3

THE NEW
VIRTUAL
REALITY
ALL
THINGS
3D
AND
Tips On...
Light Photography
Col or Correction
Film Scoring
Photo Retouching
No. 1
3D
Photography
No. 4
3D
Entertainment
V
O
L
U
M
E

I
V
StUdEnt
BUyEr'S
GUIdE
No. 3
Surround
Sound
No. 2
3D
Cinematography
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PRODuCT
REvIEWS
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Dear Readers,
We stand in the midst of a technological revolution that keeps accelerating and
consequently continues to push the digital arts craft beyond what we could have
imagined just a few decades ago. The transition from lm to digital is almost complete
in the photography world, while the world of cinema is just a few years behind. New
technologies like 3D, super high-denition and High Dynamic Range (HDR) have
been maturing as more people take the plunge and create more demand. Audiences
have become ever more sophisticated in their consumption of media. As attention
spans continue to narrow down to but small moments of time, media creators will
need to adapt their methods and adopt new technologies to keep pace.

This fourth edition of the B&H SBG magazine brings more educational and inspiring
content than ever before. Explore how 3D stereoscopic technology is being used in
photography, cinema, and graphics. Continuing down the same path, we also explore
the world of surround sound. Read the magazine cover-to-cover to get acquainted
with the dierent forms of digital media arts to broaden your horizons, or just to
brush up on what's new in the eld. Either way, we hope to provide useful and practi-
cal information that will guide you through fundamental decisions as you embark on
your careers.
At B&H, we hope to be with you throughout your creative journeys as your techno-
logical advisors and friends.
The Editorial Sta
Student Buyers Guide
PUBLISHER
B&H Photo Video
PRODUCED BY
YODI
B&H Advertising Department
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HOW TO
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conTenTs
006 FORWARD
DIGITAl lIFE
008 TOTAL IMMERSION
010 HEAD IN THE CLOUD
012 GET BRANDED
014 TOUCHABLE TABLETS
PHOTO
016 CAPTURE 3 DIMENSIONS
020 LIGHT PHOTOGRAPHY
026 ASTROPHOTOGRAPHY
032 DRAMATIC LIGHTING
038 PROFILE: STEVE BRONSTEIN
042 PROFILE: CHASE JARVIS
044 PROFILE: ZACH ANCELL
050 PHOTO GEAR GUIDE
VIDEO
058 IMMERSE YOUR AUDIENCE
064 FILM CAREERS
066 EDITING WORKSTATIONS
070 COLOR GRADING
074 VIDEO GEAR GUIDE
PRO AUDIO
080 SPEED OF SOUND X5.1
084 ACOUSTIC TREATMENTS
086 SCORING FOR CINEMA
090 PRO AUDIO GEAR GUIDE
GRAPHICS
096 EASY 3D
098 PHOTO RETOUCHING
102 GRAPHICS GEAR GUIDE
108 BOOKS & DVDS
110 BEHIND THE SHOT
58
16
96
3
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4k is so pass
2007 saw a revolution in resolution with the release of the RED One digital cinema camera
that boasted a 4k sensor and recorded in a RAW format. 2011 will presumably be just as
revolutionary now that Sony has announced its new F65 with a sensor that delivers a pixel-
popping 8k, or about 20 megapixels resolution at up to 120 frames per second. The footage
is recorded in a 16-bit RAW data stream at 20Gbps. It should come as no surprise that it
takes up to 90 days to manufacture each of these sensors, according to Sony. To begin with,
the camera will be recording to the dockable SR-R4 memory recorder at 4k, but Sony plans
on developing a more advanced recorder that will record the full 8k from the sensor. Now, if
only someone would invent an 8k TV...
a few tidbits of news, trends and fresh ideas that are happening
right now in the photography, video, graphics and audio markets.
More
Play Time
Everyone wants their comput-
ers and mobile devices to do
things faster, but battery life
has increasingly become the
next challenge to overcome
for leading chip manufactur-
ers like Intel, which recently
unveiled a new kind of tran-
sistor called 3-D Tri-Gate
that will use Ivy Bridge CPUs.
The results blow past current
battery life standards with
50% less power consumption.
Pushing the envelope even
further, Intel is reporting that
these chips will deliver 37%
faster performance compared
to Intel's top-of-the-line Core
i7 Sandy Bridge chips.
The Instagram iPhone app
that ofers photo efects and
sharing with Twitter, Face-
book and Flickr broke a record
when it recently reached fve
million users and 100 million
photo uploads in its frst eight-
months of existence making
it the fastest growing social
network, compared to Flickr,
which achieved those num-
bers in two years.
Dreaming of sharper & bigger
Home theaters fans rejoice. TV manufactures are rolling out ultra-high-defni-
tion TVs with 3D capability at astonishing sizes. In May, Sharp unveiled a drool
worthy 85" 3D TV with a whopping 8k resolution that's 33 megapixels for
those pixel peepers out there. The company attributes the progress to being
able to better control individual pixels and keep them aligned. This allows
the pixels and all the surrounding electronics to be shrunk down to produce
higher resolution images. Sharp is working in conjunction with the broadcast
industry to bring this home theater dream screen along with ultra-high def-
nition content to the public by 2020. Just think, in a few more years, we'll
consider 1080p less than sharp.
85"
8k
InsTanT
success
6 B&H Student Buyers Guide
BandH.com/edu
The decline of the
traditional music
album is well known,
but when music be-
gins to mesh with
software in a totally new way, you
know it's going to be an interesting
epoch. Take, for example the music
duo Bluebrain, who've recently
released a location-aware iPhone
app/album. Enjoy the historical
sights as the music swaps out dif-
ferent instruments and sprinkles
some sound efects based on where
you are at the National Mall in
Washington, D.C.
Google's been seeking ways to
speed up our web surfng experi-
ence. Naturally, images and videos
are high on Google's priority list of
things to optimize, as is evident by
their rolling out of a new web image
format called WebP which Google
intends to replace the JPEG for-
mat. Both formats employ a "lossy
compression," but the new WebP
format does it while decreasing fle
size by about 39% without any
perceptible loss in quality. It may
still be a while before sites and
browsers adopt it.
Forget it...
What might turn out to be a controversial study conducted by MIT may
just have some photographers reassess their shooting styles. The statisti-
cal analysis study found that the most memorable photos were those that
had a person in an indoor scene with human-scale objects. Landscapes,
according to the MIT neuroscientists, are 'utterly forgettable' and the
least likely to be remembered, unless the scene contains a surprising vi-
sual element. To be clear, the study does not take the pleasing aspects of
an image into account. The sole focus was on the types of images a person
is most likely to remember. Initially, the authors of the study didn't think
they would fnd a consistent outcome, but after conducting the study on
hundreds of participants, a clear answer emerged. With these results in
hand, photographers may want to reconsider how they shoot, or face being
forgotten.
MaRKeT
PuLse
$2.7 BILLIon
Avatar was highest grossing movie
(Source: IMDb)
20 Billion
Rolls of flm purchased in 2000 (PMA)
20 Million
Rolls of flm will be purchased
in 2011 (PMA)
12%
Increase in professional
photographers by 2018
(Source: U.S. Bureau of Labor Statistics)
877
Films produced in India in 2003,
compared to 473 in the U.S.
(Source: PWC)
NOKIA
Believes cellphones will replace
cameras in a few years
(Source: Reuters)
TRENT
REZNOR
Of Nine Inch Nails wins Oscar for Best
Original Score on The Social Network
(Source: Academy of Motion Picture Arts and Sciences)
THE MERGE:
MUSIC & APPS
OBSESSIVE
COMPRESSION
Volume IV
the tools, tales and myths of the third dimension
ToTaL IMMeRsIon
The future of entertainment is in the third dimension. The
latest home-theater gear is all about 3D, which is making
its way into gaming consoles, cell phones and computers.
If you want to view it in its full glory, this article will explain
the diferent options available when selecting the right
gear. But before we jump into whats needed to enjoy the
3D experience at home, lets take a look at the diferent
technologies and options available.
3D technologies mimic the way we view the world with
our eyes, which allow us to perceive depth (our brain
merges both the right and left eye images to form one
single image). 3D TVs create an illusion of depth by pre-
senting a slightly diferent image to each eye. How those
images are presented to the eyes depends on the tech-
nology used.
Side-By-Side 3D
Some cable and satellite TV companies broadcast 3D
video by squeezing each eyes information into one 1080
image. Most 3D TVs are then able to merge each side of
the image into one overlapping image that can be viewed
with the appropriate glasses. The downside with this
system is that the fnal image will not be at full HD resolu-
tion.
Sequential 3D
Sequential 3D displays a full-size image for each eye in
rapid succession to produce the 3D efect. 3D Blu-ray
content, for example, utilizes this system.
Stereoscopic versus Auto Stereoscopic
Stereoscopic systems utilize glasses in order to view the
image, while Auto Stereoscopic does not require glasses
to see the 3D efect. Some manufacturers have an-
nounced plans to produce Auto Stereoscopic TVs in the
future, but for now most TVs require glasses.
3D Home Entertainment
There are a few things to consider before making a 3D
home entertainment purchase. First, you need to assess
which components youll need. For example, if youve re-
cently purchased a Blu-ray player, it may be 3D capable.
3D TV
There are several diferent kinds of 3D TVsPlasma, lCD,
DlP and lED. Plasma TVs have been known to produce
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crisp 3D images because of their
rapid and precise control over
each pixel. Some models can even
convert 2D content into 3D, but the
results are not the same as real 3D
content. Some bonus features to
look out for are Web-Ready, which
allows your TV to access online
content without a computer, and
an integrated webcam for chatting
on Skype.
Computer Monitor
Youll need a laptop or computer
monitor capable of 120 Hz refresh
rate, a fast enough video graphics
card, like the NVIDIA GeForce GTS
450 (for desktops) and a solution
like NVIDIEA's 3D Vision Kit to view
3D content on your computer. The
ASUS G73Sw-3DE laptop comes
with everything you need to watch
movies and play games in 3D.
Projector
Some of the newer projectors
have a high enough refresh rate to
project 3D videos. Make sure that
the projector you choose explicitly
states that it is 3D capable before
you purchase it.
HDMI Cable
The latest version of high speed
HDMI cable is 1.4 and has been
designed to work with 3D content,
and some older cables may work
as well.
Blu-ray
Currently, Blu-ray is the best way
to experience full HD 3D content
at home. However, your old Blu-ray
deck may not be able to output the
large bandwidth necessary for 3D
video, so youll have to pick up a 3D
capable player.
Gaming Console
In April of 2010, Sony made a free
frmware upgrade available that
enables 3D viewing on the Play-
Station 3 system, and Microsofts
Xbox 360 now supports 3D as well.
Internet
Admittedly, the Web has been slow
to ofer 3D content, but it has pro-
gressed over the last year, with
YouTube and Vudu ofering 3D vid-
eos. Were sure to see the other big
online video providers join the fun
soon.
Cable/Satellite
Broadcasters are moving to pro-
vide 3D channels ofering sports,
concerts and movies. Examples
include Direct TV and Comcasts
XFINITY 3D.
3D glasses
Some 3D TVs are bundled with
glasses, but many are not. Ensure
that you get glasses that are com-
patible with your TV model. This
typically means that youll need to
have the same brand of glasses as
your TV or monitor to avoid incom-
patibility issues.
Myth Busted
Its important to note that 3D TVs
also make great 2D TVs because
they utilize the best technol-
ogy, which allows for higher refresh
rates, making 2D content ultra
smooth. So even if you dont plan
on getting into 3D content imme-
diately, but are shopping for a TV, a
3D-ready TV is a good choice.
Patrick Giordano
Patrick Giordano is an Arizona-based
freelance writer who specializes in
computer technology.
S
3D
Basics
ANAGlyPH
This was the original 3D technology. It
separates an image into two color wave-
lengths. When special glasses are worn
(usually with red and blue lenses), each
eye sees only the wavelength intended
for that eye. You dont need a special
monitor to view Anaglyph image. On-
line video hubs like YouTube use this
system to present 3D content. While the
technology has improved somewhat, the
overall experience is not the most pleas-
ing for most people.
PASSIVE
The passive system uses a polarizing
flter in front of the monitor or projec-
tor and glasses with polarized lenses are
worn so that each eye is able to view a
separate image. Newer polarized glasses
can be found in most US movie theaters.
There are only a handful of home 3D TVs
that utilize the passive technology. The
main drawback, compared to Active 3D
glasses, is that the resolution is halved
from 1080 to 540 lines, so you wont get
the full HD experience.
ACTIVE
Active 3D is the latest and greatest in 3D
and delivers individual images to each
eye by syncing the monitor or projec-
tor with a pair of glasses that rapidly
open and close each lens. The result is
a smooth and solid 3D viewing experi-
ence. This is the system mostly used for
3D TVs. The glasses are battery powered
and tend to be more expensive than pas-
sive glasses.
REfRESH RATE
A standard 1080 HDTV produces 60
frames per second. Because you need
two simultaneous image streams for 3D,
TVs that display less than 120 frames
per second will drop frames when dis-
playing 3Dif they work at all. Newer
TVs, however, can display 240 frames
per second, or even up to 600 Hz which
produces a smoother image with full HD
resolution.
B&H Student Buyers Guide 9
Volume IV
accessing and backing up files on any device explained
heaD In The cLouD
If youre like most people, you probably have hundreds or
even thousands of media fles foating around on multiple
computers and devices, with very little organization or
backup. The value of media, however, is essentially tied
to the ease with which it can be used. Whether its lis-
tening to your music library, sharing family pictures with
relatives or streaming photos to a digital picture frame, a
network fle storage solution can make your media acces-
sible anytime and almost anywhere.
The basic idea is to store all of your media fles in a cen-
tral location, making them accessible by multiple devices
or even over the Internet. Once a fle-storage solution has
been set up, a backup option can be added to prevent loss
of data if a hard drive fails.
Personal Server
If you already have a
home network (usually
a lAN, or local Area
Network), your options
are fairly simple. One
computer can be set up
to share fles with other
computers and devices
that are on the same network.
Mac OS X 10.6+ Users: Go to System Preferences, click
on Sharing, and at the top of the screen, choose a name for
your computer (this is how others on your network will see
this computer). Then check the File Sharing box. In the
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Dlna
File Sharing sub-menu, you can also choose which folders
other users can access, as well as control the level of ac-
cess for each user on the network. If there are PC users who
need access to their les, click on the Options button and
check the Share Files and Folders Using SMB (Windows)
and make sure to add the Windows user to the list.
Windows 7 Users: Go to Control Panel and open Home-
group. Click Create a Homegroup and follow the directions
to choose which folders, les and printers you want to share
with others on your network. Once set up, other computers
(Windows 7 only) can access your Homegroup by going to
Control Panel, opening Homegroup and clicking on Join
Now.
NAS Drive
Using one of your computers to host fles on a network
is probably the simplest and cheapest solution, but you
can access your fles only if the host computer is on and
not hibernating. As an alternative, you can get a Network
Attached Storage, or NAS drive. Simply connect the drive
to your network via Ethernet, and following the instruc-
tions that came with the drive, confgure access for the
other users on your network. The drive acts as a server,
without the need for another computer to act as an inter-
face between the fles and other devices. Prices for NAS
drives start at a few hundred dollars, and ofer advanced
features such as RAID (Redundant Array of Independent
Disks, which protects data in case of drive failure), access
to fles from the Web, and DlNA streaming (see sidebar).
Make sure the drive you choose is compatible with your
operating system, and allows for multiple users to access
the drive.
Cloud Storage
If you dont have a home network, or if you want an alter-
native to setting up a personal server or NAS drive, cloud
storage services are an attractive option. Cloud storage
services ofer monthly or yearly packages that allow you
to store fles online. You can then access your fles from
any device that can connect to the Internet.
Apple iCloud
While there are many cloud services that store your fles
online, Apple's iCloud is the frst to fully integrate with
an assortment of software, which allows the service to
"push" content from one device to another-automatically.
Store your music, images, videos, apps, calendars, docu-
ments and more. After inking a deal with the major music
labels, Apple will allow you to access music on any com-
patible device without having to upload your entire music
library. The iCloud simplifes cloud computing by manag-
ing your content for you. Apple starts you of with 5GB
free of charge, but unlimited music, apps, books and your
Photo Stream.
Windows 7
For Windows 7 users, Microsoft has made it easy to set
up cloud storage. Just make sure to download the Win-
dows live Essentials update. Youll need a Windows live
ID to sign upan account that ofers 25GB of free space.
For greater accessibility, Windows live lets you view Mi-
crosoft O ce documents from a mobile phones Web
browser.
Amazon Cloud Drive
Amazon has recently launched a new cloud solution,
called Cloud Drive, for storing images, video, music and
documents. It allows you to upload fles from a computer
or media device, and then access fles or listen to music
anywhere an Internet connection is availablethereby
putting your music in the cloud. Amazon starts you of
with 5GB free of charge.
Patrick Giordano

