image. your NLE. It is for this reason alone
PhotoLooks and Frames. ter lesson, however, is to convince Note the presence of scopes as well that I would recommend purchasing
Weve reviewed Colorista II (DV your client that a 30-minute shot of as extensive categories of looks. the entire package, even if you are
September 2010), and I concur with a talking head is deadly. Apply a basic look and tweak the not using the other plug-ins, since
my colleague Oliver Peters, who Grinder 1.5 is my transcoding image by clicking on a category together the cost of these three
ranked it above other color correc- app of choice for DSLR footage. at the bottom of the screen and exceeds the $799 package price.
tion plug-ins. Within FCP, it is my Granted, some of this workload has adjusting its controls. When youre Once again, Red Giant hits one
go-to color corrector. been obviated by FCP X and its satisfied, click Finished to return out of the park. The bundle repre-
I have found Denoiser a bit tem- ability to ingest DSLR files. But to the host application. sents excellent value. Colorista II is
peramental in FCP 7 when dealing there remains a use for Grinder The principle in Magic Bullet my favorite color grading plug-in.
Mojo adds, well, that little bit of
mojo to your shot. Looks 2 is more
intricate and allows for the creation
The combination of Colorista II, Looks 2 and Mojo pro- of your own looks with fine con-
vides a complete color grading solution within your NLE. trol. For the best results, I prefer
running these plug-ins within After
Effects. dv

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xxx In Review xx

X Marks the Spot Meter

This app is accurate, sensitive and affordable
(meaning free).
BY JAY HOLBEN
Nuwaste Studios
Pocket Light Meter app EXCELLENCE
uses the iPhones cam-
era as a spot meter, and
its incredibly accurate.
Comparing readings
with my Sekonic L508C
AWARD
spot meter, I found the
Pocket Light Meter to be within 1/10th of a
stop every time. Using a gray card, I could
quickly turn the Pocket Light Meter into an
incident meter.
On the setup page, you can set your shutter
speed to indicate full, half or third stops or set it for cine speeds. You can
set your aperture and ISO stops into full, halves and thirds as well. Theres
even an option to log your readings to your Dropbox account for future
reference. If the meter is slightly off or if you need to calibrate to a second
meter, theres a simple slider for EV correction factor.
The app works with either the forward or backward camera on the
iPhone (or iPod). A small viewfinder-like image shows you what the cam-
era is seeing and a red open rectangle indicates the reading area. You can
touch the viewfinder area to move the reading area to wherever youd like
if the center isnt what you need to read.
The meter is always reading, so its handy to have a hold button: point
it at the area you want to read, hit hold and then move the phone to look
at the reading information and evaluate your exposure.
I was surprised at the precision of this app. It is a very legitimate, work-
able tool. It's useful on the iPad, but less so as the size of the pad makes
taking readings a little cumbersome. The iPhone or iPod is the perfect
handheld size to make a viable spot meter. dv

Nuwaste Studios Pocket Light Meter

score
PROS: Very accurate, great range
of sensitivities.
CONS: Because its a free app,
you have to deal with annoying, but
ignorable, ads at the bottom of the
screen.
BOTTOM LINE: A phenomenal-
ly useful application in your pocket.
Shouldnt replace a real meter, but it
definitely works in a pinch!
MSRP: Free
ONLINE: Apples App Store