If you have devices that are DlNA (Digital living Network Alliance) compatible, such as the Play-
Station 3, Xbox 360, some TVs, Blu-ray players, mobile phones and printers, then you can ac-
cess content directly from your networked drive (as long as the drive is also DlNA compatible).
Volume IV
some tips for creating a personal brand identity
geT BRanDeD
Whether youre a budding photographer, flmmaker,
graphics artist or sound engineer trying to break into
the industry, one thing is certain: You need to sell your-
self. Think of yourself as any other company or brand that
provides a product or service. While it may be easy to be
a brand, it isnt very easy to be
branded. Realistically, youre
probably not the only one of
your kind ofering specialized
services to a limited number of
clients. In order to succeed, you
need to stand out and make an
impression on anyone you meet
or reach out to. Even if you have
built a reputation locally, if you
want to expand using the Web, you might not have the
luxury of having that reputation follow you online.
At its core, a brand identity expresses your essence,
what you stand for and what makes you diferent from the
rest. An efective identity can even serve to refne your
personal style and approach further, as it forces you to
assess your work in a new light. The following is a brief
overview of the steps that can help you develop a per-
sonal brand identity.
Dene who you are
Begin by embarking on a soul-searching mission, with the
goal of fnding and expressing what your strengths are,
what your particular style is and how your approach dif-
fers from other artists or standard practices. You need
to identify whatever it is that sets you apart. Do you see
things diferently than most? Are you a DIY type who can
solve problems with creative, low-cost solutions? In addi-
tion to your main skill, do you ofer a full spectrum of sup-
porting services? Have you gained specialized knowledge
of a specifc segment of your market that you can share?
The possibilities are endless, but its important to be hon-
est and selective when defning your strengths. If you list
too many, you wont have traits that stand out and make
you memorable. So keep it to one or two key strengths
and make sure you can live up to them.
Verbal and Visual Translations
Once you can defne clearly what you are about, the next
step is to fnd the right words to express those ideas pre-
cisely. Keeping it short, write one sentence that conveys
your results in a clear and concise way. Next, think about
how those words can translate visually. You will need
those visual cues to create marketing materials that
bring everything together in harmony. Use the following
as a few thought provokers for this process:
Color
Colors convey the emotional aspects of your brand iden-
tity. Choose one that matches what youre about.
However, dont just take a basic color and run with it.
Play with diferent shades: Darkening or softening a color
Although white is a completely inviting and friendly
color, it also lacks character.
Gray is a neutral color that can be mixed with a main
color in a brand identity to add style.
Black is a slick, powerful color that can portray exclu-
sivity. On the other hand, it is not a very welcoming
or friendly color. It can be used together with another
main brand color.
Red conveys power, excitement and passion, but can
also be associated with anger and danger.
Pink can be seen as soft, friendly, inviting and warm,
though it is typically associated with femininity.
Purple can be quite a unique color, because it is used
less in branding systems. It conveys luxury, royalty
and nesse.
Orange is an energetic, friendly alternative to red that
conveys warmth and progressiveness.
Yellow is associated with caution, but can also repre-
sent happiness, fun and expressiveness.
Green is well known for representing money and
nature, but can also project growth, health and safety.
Blue is a trustworthy and reliable color with a feeling
of measured progressiveness.
Brown is a grounded color that conveys trust and
nature. It is generally associated with an antiquated
or dated feeling.
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can make it a better and more refned ft for your brand. It
also allows you to stand out, rather than just choosing a
color that has been overused in your industry.
Typefaces
Your choice of typeface will defne the look and feel of your
brand ID even further. Fonts can have subtle diferences,
but can provide a particular feeling for the overall brand.
1. Make sure the typeface is easy to read. No one likes
to strain in order to read materials.
2. Selecting two diferent fonts can add favor and
uniqueness to your look, but pay attention to how
the two fonts interact and ensure they are visually
compatible. Youll also want to assign each typeface
a role, such as using one for headlines and the other
for body text.
3. Select a typeface that is appropriate to the feeling of
the brand youre trying to build. There are respect-
able typefaces, and there are fun typefaces. Each
has its place, but both would generally not serve the
same intent of a brand.
4. Consider purchasing a typefaces font family, instead
of the standard typefaces that come preloaded on
your computer. Some font families ofer a wide range
of variations of the same typeface to give you more
options.
5. Use size, color, shade, and typeface weight to dis-
tinguish your look. All
of these factors can
completely change
the way a typeface
looks in the context in
which its used.
6. If youre unsure about
a typeface selection,
youre better of keep-
ing it simple. Having
a generic look is OK,
but an interesting
typeface that works
against your brand is
best avoided.
Logo
Creating a logo is a highly specialized area of design, but
you shouldnt shy away from creating one if you have
some basic design skills. A logo can be created for your
personal name or your companys name. A logo can help
defne your brand better, making you more memorable.
Keep the following points in mind when designing a logo:
1. Consider all of the places your logo will appear and
test extensively for size, position and context.
2. Make sure the logo works as well in black and white as
it does in color.
3. Creating a mark or
symbol is an option,
but not an absolute
necessity. It can
help make your logo
stand out more. A
unique type treat-
ment can be enough
for a strong logo and
may not require an
icon at all.
4. Avoid style trends and make your logo timeless.
5. Keep it simple. The best logos are ones that stand out
but are not outlandish.
6. Make it appropriate and in line with who you are. You
wouldnt want to create a strong, bold, powerful logo
if youre a photographer specializing in portraits of
newborns.
7. Create your logo in a vector-based program such as
Adobe Illustrator so that it can be scaled to diferent
sizes, as needed. Avoid using raster images in the
logo.
Applying your Brand ID
Once youve selected your color(s), typeface(s), and de-
signed your logo, you can begin to create the marketing
materials that youll need. This could be just a business
card and website, but if you have a portfolio, its a good
idea to incorporate the identity youve developed to raise
the level of professionalism. Even a resume can be includ-
ed with the identity.
These are only the frst steps to building your brand
identity. An ID encompasses many more aspects than
those covered in this article. As time goes on, youll con-
struct diferent facets of this ID, and the identity will con-
tinuously be refned. You might discover a tagline that
conveys the core of who you are. Or you may decide you
need another typeface to better suit the web. The key to
making it all work, however, is to stay true to the ideals and
concepts that you defned for yourself at this early stage
in your brand identity.
Brad Bitton
Brad Bitton is a principle of YODI Studio, a New York based
creative agency.
Serif/Roman
Slab
San-serif
Script
Decorative
Simulation
Volume IV
Tablets have taken over by storm. While companies clamor to arm their road warriors with
tablets and the general public trade up newspapers for their digital counterparts, students
can appreciate taking digital notes, communicating with professors, researching and writing
papers, or otherwise just enjoying the power of a computer in such a slim package. Who knew
thered be life after netbooks?
Archos
7c
HP
Slate 500