dv.com
18 InxxxReview
gear | september 2011
Sensors and Sensibility
The D7000 is a video camera strong enough to keep Nikon a
contender in the DSLR filmmaker market.
BY JON SILBERG
EXCELLENCE
For some years after
Nikon brought video to
the DSLR world with its
D90, the company pretty
much ceded that market AWARD
segment to Canon, which
was first to market with
the 1080 and 24p options that really
made DSLR video a force in the
indie feature and TV worlds. Since
Nikon released the D7000, however,
the company has almost closed
the technical gap between the two
companies in that regard.
The HD options and functionality
on the D7000 are very much like
those on Canons EOS 7D and T2,
DSLR hybrid offerings with sensors
of a similar size to this Nikon. Using
essentially the same H.264 codec for
video as all the DSLRs, the D7000
offers many flavors of HD, from
1920x1080 down to 640x424. At an
MSRP of about $1,200, the D7000
falls right in between the Canon
EOS 7Ds nearly $1,700 and that
companys $800 T2i.
First and foremost,
Nikons D7000 is an
amazing still camera.
Nikon has always made
a point of not adding
pixels just to add pixels,
because of the quality
costs in terms of noise
and latitude inherent in
decreasing pixel size to
increase pixel number on an imager.
I found virtually the same low-light
capabilities with the D7000 as with
my Nikon D700 and its astounding
12.1-megapixel FX-size imager.
Scenes shot at ISO 2500 looked
amazingly clean to me at 8x10, and
shots appeared noisy but still crisp
and with good contrast at settings
higher than that, up to 6400. I did find
that in a contrasty situationI was
shooting a DV Expo presentation with
a bright screen and a person speaking
in the shadowswhen I had both
cameras set with the same picture
control settings, the D700 seemed
to do a better job than the D7000 of
holding both shadow and highlight
information.
In the month I had to experiment
with the D7000, I found that some
of the magnificent qualities
of the still images
did not totally hold up to the line
skipping and compression involved
in recording video. I cant say I did
a true shootout between the Canon
7D I had earlier this year and the
D7000, but I did shoot both at ISO
settings throughout the range at
each cameras highest quality
setting. I used similar opticsthe
kit lenses for each body, Canons
28-135mm f/3.5-5.6 on the 7D and
Nikons 18-105mm f/3.5-5.6 on the
D7000and I zeroed out sharpness
and contrast settings, and across the
board I found a greater number of
moir issues in the D7000 footage at
every ISO and more noise in material
shot above ISO 800.
I was also frustrated with the
D7000 by the fact that its impossible
to change F-stop manually while
recording in HD modeunless
youre using one of Nikons older
lenses with an actual F-stop ring,
and then you can pull the aperture
manually. (The D7000, unlike some
previous Nikon models, can meter
just about any lens the companys
ever made that fits the mount.) I
was able to use a beautiful, ancient
Nikkor 75-150mm f/3.5 optic I bought
Nikon D7000
score
PROS: Great sensor; superb auto-
focus, customization and ergonom-
ics. Any flavor of HD (compressed
to H.264, of course) that you could
want.
CONS: Has all the same limita-
tions as an HD capture device that
all DSLRs have (because video func-
tionality will always be a secondary
consideration in designing cameras
used primarily for still photography).
Some moir and noise issues.
BOTTOM LINE: An excellent
still camera. An HD camera strong
enough to keep Nikon a contender in
the market segment Canon owned
for some time.
MSRP: $1,199.95
ONLINE: www.nikon.com
on eBay for $100. It not only let me
change aperture mid-take, it also
has a throw much more useful for
pulling focus than any modern auto-
focus lens. Shutter speed settings
can be changed while recording HD.
Overall, Nikons D7000 is an
amazingly fast, efficient still camera
with an incredible sensor, easy-to-
use and customize controls, and
some of the best metering and auto-
focus available in the current crop
of DSLRs (not merely in this price
segment). As an HD camera, it has all
the limitations inherent in the HDSLR
world in terms of ergonomics, a
very highly compressed signal
and all the rest, with (in my
experience) a tendency to
moir and get noisy faster
than HD out of the 7D.
That said, the D7000 has
kept Nikon in the HD game,
and it rates very close to its
Canon equivalents. At least
until the long-awaited 7D
and/or 5D Mk II sequels are
announced. dv
dv.com
20
Rhett McLaughlin (left)
and Link Neal
feature | september 2011
SWEET SPOT
Rhett & Link Perfect the Art of the Local Commercial
Rhett McLaughlin and Link Neal have
long felt a kinship with the local car
salesman who goes on TV dressed
up in a chicken suit. They appreciate
that jingle you cant get out of your
head for the local pet supply store.
They are the Commercial Kings.
McLaughlin and Neal built their
comedy niche on the Web by mak-
ing real commercialswith a distinc-
tive local commercial flavorfor real
businesses. Their Web series I Love
Local Commercials was such a hit
that IFC greenlit a show called Rhett
& Link: Commercial Kings that docu-
ments how these beloved local com-