Motorola
XOOM
Apple
iPad 2
Acer
W500
ASuS
EP121
8.9
1024 x 600
10.1
1280 x 800
9.7
1024768
10.1
1280 x 800
12.1
1280 x 800
OS Support
Android 2.1 Eclair Windows 7
Professional
Android 3.0 iOS 4 Windows 7 Home
Premium (32-bit)
Windows 7 Home
Premium (64-bit)
Processor
600MHz ARM 9 1.86GHz Intel
Atom z540
1GHz NVIDIA Tegra
Dual-Core
1GHz Dual-Core
A5 CPU
1GHz AMD C-50 1.33GHz Intel
Core i5
Capacity
8GB 64GB 32GB 1664GB 32GB 3264GB
Communication
WiFi WiFi, Bluetooth
2.0
WiFi Bluetooth
2.1+EDR + HID
Verizon
WiFi, Bluetooth 2.1
+ EDR
Verizon, AT&T
WiFi, Bluetooth WiFi, Bluetooth
3.0+HS
Camera
None Front: 0.3 Megapixels
Rear: 3 Megapixels
Front: 2 Megapixels
Rear: 5 Megapixels
Front: 0.3 Megapixels
Rear: 0.7 Megapixels
Front: 0.3 Megapixels
Rear: 7 Megapixels
Front: 2 Megapixels
Battery Life
7 Hours 5 Hours 10 Hours 10 Hours 6 Hours 3 Hours
Weight
0.81 lb 1.50 lb 1.60 lb 1.34 lb 2.14 lb 2.53 lb
Price
$190 $789 $599 $479$829 $549 $999$1099
Bottom Line
At 7", this tablet
is among the
smallest of the
group, and with
a price that
lowers the point
of entry for
many students.
A relatively slow
processor and
128MB of RAM
limit performance.
It can also be
used to o oad
photos and videos
directly from an
SDHC card.
Complete access
to the Microsoft
O ce suite makes
this a great tablet
for students
needing to edit
documents on the
go. A relatively
weak battery
limits play time,
but its 2GB RAM,
Adobe Flash
compatibility, and
ability to connect
to peripherals
like a scanner
make it a serious
contender.
The latest version
of Android with
Honeycomb
optimization
introduces a
new interface
and ability to
run on multicore
processors.
There's an
HDMI port for
connecting
directly to a TV
and Adobe Flash
compatibility for
a grand media
experience.
The iPad 2 clearly
sets the bar high
for competing
tablets. Its sleek
and fuid interface
has won over
the masses, but
arguably more
signifcant are
the 60,000+
apps available for
download. Being
available with
diferent
connectivity and
capacity options
allows for a range
of price points.
Unlike many
tablets, the
W500 is aimed
at replacing
a netbook in
every sense.
With a large 10.1
screen, Windows
7, detachable
keyboard, and the
ability to use an
external mouse,
there's nothing
you'll miss from a
netbook.
The EP121 is
packed with high-
end processing
power and up to
4GB RAM, making
it one of the
most powerful
tablets to date. Its
integrated Wacom
digitizer is perfect
for design work,
or taking notes in
class. It's a shame
you wont get more
than 3 hours of
battery life with
this powerhouse.
Touchable Tablets
6
choIces
7
800 x 480
DIGITAL
SECTION: 2
BandH.com/edu
15
A moment, frozen in time and space, ofers people a
chance to see or experience a subject, scene or location.
Photography is experiential. With 3D, a photo can become
more immersive. 3D photography has been around since
the 1800s, but hasnt received much attention until recent-
ly. Now were beginning to see devices that allow us to view
3D images and video without those cumbersome glasses.
To create a 3D image, you need to shoot two images of the
same scene at slightly diferent distances between the two
lenses, then combine the two images into one that tricks
the brain into seeing depth. There are many methods, but
the end result is the same: glorious, eyeball-crossing 3D. In
this article well explore
some ways to get those
striking images, and the
techniques the pros use to
trick your brain into a new
perspective.
Purpose-built 3D cam-
eras use two sets of sensors and lenses to nab depth-defying
shots. Fujiflms FinePix Real 3D W3 is a compact point and
shoot that makes it easy to capture 3D images and 720p 3D
video. Other cameras, like the Sony DSC-WX5, can create
3D images out of quick camera panning.
capture Three Dimensions
the center of each
lens must be aligned
perfectly
P
h
o
t
o
:

J
a
m
i
e

N
i
m
m
o
one remote that
triggers both
camera shutters
simultaneously
PHOTO
SECTION: 3
16
one camera
Its possible to capture a 3D image with just one camera, but
the ideal way would be with a 3D capable camera like the Fuji-
Film FinePix W3, or with an add-on 3D lens like the Panasonic
3D LUMIX G lens. Otherwise, if you want to use a standard
camera, just take one picture, then move the camera slightly to
the side and take another picture. Merge the two to create a 3D
image. This method works only for still subjects and scenes
if anything changes in the scene from one picture to another,
your shot will be ruined. Its also nearly impossible to get the
same angle and framing in both shots. For best results, rig the
camera on a special tripod mount.
Two cameras
To get a higher quality result than with a single camera, use
two of the same cameras mounted at the same height a few
inches apart and fre away. This method allows you to capture
almost any scene at full resolution in 3D, as opposed to using a
3D lens, which cuts the resolution in half. Of course youll need
duplicate cameras and lenses so that both images have match-
ing characteristics.
Process
1

Mount each camera on a stable platform, preferably a tri-
pod. You can use two tripods, but a special adapter should
be used for best results. The iKan Elements Basic Stereo-
scope kit is a great rig for mounting two cameras side by
side and making fne interaxial (distance between cam-
eras) adjustments. The distance between the two cameras
should be approximately 3 inches.
2

Set the cameras to manual exposure and make the same
exposure adjustments to each camera.
3

Using reference points in the scene, compose your shot on
each camera in the same way.
4

Once both of the cameras are pointed at the same scene/
object, you can use autofocus, but for more accuracy,
manual focus will help you ensure that both cameras are
focused to the same distance. If you do use autofocus, set
the focus, and then turn of autofocus before taking the
shot so that the camera doesnt change focus.
5

The next step is to trigger both cameras shutters simul-
taneously, either by pressing both buttons with your
hands at the same time, or for best results, using a remote
control. Make sure to set both cameras to remote control
mode.
6

Note which camera was on the right side and which was on
the left side so that you can set up the fnal image properly
in post production.
Process
1

Set the camera to manual exposure and set the proper ex-
posure.
2

Compose the shot.
3

Set the focus manually or using autofocus; however, make
sure to switch back to manual (so as not to lose your focal
point) before snapping your pic.
4

Holding the camera at the same height, shift to the side
(about 3 inches apart) and take the second picture. For
best results, mount the camera onto a tripod and mount
that allows you to slide the camera back and forth between
each shot.
5

Note which shot is the right eye, and which represents the
left eye so you can properly fnish the 3D image in post.
Volume IV
3D lENS ADAPTER
A 3D adapter, or beamsplitter, mounts to a lens and splits the
beam of incoming light to create two side-by-side images on
the cameras sensor. With a 3D adapter, any DSLR can be used
to create 3D images. Its a quick and easy way to capture 3D
shots, but youll get only half the cameras full resolution.
Panasonic recently released the 3D Lumix G 12.5mm lens
for its G-Series camera lineup. Its essentially two lenses in one
and can be used in photo and video modes. But with a maxi-
mum aperture of f/12, youll need a lot of light to use this lens.
VIEWING 3D
There are a lot of ways to view your 3D images. Heres a quick
rundown of the most popular options:
lENTICUlAR PRINTING
Youre probably familiar with lenticular printingthose stripy
plastic images that pop when panned back and forth. Now you
can print them at home with the Fujiflm FinePix Real 3D W3
Accessory Kit. Alternatively, you can send the series of images
to a printer that specializes in the lenticular process. For best
results, shoot multiple images at diferent distances to be lay-
ered together.
ANAGlyPH
Using special software, the right and left eye images are layered
and placed into a red or blue color wavelength (see example
image above). With this method, the viewer is required to wear
red/blue 3D glasses, but the image can be displayed in almost
any medium, online or in print.
1. Open both images in your photo-editing software, (in
this example well use Photoshop, but the same steps
apply to other photo editing software).
2. Rename each image to indicate which one is right and
which is left.
3. Go to the right image, select all and copy.
4. Go to the Channels window on the left image and select
the Green and Blue channels.
5. Paste the right image into selected channels.
6. Put on red/blue 3D glasses.
7. Select the red channel, while viewing all RGB channels,
and move it around until the halo is removed from the
main object/subject in the frame. Some haloing will re-
main at the edges of the frame.
8. Using the Crop tool, crop the image so that both the
right and left are within the frame.
9. Save to a Digital File Format
www.stereoportraitproject.com
BandH.com/edu
The extended version of the MPF fle format, as well
as the JPS and PNS format allow you to save both right
and left images to one fle that can then be viewed using
a 3D-capable computer, TV or picture frame. Fujiflm
has been pioneering the MPO format with limited sup-
port on 3D playback devices. Roxio Creator 2011 pro-
vides all the basic features for processing and saving 3D
images and video.
Final Tips
1. In a dual-camera setup, spacing the cameras far-
ther apart will increase the 3D efect, while having
the cameras closer together will produce a more
subtle 3D efect.
2. Use software to correct for any misalignments
that can create ghosting when the 3D images
are viewed.
Cal Reinhardt
Cal Reinhardt covers art and photography as a freelance
writer based out of Washington, D.C.
fUJIfIlM fINEPIx W3
The FinePix W3 is Fujiflm's second
foray into digital 3D cameras that
ofer 10 Megapixel resolution and
HD 720p 3D video recording. The
3.5" rear lenticular LCD can display
the 3D images without the need
for glasses. The camera also has
the option to shoot in regular 2D.
SKU# FUFP3DW3;$346
EDu Advantage $328.70

fINEPIx ACCESSORy KIT
Protect your W3 with this all-
leather case and view 3D images
and footage using the included 6'
HDMI cable with a 3D capable TV.
After capturing your memories
in 3D with the FinePix W3, Fujif-
ilm ofers fve free 3D lenticular
prints as part of this kit.
SKU# FUFPR3D;$39.94
Viewsonic 3DPF8
Presenting a great way to enjoy
your 3D images and video with
Viewsonic's 3DPF8. This 8" digi-
tal photo frame is capable of both
2D and 3D display. The panel
provides a healthy resolution at
800x600 and accepts media
from a USB memory card, or SD/
SDHC/MMC card.
SKU# VI3DPF8;$169.99
See some of NASAs 3D anaglyphs
http://mars.jpl.nasa.gov/MPF/mpf/anaglyph-arc.html
A freeware download for PC users that helps you
process 3D images: http://www.stereoeye.jp
WEB lINKS
Volume IV
BY: CAL REINHARDT
PHOTO: NEALE SMITHIES
AND
There
Was Light
Photography
A Slow Shutter Technique
NIKON D300S
NIKOR 18-200 @ 18MM
APERTURE: F8.0
SHUTTER: 60.2 SECS
ISO: 800
hutterbugs with a talent for drawing or painting can merge these art forms with
photography by using a technique called painting with light. The effect, also known
as light painting or light photography, is accomplished by using a very slow shutter
speed and then, using a light source such as a flashlight, quickly drawing shapes in
midair. While employing the technique is not hard, mastering
it in such a way that the final product is more than a visual gimmick
takes patience and practice. The good thing is that you most likely
have everything you need to begin experimentingand getting
resultsimmediately.
This form of photography requires an abundance of testing, tweaking and more testing until everything in the shot is perfected.
One of the most important skills to hone is the ability to visualize the shape thats being drawn without being able to see the en-
tire drawing all at once. Thats why digital cameras are well-suited for this technique: The result can be viewed immediately and
tweaks can be made on the spot.
CHECKLIST
1
A camera capable of shooting at slow shutter speeds (20
to 30 seconds), or one that has a bulb mode to keep the
shutter open indenitely.
2
A stable tripod to prevent camera movement while the
shutter is open.
3
Remote shutter control so that the picture can be
snapped from where the painting will be made (al-
though a cameras self-timer function can also be used).
A remote with the ability to lock the camera in bulb
mode is especially helpful.
4
A ashlight, or several ashlights ranging in size and
color. Flashlights with simple push-button switches are
best for more complex paintings.
5
A location with minimal or no ambient light. Shoot-
ing indoors makes it easier to control the lighting, but
outdoor night scenes can be more visually compelling.
Be aware of cars that could drive by and paint their
headlights into your shot (unless, of course, thats the
desired eect).
6
Dark clothing to minimize the chance of being in the
shot while painting.
PROCESS
1
Find a site that is conducive to light painting. For instance,
a place where light painting will blend with the scene can
result in an intriguing photo. It might be a bridge, a court-
yard or a clearing in the middle of the woods.
2
Set up the camera on a tripod and make sure it is free
from movement or vibrations. Hanging a heavy bag or
other weight from the center post can help to stabilize
the tripod in windy weather (not all tripods have this
feature).
3
Set the camera to shutter priority or manual exposure
mode. Set the shutter to a slow speed. The actual setting
will depend on how long is needed to draw the scene.
Typically, it will take about 20-35 seconds per shot.
Setting the camera to a low ISO400 and below works
wellis important with slow-shutter photography in
order to reduce image noise. The aperture should be set
after doing a few test shots and deciding how the shot
will be composed.
4
Set the cameras self-timer (or grab the remote shutter
release), then get into position. When the shutter snaps
open, its time to paint.
5
Draw or paint with the ashlight pointed at the cam-
era. A good trick is to repeatedly practice drawing the
desired object until youve perfected the shape and
memorized the motion required to complete it within
the shortest amount of time. The slower the ashlight
moves, the brighter the lines will be. If the light lingers
too long in one location, however, it can ruin the shape
youre trying to draw.
S
PHOTO
SECTION: 3
BandH.com/edu
PHOTO: DAVID IBANEz
www.ickr.com/photosdavid1986
HUMAN INTERACTION
Placing a person in a light painting can
add to the magic, but the trick is to cap-
ture them without blurring the shot. An
of-camera fash works best, but an on-
camera unit will su ce. Position the sub-
ject and frame the shot (fashlights can
be used to achieve proper focus and com-
position). When everythings ready, make
sure the lights are out, open the shutter
and re the fash. Then, working quickly,
remove the person from the scene and add
the light-painting efects.
SUBTlE EffECTS
Light painting isnt limited to creating ob-
jects from glowing lines and squiggles.
It can also be used to trace or illuminate
objects or features in a scene, creating a
magical or otherworldly efect.
PHOTO: CHRIS NOCTURNE
www.noctography.co.uk
ExPlORE THE POSSIBIlITIES
Light painting isnt limited to fashlights. Glow
sticks, candles and multi-LED lights can create
interesting shapes and efects. Imagination is
the keyif it creates light, it can probably be
used.
PHOTOS: DAVID IBANEz