mercials are made.
The premiere episode of Rhett
& Link: Commercial Kings was pet
themed; it featured the making of
commercials for Holiday Hotel for
Cats and Super Shmuttle, a door-
to-door dog taxi and daycare. Other
episodes include a business called
Make Me a Pro Wrestler and Bury
Me Naturally, a company that offers
eco-friendly burial products.
In each episode, McLaughlin and
Neal get to know a small business or
two and conceptualize a commer-
cial for each one. Business owners,
customers and equipment on site
are all put to good use in each spot.
The goal is to draw customers to
these small businesses by coming
up with a commercial that is unique-
ly suited to the client,
unforgettable and shot
within about 48 hours.
Fans have latched onto
the final product, says
Neal. They may call the
commercials crazy, but
at least they are a lot of
fun, and they are a ser-
vice for real businesses.
Before shooting
the actual commercial,
McLaughlin and Neal
take turns shooting
the business owners and associates
using a Sony PMW-EX1R XDCAM
camcorder, getting to know their cli-
ents. Meanwhile, a two-person TV
crew for the IFC show is document-
ing the whole process. One is cover-
ing McLaughlin and Neal and the
other, an audio tech, is mixing the
sound.
McLaughlin and Neal did have
to make one adjustment to their
BY JOY
ZACCARIA
work method because of the IFC film
crew with them on set. One of us
is always holding the camera, says
Neal. Now we had to be sure to
shoot in a way that didnt get the
other cameraman who is document-
ing us. It took the first couple of
episodes for them to adjust to the
new blocking.
Neal recognizes that the greatest
local commercials raise the question,
How did they come
up with that? One
of the most success-
ful projects from their
Internet series was for
Red House Furniture of
High Point, N.C. When
McLaughlin and Neal
arrived at Red House
Furniture, one of the
first things the employ-
ees told them was, We
have black people who
work here. We have
dv.com
white people who work
here. All races of people buy
couches here.
With racial harmony as
their inspiration, McLaughlin
and Neal made the com-
mercial. The slogan is, Red
House Furniture, Where
Black People and White
People Buy Furniture.
People loved it, says
Neal. It was confounding
to think, How can you com-
bine racial reconciliation
with selling couches? And
it worked!
Some businesses are
naturally suited for a
good jingle. In Las Vegas,
Designated Drivers is a com-
pany that drives you home
in your own car if youve had
too much to drink. For the
commercial, we determined
the most important thing
for people to remember is
the phone number, which is 456-RIDE, were both engineering majors. With Apple
says Neal. We wrote a jingle right there in Final Cut Express and a very simple digital
the field and recorded it into our phone as video camera, they built an audience on
kind of a scratch track. YouTube to the point where brands began
Often the first pass at musical production approaching them asking to be part of
happens in the field, since they need to refer their videos. The two had been able to
to the track while shooting the commercial. make a living by creating YouTube videos
They then go back to their studio and use since about 2006. The local commercial
Apple Logic Studio for the music production. series was one of the ideas they came up
McLaughlin and Neal are mostly self- with for a brand in 2009.
taught as videographers. With every The IFC show Rhett & Link: Commercial
step, whether it was greenscreen or light- Kings offers a window into McLaughlin
ing, we learned it all by necessity, says and Neals process of making the most
McLaughlin. The Internet provides, and of a given marketing task with the props
we have been subscribers to Videography and talent provided. The final product is a
magazine, where we picked up tips about great and lovable commercial, says Neal,
framing, three-point lighting and the but the real meat is the whole process of
advantage of locking shots off. creating it. You see us directing talent
The history of McLaughlin and Neals usually a business owner or someone who
work together goes back to the first grade, never expected to be in their own com-
when their friendship began. In high school mercial, and now theyre the star!
their video-making partnership started McLaughlin and Neal continue to com-
thanks to a camera originally meant to bine the media of television and Internet
capture athletic stardom. My dad bought with this show. The episodes air at 10 p.m.
a video camera to film me playing bas- Fridays on IFC. At 10:30 p.m., the show is
ketball in high school, hoping that Id get encored along with a live chat at IFC.com.
a scholarship, McLaughlin says. I com- As people are watching our process of
mandeered that camera and Link and I making a local commercial, they can talk to
made movies with it. We wore that thing us and ask us questions, says Neal. Its a
out just shooting everything we could. live video chat. I dont know how often you
Over the years, they continued making can say youre hanging out with the host of
videos, even through college, where they a show while youre watching it. dv