ExPlOSIVE
By moving the fashlight in arcs that seem
to originate from a single source, a spark
efect can be created. The key is to turn of
the fashlight at the end of each arc, then
turn it on again when beginning another.
BandH.com/edu
By: PATRICK WIlSON
PHOTO: MARK HEllWEG
WWW.OCUPADO.DE
WiTh
asTRoPhoToGRaPhY
PHOTO
SECTION: 3
trips to the space station may be limited to the very
wealthy, but the rest of us can get a more budget-
oriented tour of the galaxy using a camera and telescope.
Volume IV
strophotography, which focuses on cap-
turing images of stars, planets, asteroids
and other objects in space, requires nei-
ther expertise in astronomy nor large
investments in equipment. At the most
basic level, astrophotography can be
accomplished with just a camera on a
tripod, though a few additional pieces
of equipment can make a big diference.
Photographing the night sky requires pa-
tience and perseverance, but the results
can be astonishing and deeply reward-
ing.
While there are specialized cameras
for astrophotography, a DSLR capable of
imaging at shutter speeds of 30 seconds
and longer (a bulb setting is ideal) with
low noise is a very cost efective option. A
high-resolution sensor is also advisable
in order to crop and enlarge pictures of
distant objects without degrading image
quality.
Many astrophotographers also use
webcams to capture multiple images of a
planet that are then fed through special-
ized software, like RegiStax, or Deepsky
Stacker, that combines them into a fnal
image. This process, called stacking,
allows for greater detail and clarity than
a single image can render.
DSLRs can also be modifed for as-
trophotography. This usually involves
removing or replacing the manufac-
turers internal infrared flter which is
in front of the sensor to allow greater
wavelengths of light to pass through to
the sensor. Removing the flter enables
the cameras sensor to capture details
of certain gases present in nebulae and
galaxies that would otherwise be dim
or hardly visible in an image
from an unmodifed camera.
Modifcations come in sev-
eral varieties. Complete flter
removal allows some cameras
to use the full light spectrum,
but hampers day-to-day op-
eration: The autofocus may
not operate as expected, and
the viewfnder may be slightly
blurred. A more popular ap-
proach is to replace the stock
infrared flter that is in front
of a DSLR's sensor with a flter
thats been engineered to in-
crease the cameras sensitivity at just the
right wavelengths to capture better de-
tail. This retains most of the units day-
to-day functions, yet allows it to be used
to greater efect in astrophotography.
Keep in mind that these changes are
not something to be taken lightly; they
require either modifying the camera
body yourself or sending it to be modifed
by a professional. Be aware that modif-
cation also voids any manufacturer war-
ranty, so many photographers have more
than one camera body on hand modi-
fed and unmodifed each for its own
specifc purpose.
Some stunning images can be cap-
tured with wide-angle lenses. As a rule,
the wider and faster the better, because
wider lenses which have shorter focal
lengths have better light-gathering
capabilities and, for astrophotography,
are capable of longer exposures than
telephotos. Subsequently, faint objects
are more easily captured. This is be-
cause stars appear to trail a lot less at
wider focal lengths, allowing for longer
exposures. The opposite is true for lon-
ger focal lengths (for instance, on a tele-
photo lens): The longer the focal length,
the more pronounced the efects of the
earths rotation will be, producing more
star trails in your images. In clear, dark
skies a 16-35mm f/2.8 lens on a full frame
body can capture some extraordinary
detail in the Milky Way. Lenses with
wider apertures are also recommended:
Anything around f/1.2 to f/2.8 can gather
a lot more light and, with it, more detail.
An entry-level telescope can be pur-
chased for a few hundred dollars, though
the cheaper types should be avoided.
A basic telescope cant provide a view
of far-fung planets and galaxies, but it
can give you a great view of the moon,
Saturn, Jupiter and other planets in our
solar system. There are a lot of things to
look for in a good telescope, but optical
clarity and optical speed are the keys to
astrophotography. A long focal length is
CREDIT: PATRICK WIlSON
shot using a goto mounted
60mm tasco starguide
refractor using a canon g9
mounted on a plossl 32mm
wide eyepiece.
BandH.com/edu
probably less useful than a fast, wide
aperture telescope that is more efcient
at capturing light. There are also tele-
scopes that are optimized for astropho-
tography that make it very easy to con-
nect a camera.
Local astronomy organizations can be
a boon to budding astrophotographers
who want to learn the basics of stargaz-
ing and telescope use, or even those who
just want to jump right in without much
of a background.
Adapters are required to mount a
camera onto a telescope. Adapters are
specifc to the camera and telescope
being used, so research the products
carefully.
The longer the focal length of the lens,
Photo: PhilliP l. Jones
Shooting A
LunAr EcLipSE
these 10 moon images were selected from 934 images cap-
tured in one evening. the imaging equipment used to capture
these shots included a Canon 5D Mark ii camera coupled with
an Astro-Physics Barcon 2x magnifer, which were attached
to the backside of the Astro-Physics AP160 apochromatic re-
fracting telescope with a 6-inch aperture. With the 2x magnif-
er, the focal length was increased to 2400mm. the telescope
sat atop a motorized Astro-Physics AP900 German-equato-
rial mount. this mount is designed to sit parallel to the earth
while adjusting for its natural spin, which enables accurate
tracking. throughout the sequence, exposure and iso were
adjusted as the moon darkened. By the end of the sequence,
the iso was at 2500 and the shutter at 0.6 seconds.
By: Phillip L. Jones
Penumbra stage
Post Penumbra
stage
lunar eclipse
Umbra stage
Volume IV
the more prone the camera is to vibra-
tion, which will lead to blurred or de-
formed looking images. A strong, sturdy
tripod is crucial for obtaining sharp im-
ages.
A remote shutter release makes life
easier by helping to prevent vibration
during a long exposure.
Remotes that have a
built-in timer are help-
ful for getting multiple,
long exposures without
having to do it manually.
If a remote release isnt
available, its possible to
minimize camera move-
ment by using the self-
timer. A 10-second delay
is usually su cient to
eliminate vibrations be-
fore the shutter opens.
The ISO with the low-
est noise, but su cient
light-gathering charac-
teristics, should be se-
lected for astrophotog-
raphy. Long exposures
amplify the inherent
noise of the sensor and
degrade the quality of
the nal image. ISO set-
tings should typically be
between 400 and 1600.
A post-processing tech-
nique using software
that stacks high ISO
images can help to cut
this noise down dramat-
ically. Stacking software
is explained in more de-
tail later in this article.
Relatively short shut-
ter speeds are ne for
capturing some planets
and other bright, close
objects in the sky, but
for deep-sky objects,
very long exposures are
necessary. To avoid star
trails, a tracking tele-
scope mount (described
in more detail later in
this article) must be
used for sharp results.
This, however, can add
complexity and cost to
the process. Some astrophotographers
dont bother with tracking and instead
capture multiple images and use soft-
ware to stack the best ones together.
Autofocus can be used in certain situ-
ations, such as photographing the moon
or nearby planets, but when the camera
is mounted directly to a telescope
which takes the place of the lens the
telescope handles the focus. Still, its
important to verify focus from the cam-
era. Focusing on far objects can be quite
challenging, and its critical to get every
millimeter of detail in the nal image.
Shooting an image without any lter in front of the lens is only possible if clouds are
in front of the sun, otherwise you might damage the camera's sensor. Its best to use
a specialized solar telescope which has an H-Alpha lter for viewing the sun in detail,
including protuberances and sun spots. The astro images of the 2011 eclipse were cap-
tured with a Canon EOS 550D and Canon EFS 18-200mm lens.
By: Mark Hellweg
STARE AT THE SUN
30
Fortunately, there are several solu-
tions. The easiest is to use the magnif-
cation feature found on many of todays
DSLRs while the camera is in Live View
mode. Another option is to get a video
feed from the DSLR, using an HDMI
cable, to a large HD monitor. The camera
can also be connected to a computer via
USB, which will allow the use of software
to control the camera and monitor the
image. There is also specialized astro-
photography software that can analyze
an image and help choose the proper
focus adjustments on the telescope.
Another method to achieve critical
focus is to use a combination of magni-
fed live view and a simple device called
a Bahtinov focusing mask. A Bahtinov
mask fts over the end of a lens or tele-
scope and produces what is called dif-
fraction spikes on bright objects. An
example of a difraction spike is the X
shaped elongations that emanate from
a light source when you squint at it. The
difraction spikes produced by a Bahti-
nov mask can be used to determine criti-
cal focus by how precisely these spikes
intersect at the centers of light sources.
Bahtinov masks can easily be made from
a card or other stif material with the aid
of a craft knife, but the relevant size and
patterns must frst be obtained. These
are determined by the size and focal
length of the telescope or lens, and can
be found on the Internet.
Stacking software is freely available
on the Internet. DeepSpaceStacker, or
DSS, is one such package that is exceed-
ingly popular and has a large online
community. Stacking is required only
after shooting many pictures at high ISO
settings, but it can be used when many
shorter exposures have been taken to
bring out details and smooth over any
noise that may be present.
After stacking, the image should be
processed to tease out every last possible
detail. The curve editing tools available
in Photoshop are usually best suited for
this specifc task, as are the curve tools
in the freely available GIMP image edit-
ing software.
Electronic star maps are also invalu-
able, because what might at frst appear
as a star may, on closer inspection, turn
out to be a galaxy or nebula. These can
be downloaded free of charge via the In-
ternet. Additionally, the most common
mobile phone platforms ofer portable,
highly intuitive star map apps. These
ofer immense benefts by utilizing the
GPS and compass electronics in the
handsets to enable a user to literally
point the phone at the sky to identify ob-
jects of interest.
The key to good images is a dark,
cloudless sky, regardless of what youre
trying to frame as your subject. This can
be particularly dif cult if you live near a
relatively large city, because street and
building lighting degrade dark skies.
Light pollution is not the amateur as-
tronomers friend, but it is possible to
prevent the potential spoiler of orange
glow through the use of special flters.
City light pollution flters block the spe-
cifc wavelength of light that is emitted
from sodium vapor street lighting, but
allows the good light to pass straight
through to the sensor.
Distant planets such as Saturn and
Jupiter normally require the extra reach
of a telescope to see any real detail, how-
ever it is possible to capture Jupiter and
its moons as points of light with a tele-
photo lens.
The Earths Moon can be shot with
a basic telephoto lens, but a super tele-
photo lens, such as a 400mm or 600mm
will work best. Moon shots dont require
long exposure times, but shutter speed
will depend on the phase of the moon and
how bright it is. Shooting a moon in cres-
cent will usually yield the best results, as
the craters will be far more visible and