dv.com
22
Instant Expert compiled by Ned Soltz

Low Size ... High Definition: An assortment of itsy bitsy HD cameras.

gear | september 2011

ITEM/
CONTACT COMPANY MSRP WHAT'S NEW & OTHER COMMENTS

iPad 2 Apple From $499

Yes, I said iPad 2. Mount it on a DSLR rig and record directly into iMovie or stream live using the
free Ustream app. Or record and then edit in iMovie. Not water resistant.
www.apple.com

HD Hero GoPro From $260 Available with various standard and optional mounting options. GoPros various configurations
are tremendously popular in both consumer and professional applications. I walked around NYC
with one on my head and nobody even turned to look. Records 720/30p or 1080/30p to SD cards
www.gopro.com in H.264 format. External monitor optional.

3D Hero GoPro $100 Stereoscopic enclosure with sync cable. Just add two 1080p HD Hero cameras, and set them for
the same format. Press the button and youre shooting 3D. Includes free GoPro Cineform Studio
software. A great inexpensive 3D solution. Files also work with Dashwood Stereo3D Toolbox
www.gopro.com plug-in suite.

i2 3D-HD Aiptek $179

Records 720p. Optional hard disk. Glasses-less built-in monitor. Includes software to export ana-
glyph 3D and supports export to YouTube 3D. Not water resistant.
www.2fidelity.com

Replay XD1080 Replay XD $299 Records 1080p to microSD card. Also has HDMI out. Numerous mounting options and one of the
first real challengers to GoPros preeminent position. External monitor option available shortly.
And it has external microphone input/audio out.
www.replayxd.com

ContourHD Contour From $250

The worlds smallest 1080p helmet cam. Writes to microSD card. Available in a variety of kits and
mounts. And, like most of the mini cameras, its water resistant.
www.contour.com

About $350
Bullet HD Rollei Venerable camera maker Rollei now enters the smallish HD camera world. (I once shot with a
(250)
twin-lens Rolleiflex!) It is bullet-shaped, waterproof to 10 meters, and writes 12-megapixel reso-
lution in 720/30p format to microSD cards.
www.rollei-bullet.com

Drift HD Drift $349 Built-in LCD screen and user-replaceable lens are two unique features of this small camera.
Remote control. Records 1080p to microSD cards. 9-megapixel resolution. Built-in microphone
as well as input for external mic.
www.driftinnovation.com

$8,000 (head Super-small head. Requires lens. Not exactly an inexpensive crash cam, but an industry standard.
HD-RH1 Iconix
only) A 2K version (Studio 2K) is now shipping. Iconix cameras have shot episodic TV and feature films,
going where no other camera could go, whether due to physical size or extreme conditions. We
www.iconixvideo.com feature it each year because there is nothing like it.

Superslim HD Ultimate Cant resist running this again. Records 1280x960 30p to 8GB internal memory. The ultimate hid-
$219
Pencam Gadgets den camera from Ultimate. Looks like a pen but sports camera and mic. Voice-activated record-
ing. Unlike the H.264 cameras above, this sneaky guy records to M-JPEG format. Great for your
www.ultimategadgets.net next reality show or hidden-camera journalism.

You'll find direct links to all these products at www.dv.com/Sep2011

dv.com
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All sessions run 9 AM 5 PM -EDITF
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TUESDAY SEPTEMBER 20TH

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 DIGITAL VIDEO EXPO CONFERENCE PROGRAM
TUESDAY SEPTEMBER 20TH
ROOM A ROOM B ROOM C ROOM D
OLIVER PETERS JAY HOLBEN NED SOLTZ PHILIP HODGETTS
Indie Feature Film DIY Lighting 101:
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WEDNESDAY SEPTEMBER 21ST

Working with Large Sensor Using Metadata for Production
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4:00 - 4:45 pm Presentation Theater: Vendor TBA

5:00 - 6:00 pm DVE Center Stage Keynote: The Art of the DSLR Video - Kevin Shahinian, Founder, Pacic Pictures

5:00 - 6:30 pm LAPPG Meeting | Room D

6:00 - 7:30 pm Digital Cinema Society Meeting | Room E

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THURSDAY SEPTEMBER 22ND

The Art of Micro-Budget Avoiding Postproduction
9:00 am - 5:00 pm Build Your Own Studio Mobile Production Apps
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11:30 am - 1:00 pm DVE Center Stage: Lighting for Digital Production

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Meet Major
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Get a hands-on look at new
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September 21st
ABELCINE DVE Center Stage
ALZO VIDEO 2:30 - 3:30 pm
AMERICAN CINEMATOGRAPHER
AMERICAN EXPRESS OPEN
What you gain and what you pay for
AUTOCUE
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CARL ZEISS
production technologies and solving their
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THE ART OF THE DSLR VIDEO
WHO SHOULD LIBEC SALES OF AMERICA
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LOWEL-LIGHT MFG INC.
LTO PROGRAM September 21st
MARSHALL ELECTRONICS DVE Center Stage
3D GRAPHIC DESIGNERS MATROX ELECTRONIC SYSTEMS 5:00 - 6:00 pm
MILLER CAMERA SUPPORT
CAMERA OPERATORS MIRAIZON
CINEMATOGRAPHERS NEIL ENTERPRISES
COLORISTS PACIFIC RADIO
DIRECTORS PANASONIC SOLUTIONS CO.
PROMAX SYSTEMS
DVD PRODUCERS
SCHNEIDER OPTICS
ENGINEERS SMARTSOUND SOFTWARE INC.
FILM EDITORS SWIT ELECTONICS
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TS COMPUTERS & VIDEO
POSTPRODUCTION EDITORS
VARAVON
TV BROADCASTERS WESTERN DIGITAL
SOUND ENGINEERS WEYNAND TRAINING
VIDEO PRODUCERS Z. REISS & ASSOCIATES/RAYNOX USA Hotel & Travel
ANYONE INVOLVED A few booths remain! Pasadena Convention Center
IN PRODUCTION AND To exhibit at DV Expo, contact 300 E. Green Street
Jackie Gospodinoff at 212.378.0493
POSTPRODUCTION Host Hotel: Sheraton Pasadena
or jgospodinoff@nbmedia.com.
CONTENT CREATION! 303 E. Cordova Street

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USE CODE DVGR1 AND SAV E 5 % O N A L L FU L L- DAY T R A I N I N G O P T I O N S
 DV 101 27
by Jay Holben