prominent due to the angle of illumina-
tion by the sun.
Photographing galaxies and nebulae
is one of the more challenging aspects
of astrophotography, and it may require
specialized equipment, signifcant re-
search and lots of practice. Taking very
long exposure photographs of the night
sky will result in stars trailing across
the image because of the rotation of the
Earth. A tracking mount, available for a
camera or telescope, is needed to coun-
teract the Earths rotation and hold the
imaging equipment on target, efectively
following the object thats being shot.
This allows for 3-5 minute exposures
at focal lengths from 200-400mm to be
obtained and even longer exposures at
wider focal lengths.
Anyone profcient with basic hand
tools could potentially build a hand-
cranked device commonly referred to
as a "barn door tracker." These devices,
though simple in operation, allow for
long exposures at wide focal lengths.
There are many diferent schematics and
DIY guides available on the Internet.
Long exposures mean weaker, more
distant light can be collected by the cam-
eras sensor, resulting in more detail and
better defnition. The experience of see-
ing galaxies and nebulae suddenly visible
on a camera or computer screen can be a
profound experience.
Scenic images dont necessarily re-
quire specialized equipment. A good
low-noise camera capable of slow shut-
ter speeds can capture amazing photo-
graphs. Composing a night sky shot with
an object such as a tree line or building
silhouette in the foreground can trans-
form a bland image into an interesting
photo. This is a great way to jump into
astrophotography and get your feet wet.
Star-trail shots are similar to scenery,
only many long exposure shots are cap-
tured and then stacked using specialized
software. The results show the distance
and trajectory in which stars seem to
travel (due to the rotation of the earth).
A remote shutter release with a timer
function can be very helpful for images
such as these.
So if youd like to get a closer look at
space, but lack the cash for a trip into
orbit, try your hand at astrophotography.
Investing in a good camera, tripod, and a
few lenses will cost far less than buying
your own three-stage rocket and youll
be able to keep your feet planted safely
on the ground while capturing stunning
images of the sky above.
Patrick Wilson is a 3D video graphic pro-
ducer based on the east coast of England
and on clear evenings can usually be found
pointing a camera towards the nights sky.
Volume IV
PHOTO: ROBERTO A. SANCHEz
BY: JAD CALLAHAN
dramatic lighting can give your
photos an edge with an emotional
kick. of course, attaining a dramatic
look goes beyond just the lighting
and involves wardrobe, set, and even
post-processing effects. many times
a well-intentioned dramatically lit
scene does not turn out the way
we may have envisioned. if there
is one key to success in this area,
its testing and more testing. never
show up to a shoot with just a basic
idea of how you want to light the
scene. planning the scene is crucial,
but testing your ideas beforehand,
ensures the plan will actually be a
good one.
saVe The
DRAMA FOR
liGhTinG
PHOTO
SECTION: 3
Dramatic lighting can be summed up as good use of contrast
using more contrast than normally would be applied to a
scene. Shadows are your friend in this scenario, but care should
be taken to avoid mismatched shadows coming from diferent
directions.
Yes, we all know the basic three-point lighting setup and how
balanced the photos can be when used properly, but dramatic
lighting requires more unusual placement and treatment of
lights. For example, instead of the key light being in front of the
subject, place it overhead facing down. For on-location shoots
where portability is of concern, two speedlights (Speedlites for
Canon) can be mounted together and directed through an um-
brella. This will soften the harsh overhead light to make it look
less like an interrogation scene. The Interft INT337 bracket
can hold up to three fash units and has an umbrella mount as
well. Add a boom arm and a light stand and this can be a great
overhead soft light. Some care needs to be taken in order to di-
rect the light to where its needed on the subject. Limit the light
from spilling on the background or inadvertently increasing
the ambient light.
A softbox is usually better suited for dramatic lighting be-
cause it's more efective at restricting light. Additional control
of the light can be achieved by adding an eggcrate/honeycomb
grid to the front of the softbox, or fabric barn doors can be
attached to the sides. Eggcrates come with cell sizes at vary-
ing degrees to further narrow the beam of light. A 60 eggcrate
provides good light control, while a 20 provides a very narrow
beam of light yet it will still be soft.
Tread carefully with larger softboxes that can make it harder
to control light spill. Sometimes a smaller softbox will do a bet-
ter job. A small Chimera Pancake Lantern with a fabric skirt
can also be a good choice for this type of lighting setup.
Another option is to use a hard key light to create harsher
shadows on the subject. This can be as simple as using one
speedlight for the key light. Try this setup outdoors in a shaded
area during the day, or at the golden hour of the day to cap-
ture amazing colors in the background as well.
The sun can also serve as a great hard light, but is much hard-
er to control. The trick is to snap several pictures while mov-
ing the camera and/or subject until the light comes in at a good
angle. You can use a bounce card or speedlight to help decrease
some of the harsh characteristics of sunlight.
One technique to get really dramatic lighting during the
bright hours of the day is to overpower the sun with a portable
strobe set very close (about 3 feet) to the subject. Something
like a 600w/s power output can allow you to stop down in order
to lower the surrounding ambient light. The full power of the
sun can then be used as a backlight on the subject. Alterna-
tively, an ND flter could be mounted in order to use a wider
aperture and soften the background. This can also help get the
shutter down to within the maximum sync speed of the camera
and fash unit.
Backlighting a subject can make an image more interesting
and unique. The edges of the subject will be sharp and pro-
nounced, so interesting shapes are a good choice of subject. Use
a fll light on darks areas of the subject or scene to balance out
the light ratio, unless a more extreme look is sought.
Backlighting isnt only for a studio setup. Being outdoors in
complete daylight can have a very interesting efect. Just cap-
ture the subject or object facing the sun, or at a slight angle to-
ward the sun. Bring along a hot shoe fash to fll in the shadow
area.
POST-PROCESSING
Even a fatly lit scene can be transformed into a stunning
image with dramatic lighting by using Photoshop layering
and blending techniques. Starting of with a properly lit photo
will obviously lend itself to achieving the best results, though
sometimes a few tweaks are needed even on a well planned and
executed shoot to give an image its fnal punch.
While in Photoshop, adjust the levels of the image so that
the blacks are black and the whites are white. You can achieve
more extreme efects with the Levels slider, but this is an in-
discriminate way of adjusting your image, so there are times
where youll want to create masks to adjust diferent parts of
your image independently.
By creating masks around key elements in the scene, you
can control the amount of brightness, contrast, saturation and
hue to give your photograph more emotion. That, however, is
merely skimming the surface of what you can achieve in post.
Jad Callahan is a Los Angeles based freelance writer for photog-
raphy and graphic design.
TiP
Both softboxes and umbrellas give of a soft light, but one of the key
diferences between them is that umbrellas leak more ambient light
into the scene, while a softbox ofers a more controlled light output.
For dramatic lighting setups where you want to keep certain parts of
the scene darker, using a softbox can make a dramatic diference.
PHOTO: NEAlE SMITHIES
BandH.com/edu
applying a Dragon eect
1
Start by increasing the contrast of the image.
2
Pay special attention to the contrast of the eyes
by creating masks and adjusting the diferent
parts of the eye to increase the contrast.
3
An 'S' curve layer can be applied to the image
to increase contrast control.
4
Duplicate the image, create a grayscale ver-
sion and increase the contrast even further
(ensure this layer is on top of the original
layer).
5
Reduce the opacity of the grayscale image to
create a starker and more desaturated look.
6
Restore the saturation of the eyes using a
mask on the grayscale image.
7
Combine both layers and duplicate the newly
combined layer.
8
Apply a High Pass flter on the top layer and
set the Blending Mode to Soft Light. Some-
times its best to selectively apply this efect
with a layer mask on the subjects hair.
9
Shift the overall color tone of the image by
creating a solid color layer with a low opacity
(about 20-30%) and setting the Blend Mode
to Softlight. Using the Color Picker, choose
a color that gives the fnal image a tone that
suits the mood you're after. This efect can be
made as subtle or extreme as youd like by in-
creasing or decreasing the opacity. If theres
an object in the scene that has a color you
dont want to be changed by this new layer, a
mask can be created on the solid colors layer.
BeFoRe aFTeR
Controlling the look of specifc blocks within an image is good, but sometimes a little dodge and burn
is necessary to touch up the details within a scene. If you want to lend a grungier feeling to your
image, try the 'dragon efect.'
PHOTO: JENNIFER BYRON
Volume IV
applying a Vignette
1
Create a new blank layer on top of all layers.
2
Using the circular Selection Tool, create a
selection that is centered from top to bottom,
and side to side-you should be left with round-
ed edges excluded on all four corners.
3
Depending on the image size you're working
with, add feathering to the selection (typi-
cally between 100-250px).
4
Inverse the selection so that the borders of the
image are selected.
5
Using the Fill Tool, fll the layer with black.
6
Decrease the opacity to about 50-80%, de-
pending on how strong of an efect you prefer.
In order to draw the viewers eyes to the center of a photograph and increase the dramatic lighting
efect, add a subtle vignette to the fnal image using Photoshop.
BeFoRe aFTeR
PHOTO: JENNIFER BYRON
BandH.com/edu
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PHOTO: STEVE BRONSTEIN
many photographers strive to capture reality in its purest
form. steve bronstein captures fantasy. the new york
photographer is known for creating some of the most
imaginative and evocative scenes in
advertising. his shots for absolut vodka
have adorned billboards and magazines
for more than 20 years. hes worked for
big brands like coca cola, volkswagen,
and microsoft. his photographs are world-renowned and his
imagination is off the charts. its intriguing to me to find
visual ways to communicate the clients ideas, he says. its
endlessly interesting and im always learning something
new. that, and its just fun to fool the eye.
BY: DUSTIN DRIVER
PHOTO
SECTION: 3
ronstein studied photogra-
phy at the Newhouse School
of Public Communications
at Syracuse University in
New York. But that was the
craft of photojournalism,
capturing life as it isnot
creating fantasy from imagination. I
would say that when it comes to the work
I do now, I learned mostly on the job, he
says. What I studied in school was very
diferent from what I do now.
After he graduated from Syracuse, Bron-
stein moved to New York to become a
photographers assistant. Within a few
years, he met photographer Steve Steig-
man, known for his iconic image Blown
Away, the core of Maxells ad campaign
in the 80s. The famous photo features a
man sitting before a high-powered high-