september 2011 | basics

Understanding Color Correction
I was at an industry networking function this past week recorded days, weeks or even months apart.
and had a conversation with a young woman who was Especially in narrative shooting, where youre tak-
interested in producing films. She had been working as ing multiple camera setups (whether that be from
a PA for about two years, and when she learned that one camera or many) and editing them together to
I had previously been a cinematographer, she asked create a linear whole that appears to take place in real
me, Can you explain color correction to me? Does that timealthough the production might have taken days
mean that something is wrong and it has to be fixed? or weeks to capturebalancing between shots is very
Before I could even start to reply, a young man standing important to smooth out the scene. It is the most basic
next to us chimed in, Thats what happens when they task a colorist does, and it is the most complicated.
shoot it wrong on set and they have to fix it in post. With todays digital tools, nearly anyone can take an
Color I waited for the smile to crack on his face, but image, fiddle with some filters and functions and create
correction is when it didnt and I realized that he was serious, I had something cool, but having the knowledge, experi-
to wonder how ence and tal-
a requisite many people in ent to apply
this business dont that cool
step in the understand color look to every
production correction. other shot in a
Ill start with sequence, and
procesin the basics: color make them
correctionor, seamless, is
every as it used to be of paramount
production called, color tim- importance.
ing or gradingis Many people
processto not a step to cor- who are new
create a final, rect errors. It is a
requisite step in
to color cor-
rection think
polished and the production they can just
processin every experiment
professional production pro- to set a look,
presentation. cessto create and then copy
a final, polished and paste that
and professional look to the rest
presentation. To of the scene.
skip color cor- Color correction in Apple Final Cut Pro on Amandas Game Without bal-
rection would be ancing first,
similar to building a car, making the chassis and piecing that approach will have disastrous results.
together the engine, putting in the interior and all the The general controls over the image are blacks,
dash components, bolting on the wheels and then skip- mids and whites, and then red, green and blue color
ping the paint job. Youve got a car, but its unfinished. elements of the picture. Within each color, you can add
The paint job doesnt correct any mistakes; its simply that color, or subtract it by adding in its complementary
the final stage in the creation of the car. color. For instance, if you want to make a scene cooler,
Color correction starts with balancing the image. you might add blue to the scene; if the scene is already
This is where some people have the mistaken belief too cool, youll reduce the blue look by adding yellow. If
that color correction fixes errors. The majority of bal- you adjust a color just in the blacks, it will change that
ancing isnt about fixing errors; its about accounting color value only in the shadow areas of the image. If you
for innumerable variables within shooting limitations: change the mid range, it will change those areas that
changes in the light due to different time of day or dif- are closest to proper densitythat middle gray area. If
ferent fixtures, changes in the image due to different you change the whites, you will affect only the areas in
shooting environments, or matching shots that were the highlights of the image.

dv.com
28 DV 101
basics | september 2011
Once youve achieved a color balance, you can start to apply your look,
the creative part of color correction. Todays digital tools are versatile
enough to take a daylight image and make it night, which happens from
time to time. Thats not to say that it was a mistake by the cinematogra-
phersometimes the sequence of scenes might be changed in editing and
what was once a day scene might now need to be a night scene. With a good
colorist (and the right image), this change is entirely possible.
Setting the look is normally done with the colorist, cinematographer
and director in the room. Most often, most of the look is set on location and
in camera, but it is further refined in the color correction sessions. Should
the look be a 1970s era feel, with high contrast and washed, faded colors?
Should it be dark with reddish hues to match the alien planet where the
story takes place?
A lot of high-end digital cameras now shoot in raw mode, which means
that the image recorded has a very low contrast, high dynamic range.
The look that the cinematographer and director set during shooting is not
recorded, but is saved as metadata in a lookup table (LUT) associated with
the video. The colorist can start by applying this LUT to the footage to get
the best idea of what the director and cinematographer wanted the image
to look like. Without the LUT, the image will be washed, low contrast and
often a sickly greenish hue.
I would always recommend that any serious project be taken to a profes-
sional, experienced colorist. Although some editors can do color correction,
its a lot like asking a veterinarian to operate on your mom. Sure, theyre
medically trained, but they are not skilled specialists in a very delicate and
complicated trade.
Software like Apples Final Cut Pro comes bundled with some basic but
pretty powerful color correction tools. I recommend using the 3-Way Color
Corrector filter in Final Cut and experimenting a bit.
On page 27 are some screen grabs from Final Cut featuring a shot from
a project I directed called Amandas Game with actor Brian Glaney, shot by
cinematographer Teri Segal. Although the warm, high-contrast image was
our intention, Ive changed that to a more sickly green la Collateralfor
purposes of illustration.
Take a look at the three color spheres at the left side of the screen
capture. The far left sphere represents the shadow range of the image, the
middle are the mids, the right represents the highlights. Notice that each
sphere has a small circle in the center: this is the color position for that range
of the image. Center is a neutral position, making no change to the image.
The farther away from center you drag that circle, the more drastic the color
effect youre adding.
In the final image, by adding blue/cyan into the highlights, I start to cool
off those red/yellow tones. I added a moderate amount of cyan into the
mids and then just a little into the blacks. The overall effect is a much cooler,
paler, sickly fluorescent look. This example represents a creative choice in
postproduction, which happens from time to time, not any fault or error
in photography. Even though the tools are available inexpensively, I still
recommend working with a professional colorist to finalize your project. dv
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 xxx 33
xx Buyers Market