f system, his hair, tie, and a nearby lamp-
shade waving in the wake of a powerful
blast of music. Bronstein worked with
Steigman, who had formed a sort of pho-
tographer collective. We had several
photographers working under one roof,
each specializing in one area like por-
traits, still life, etc., he says. We could
ofer much more to clients that way and
share space. It was fantastic.
Bronstein honed his
skills and found his niche as
a creative ad photographer.
He learned how to meld in-
congruous bits of imagery
into astonishing scenes,
how to nab the attention of
an increasingly spastic au-
dience.
Today Bronstein creates
his own reality with a com-
bination of clever studio
setups and slick Photoshop
techniques. His images
are impossible, incredible,
and inspiring. Luckily, hes
more than willing to tell
us how he works his magic.
Bronstein took the time to
explain how he managed to
create some of his ingenious
photographs and were
sharing what we learned.
Sometimes an idea sneaks up on you,
falls into your head out of the ether.
When that happens, you cant ignore it.
This photo did just that and Bronstein
brought it to life over the course of a few
weeks. It wasnt produced for any par-
ticular client or for any ad campaign. It
was just for fun. And what fun it is.
He started with baby bottles. Normal
baby bottles are far too strong to smash,
he says. Youd need a lot of force and the
break wouldnt be very predictable. So
the photographer had special efects ar-
tisan Peter Kunz make a few dozen baby
bottles from theatrical glass, a brittle,
easy-to-smash material.
He needed a special efects expert to
smash the bottle. He has an air gun that
fres a steel ball. The steel ball passes a
laser trigger thats set to fre the camera
and strobe, he says. It took a few tries
to get the timing right, but then we were
able to get consistent results.
Bronstein photographed his bright-
eyed subject separately, but in the same
lighting setup and against the same
background. The arrow was built by
model maker Mark Borow of the PropArt
prop shop and was also shot separately.
He brought it all together in Photoshop.
The angle is the same, the perspective
is the same, the lighting is the same, he
says. Thats the key to creating believ-
able photo illustrations.
Destruction is chaotic. It doesnt care
about composition, lighting, or any-
thing else that makes a technically great
photo. Thats why Bronstein brought
some order to the chaos to nab a baseball
smashing through a window for an MLB
ad spot.
I broke the glass frst, then suspended
the baseball with a monoflament right
where I needed it, he says. I also sus-
pended some of the larger pieces of glass
BASEBAll, MlB
SHOT WITH H HASSELBLAD
CAMERA, 120MM LENS, AND
LEAF APTUS 75 DIGITAL BACK
ARROW
B
PHOTOS: STEVE BRONSTEIN
BandH.com/edu
where I wanted them. I threw the rest of the shards into the
frame as the camera fred. The camera was completely locked
ofaperture, shutter speed, focus. The key to this execution
was the use of high-speed strobes (Broncolor and Graft). I took
several shots and used pieces of them to create the fnal image
in Photoshop.
The background of the shot is actually a large-scale trans-
parency of a stock image. This allowed the glass to naturally
refect, refract, and distort the background without a lot of re-
touching, he says.
For years, Bronstein created legendary ad spots for Absolut
Vodkawithout any digital tools. Before Photoshop, we did
everything with miniature sets and complex studio setups, he
says. It was a lot of fun, and a lot of work.
The Hamptons are world-renowned for their sandy beaches,
posh resorts, and million-dollar homes. Theyre the perfect
setting for an Absolut spot. But you cant exactly hover a heli-
copter 30 feet above delicate wetland and multimillion-dollar
homes to get an aerial shot, says Bronstein. And the home-
owners wouldnt want camera crews tromping around. So to
get this shot, we built a miniature set.
Bronstein found expert model makers PropArt of New York
city and got to work. The model is built with forced perspective,
creating the illusion of a long pier within a small space. The sky
is a matte painting and the "water" isn't really water at all. The
model maker I worked with does this with aluminum foil, says
Bronstein. When you view it from an angle it looks exactly like
water.
The last mastodon died ages ago. Some, however, were
caught in the swirling snowstorms of the Ice Age and were en-
tombed in icy graves. This isnt one of those popsicles, though.
Again, its a miniature. Theres no way wed be able to build a
full-scale mastodon in ice, says Bronstein. And even if we did,
you wouldnt be able to see it through the ice.
The photographer used a miniature mastodon, but didnt
freeze it. Instead, he overlaid a photo of some ice in Photoshop.
Then he dropped the scene before a stock photo of a glacier. A
few more tricks with perspective, and you have a guy defrost-
ing an ancient elephant with a hair dryer. Its one of the more
Photoshop-intensive pieces Ive done, but I still tried to use as
much real photography as possible, says Bronstein.
Dustin Driver is a technology writer who has written exensively
for the Pro section of the Apple website and lives in San Francisco.
BEACH
SHOT WITH 4X5 SINAR,
120MM LENS
MASTODON
SHOT WITH SILVESTRI
BICAM, HASSELBLAD V LENS
ACTUATOR, 60MM HASSEL-
BLAD V LENS, SINAR EMO-
TION 33 DIGITAL BACK
Volume IV
hase Jarvis discovers the astonishing in the mun-
danehis vibrant photos spotlight the spellbind-
ing instants that most of us miss. I have this per-
sonal belief that there are 10 amazing photographs
within 10 feet of you at all times, he says.
And Jarvis produces amazing photographs at
an astonishing rate. His startling stills capture the gritty real-
ity of life, whether hes shooting for commercial clients or for
fun. Life is dirty, people are gritty and real, he says. Theyre
also colorful and bright and full of energy. I try to fnd that one
spark of energy and capture it.
The 38-year-old photographer is known for capturing the
explosive power of pro athletes and the imposing terrain of re-
mote locales. Theyre iconic images that grace the walls of gal-
leries and the pages of magazines alike. Hes also the guy who
re-popularized the phrase, The best camera is the one thats
with you. In fact, he helped develop the iPhone app Best Cam-
era that lets users tweak their images and share them with
others. Oh, and theres also the bit about being the frst photog-
rapher to get his/her hands on a Nikon HDSLR.
Now the photographer splits time between photography
and directing, shooting everything from documentaries to
advertising to music videos. Its a big turnaround for a soccer
jock who ditched medical school to backpack around Europe.
The Seattle native is one of those rare photographers who re-
ally never had an interest in photography as a kid. He was an
athlete, a soccer champion who at one time considered going
pro. He got into San Diego Sate University on a soccer scholar-
ship, where he ping-ponged between pre-med, philosophy, and
aesthetics classes.
The mixed-up student graduated pre-med with tentative
plans to move on to med school. Then he promptly ditched it all
to tour Europe with
his grandfathers cam-
era. He traveled for six
months, hitting Spain,
Russia, Greece and
other fantastic spots.
Even then, he planned
on becoming a doctor.
When his travels were over, he
moved to Steamboat Springs,
Colorado, to ski and ponder
his future. Then he few back
to Seattle to interview with a
medical schooland walked
out in the middle of it.
Jarvis fnally recognized his career in the mountains of
Colorado when he licensed a photo for 500 bucks and a pair of
skis. Thats when things really took of. Jarvis vision propelled
him into fame.
The visual artist likes to say his work has a stylized authen-
ticity. Its rooted in the real world, in real culture, real people,
and real behavior, he says. If Im doing a lifestyle shoot of
someone running to catch a wave, Ill ask the talent to do it. Ill
watch them from a documentary angle and look for that one
point of fare, that one element of uniqueness. Hardcore surfers
will recognize that authentic moment and non-surfers will see
it as a window into something they dont normally experience.
Thats stylized authenticity.
Jarvis is also inspired by disruption, by the unexpected.
Andy Warhol took products of the shelf and put them in a gal-
lery, he says. Thats the kind of thinking I love, the mindset of
thinking outside of the expected. I try to look at every project I
do with that in mind.
C
BY: DUSTIN DRIVER
PHOTO
SECTION: 3
BandH.com/edu
That love of the new and unexpected led Jarvis to explore
new tools for visual storytelling. He was the frst photographer
to spend quality time with Nikons frst HDSLR, the D90. From
that point on, he expanded into multimedia storytelling, fus-
ing video footage with stills and audio to create documentaries,
advertisements, and music videos.
Photography is fusing with video and multimedia, he says.
And why would you want to separate them? I want the free-
dom to choose the medium thats best to tell the story, he says.
I want to be able to play with stills, video, audio, whatever. Its
an extremely exciting time to be a visual artist.
Jarvis latest video project provided him with that kind of
unfettered creative freedom. He produced a music video for
The Presidents of the United States of America, who had writ-
ten the song for the anime series Pokemon. That was really a
fun project, he says. Im friends with the band, we had good
backing, and I had a ton of creative freedom. In the end we built
this elaborate hand-painted black-and-white set. The video
fuses cartoonish visuals with live shots of the band perform-
ing to create a happily stark worldjust the kind of juxtaposi-
tion Jarvis loves. But not all of Jarvis projects are as free as his
video for The Presidents. In most cases, its his job to convey
another artists vision. Ive done videos for a variety of musi-
cians from Sarah McLachlan to Mudhoney, he says. Those
were very gritty and real and very much representative of the
bands. Its my job to show the audience how the bandmates
look at the world, their story behind the music. Its challenging
and really rewarding.
In an ever-expanding world of digital media, Jarvis sees
much more room for visual artists and creative ideas. The
world is embracing digital photography and photography in
general, he says. More people than ever are able to show us
how they see the world. At the same time its easier than ever
to diferentiate yourself. You can take a photo and upload it to
the web and become famous instantly. The opportunities for
creative people are endless. Thats extremely exciting for me
and it gives me a lot of hope for the future of digital media and
photography.
PHOTO: CHASE JARVIS
Volume IV
BY: JAD CALLAHAN
PHOTOS: zACH ANCEll
PHOTO
SECTION: 3
BandH.com/edu
Zach ancell is ultimately a
sports photographer, just
not a typical one. to him,
sitting on the sidelines
snapping away with a
300mm lens doesnt cut it. hes
after a special kind of image that
captures the essence of a player
the competitive stare in a players
eye, the sweat dripping down or the
intensity of a playing field. Zach is
part of a new breed of photographer/
digital artist who cares more about
the end result than how it is achieved.
i like to just consider myself as a
photographer, but ive been challenged on
that fact. i spend so much time working
on my images in post that what i do isnt
considered pure and thus im not a
photographer, Zach says. professionally,
im a commercial photographer due to
my style and the clients that i work with,
but i usually refer to myself as a creative
because thats what i truly am.
Zach had been interested in photography ever since taking
a class in high school, but it really kicked in as a passion four
years later in college. It was this creative outlet that helped
him overcome the challenges life dished out. I started out just