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Neil Enterprises 9 www.neilenterprises.com

Nvidia12; Panasonic6; RED Digital Cinema3; Red Giant
Primera 17 www.primera.com
Redrock Micro 2 www.redrockmicro.com
Software3, 14; Replay XD22; Rollei22; Sachtler6; Sekonic16;
Shutterstock 36 footage.shutterstock.com
Tiffen 16, 21 www.tiffen.com Sony Creative Software12; Sony Electronics20; Teradek6;
Varizoom 29 varizoom.com
Videoguys 15 videoguys.com Ultimate Gadgets22
34 Production Diary by Stefan Sargent
experience | september 2011

KEEP CALM AND CARRY ON

It Can Only Get Worse
So you think filmmaking is easya piece of cake. Youve Peter, my client today saw both. Loves the new one.
spent three years at UCLA, graduated with honorsyour End of story.
student film was screened at the Ventura Film Festival.
Youve got FILMMAKER printed on your business card. MY WEB SITE CLIENT
No, Stefan, Its all rosy and then one day you enter the real world
Its kind of scary out here. How to get work? How
Friends, Ive got to tell you that if you can get your head
around FCP, you, too, can make Web sites. WEB SITES
I think he's much to charge? Get a crew to help? What to pay them? its a natural extension of your filmmaking skills. Im
Charge sales tax on DVD copies? The location needs a cool surprised that UCLA didnt include it in your curriculum.
saying wipe. $1,000,000 insurance policy You make a videowheres it to be seen? On the
Woof means But be warned, dear newbiethe scariest thing out Internet, of course. You dont want some dumb Web
here is CLIENTS, especially if theyre a dog. designer asking for files.
wipe. And So, my little FILMMAKERS, protect your video and
MEET BENTLEY learn WordPress.
he's right, He might only be a dog, but hes client to be reckoned with. Now youve got double trouble. Take Michael (please)
a side wipe Stefan, I think that cut should be a dissolve. He was no fun as a video client and now he wants a site.
Cutting is cool, John. Dissolves look really old-
would be fashioned these days.
great. Good Bentley, cut or dissolve?
Woof.
boy, Bentley. Its a cut. Thanks, Bentley.
Woof.
Daddy loves No, Stefan, I think hes saying wipe. Woof means
you. wipe. And hes right, a side wipe would be great. Good
boy, Bentley. Daddy loves you.
Youre not serious? You want a wipe?
Why not? Try it.
What do you think Bentley? Isnt that better? Yep,
stick with the wipe.

KEEP CALM AND CARRY ON

Behind the photo of John and Bentley, you can see
my poster, Keep Calm and Carry On. In wartime
Britain, when a German invasion seemed possible, the
government produced this classic. As you all know, as
even
e Bentley knows, they didnt invade and the poster
was
w scrapped.
But its become my mantra. The visual equivalent of
Always
A Look on the Bright Side of Life.
CLIENTS ARE THE STRANGEST PEOPLE
C pages where we have white type over the ripple background,
I received an e-mail today from Peter.
Stefan, I showed our homepage video to Xxxxxx of the
Xxxxxx
X Corp. and he thinks the one you made five years ago
was
w better. Can you comment on this?
Hang on a moment, Peter. Ive got Bentley with me.
OK, Bentley, heres the new videolike it? Two
woofs.
w Now heres the old video. No woofs.
Sure, I can do WordPress. Here are some themes. I
really like the iFeature themeor Striking. He settles for
iFeature. I spend two weeks creating the site. I always buy
an .info site from GoDaddy. They cost just over a dollar. I
host them on my shared server for the client to see progress.
Michael LOVES what Ive created... Wow. Great.
Terrific. You are a genius.
Next week an e-mail: Stefan, I think weve picked the
wrong theme. Maybe Striking would have been better. On the
please lose the background and go to black type. Finally, its all
too big for my Mac laptop. Please shrink the site down.
Come back, John. Come back, Bentley. All is forgiven.
You can have woofs, I mean wipes, on every scene change.
Please shrink the site down. Grrrrrr.
Keep Calm and Carry On. Keep Calm and Carry On. Keep
Calm and Carry On dv

dv.com