shooting landscapes, and boy was it dreadful, although it was
a way for me to get out and do something with my time rather
than focus on other things. I would look through a book of Or-
egon hikes, pick a spot, drive there and just go explore, he says.
As he gained experience choosing subjects and working his
camera, he felt he needed to take it up a notch or two. As crazy
as it sounds, I was petrifed of using strobes and didnt think I
could pull of taking portraits. His passion for sports photog-
raphy was born out of his own athletic endeavors as a college
freshman. So when a friend suggested shooting some portraits,
athletes were his subjects of choice. My friends and my team-
mates became my models. And once Id shoot one sportrait
(Zachs term) Id post the image on Facebook and get requests
from my other friends asking to shoot with me.
Slowly but surely, Zachs skills were honed and his portfolio
grew one friend at a time. As an athlete himself, Zach often
dreamed of one day being one of Joel Grimes sports subjects.
As luck would have it, years later Zach would be learning how
to shoot those photos directly from Joel himself.
As Zach drew inspiration from the likes of Joel he began to
experiment with HDR photography and ended up developing
his own set of techniques and style. With a passionate pursuit
of the craft, Zach fnally broke through by shooting his old
teammates for the University of Oregon Track and Field team
to create the imagery for the 2010 NCAA Championships. It
was defnitely an awesome experience to see my photos on
billboards all over town and banners up all over the stadium. I
think it will always be one of the most important projects that
Ive done, says Zach.
His passion for sports drives him to seek ever-dramatic views
of the athlete in his or her environment. Beyond the dramatic
lighting techniques he employs, or the heavy post-processing
like using the dodge and burn tools to bring out muscle tone,
he spends considerable time selecting an angle from which to
capture the subject. I dont think Ill ever be a fan of a 50mm
lens even though it is most like a persons normal perspective.
I want to see something diferent. I want to stretch everything
out or I want to compress it to get what we arent used to seeing.
I dont want to create reality; I want to give people a diferent
look at the world, he says.
Z
zACH ANCEll
Volume IV
his photo was shot for my friend and amazing athlete, Ashton
Eaton. Its always a blast working on projects with friends be-
cause the moment you get on set the two of you have a good
chemistry that makes the shoot go much smoother. A lot of
trust goes into making an image like this. Worst-case scenario,
Ashton hits the hurdle and comes crashing down on me with
his spiked shoes and destroys my camera. This goes back to the
idea of getting an interesting angle and not wanting to capture
what everyone always sees. How often do we get to see someone
hurdle over us?
The lighting setup used for this image is one that I tradition-
ally use for my Sportraits. Its a three light setup that produces
a nice rim light and then a slight fll. Its great lighting for ath-
letes because you get a nice cross lighting that emphasizes their
physique. The setup starts with two softboxes to the left and
right of the subject (one on each side). I usually shift them a
little bit behind the subject because you dont want the light to
wrap all the way around their face. You want to produce nice
highlights down the side of the face and also a rim around the
rest of the body. The third light is just a fll light so the center
of his face and the rest of the body arent completely underex-
posed. I usually run the fll light one to two stops below the two
side lights. The modifer on the fll also depends on the subject
Im shooting. If Im working with any athlete that I want to
make look strong and powerful I use a 22 beauty dish because
its a little more dramatic and harsh. For a little softer look,
I put up my large Paul C Buf Octabox, which just eliminates
some of the drama.
Before taking this picture, we were shooting from a profle so
the lights were set up with a beauty dish just over my camera,
and the two medium softboxes placed behind Ashton and in
front of him. Essentially, hes running away from one light and
running towards the other with a beauty dish fll. We decided
to try a diferent perspective and I decided to get under the
hurdle but didnt change the lights. In an ideal world, I would
have reset the lights so
hes essentially hurdling
towards the beauty dish
and the two rim lights
would be of to the sides
of the hurdle. Thats an
important lesson, too.
Sometimes you dont
have all the time in the
world so you just have to
work with what you have.
The shoot took place
in an indoor track facil-
ity so the next question I
had was what am I going to do to the background. I decided that
a nice dramatic cloudy background would be perfect. The next
day I went out and shot a bunch of diferent clouds. I used the
same lens (Canon 16-35mm f/2.8L II) to make sure that I got
the same perspective and the great thing about living in Port-
land, Oregon is theres never any lack of clouds.
The next step was to cut out Ashton and the hurdle and run
it through my traditional processing techniques. I dont think
theres enough space in this magazine to give you a step-by-step
of my post-processing. On average I spent anywhere from three
to fve hours working on this image using curves, smart objects,
layer masks, and blending modes (for me mainly Overlay and
Soft Light) which is how I arrived at this dramatic image.
worst-case scenario,
ashton hits the
hurdle and comes
crashing down on
me with his spiked
shoes and destroys
my camera.
1
st
SHOT BREAKDOWN
BY: zACH ANCEll
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For the second image breakdown,
lets look at an image that didnt use a
traditional three light setup. This image
is one that I shot with a model (Chris)
who contacted me and I really needed
some basketball photos. The only catch
was that he was just coming of a knee
injury and wasnt able to do any jump-
ing. It defnitely made things difcult
because I went in planning on shooting
some dunk photos but that was out of
the question. So I decided that it was an
opportunity for me to work on creating
what I call environmental portraits.
To me, that just means basically shoot-
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ing a landscape (which in this case is a
basketball court) with a subject still
being the main subject but not flling up
a full frame.
The whole concept for this image was
an athlete staying late after practice to
work on his shot while everyones gone
home. I wanted to create a nice spotlight
efect and I did that by taking one of my
lights with an 8.5 refector and 30 grid
and elevating it up about 9 feet. I put it
directly behind the hoop and pointed it
down. You can see that the light is actu-
ally hitting the ground at least 8 to 10
feet in front of Chris and falls of from
there. The great thing about a basket-
ball court is that its a refective surface
and thus works just like a refector. The
light bounces up of the court and flls
his entire front.
To provide some separation I took
another 8.5 refector with a 30 grid
and put it behind to give a nice highlight
on his back. This makes it so he doesnt
completely disappear into the back-
ground and makes him stand out. The
last issue is since two lights are dedi-
cated to the spotlight and separation
from the background weve completely
lost the basketball hoop. With my last
light, I took another 8.5 refector, this
time with a 15 grid, and elevated the
light up about 8 feet in the air. This was
placed of to the side and behind Chris
and aimed directly at the hoop.
The post-processing here was pretty
simple. I wanted this image to be a little
bit more natural so I just added some
contrast (using curves) and some dodg-
ing and burning. After that, it was just
a little desaturation using the hue/satu-
ration adjustment layer. The biggest
challenge was cleaning up the back-
ground of some of the cords that were
running across the court. After all of
that, this was the fnal product.
The most important thing to remem-
ber about lighting is to focus on one
light or groups of light and then build
of of that. Every time I employ the
three light setup, I always focus on the
two rim lights frst before ever turning
on the fll light. I want to make sure
that the rim lights are placed properly
to create the exact same highlights on
both sides of the subject. I also check
to make sure Im not overpowering and
losing any detail.
2
nd
Shot Breakdown
By: Zach ancell
Volume IV
eye-fi 8gb
pro X2 sdhc
If you've ever dreamt of never
having to swap out another
memory card again, here's your
answer. The Eye-Fi operates like
any other SD memory card, but can
transmit photos and video clips to
a computer via a WiFi connection.
And now with the new Pro X2, you
get even faster transfers, RAW
support and the ability to create a
network without a router; making
this the memory card to have.
SKU# EYEFP8;$87.69
fujifilm finepix
hs20eXr
This Fujiflm "superzoom" camera
packs a lot of features and
quality for a such a small form
factor. With a high resolution 16
megapixel sensor, the ability to
create panoramic images, as well
as shoot 1080p HD video, it's the
take-anywhere camera of choice.
Its 30x zoom lens might make you
forget it's not interchangeable.
SKU# FUFPHS20;$424.95
Lensbaby
composer pro
The Composer Pro is an upgraded
version of the Composer that
features a metal ball and socket
for smooth and accurate focus
control. Simply twist and tilt to
throw everything but a small
part of the scene out of focus to
get truly unique shots. Mounts
directly to the camera and is
available for Canon, Nikon, Sony,
Pentax and Olympus DSLRs.
SKU# LELC20*;$299.95
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eyesee360 gopano
plus
Every once in a while a product
comes along that forces you to
reconsider the possibilities of image
making. The GoPano does just that.
It attaches to your camera and
captures a full 360 view using
internal mirrors. Included software
is then used to unwrap a panoramic
image much like Google's addictive
Stree View maps.
SKU# EYGPOPW25;$699
panasonic Lumix
dmc-gf2
If you crave a camera you can
throw in your shirt pocket or
purse, while still having advanced
photo/video capabilities, the GF2
aims to please. The Micro 4/3
design allows for lenses to be
swapped in any situation you fnd
yourself in, without the bulk of
a traditional DSLR. And with the
ever expanding line of lenses, like
the Panasonic 3D or super slim
20mm "pancake" lens, options
abound.
SKU# PADMCGF2B;Body Only $419
panasonic 3d LumiX g
12.5mm/f12 Lens
Snap this lens onto any Panasonic
G Series camera and watch your
camera turn into a 3D capturing
machine. The housing has two
lenses inside, which keeps things
light and compact. The lens
projects two images onto the
sensor side by side, which also
means the fnal image resolution
gets cut in half. If you can live
with a drop in resolution, this lens
ofers a great way to jump into 3D
image making.
SKU# PA12512;$235.99
Volume IV
Volume IV
mamiya 645df
For the pixel loving resolution
junkies, here's a camera that
meets the demand. With an image
area that's three times the size of
a DSLR, the 645DF captures crisp
detail and stunning images. Super
fast sync speeds of 1/1600s is
made possible with dedicated
Mamiya leaf-shutter lenses,
though it works with unshuttered
lenses just as well. It's compatible
with digital backs from Mamiya,
Phase One, Leaf and others, giving
you the fexibility to upgrade as
technologies advance.
SKU# MA645DF;$5,990
EDu Advantage $5,691
impact shoe-mount
flash accessories
Bring studio level control to your
on-camera lighting with Impact's
line of shoe-mounted fash
accessories. Choose from a mini
softbox, a snoot or a beauty dish
to get any look you envision.
SnootSKU# IMSOCF;$27.95
Beauty DishSKU# IMBDOCF;$27.95
Mini Soft BoxSKU# IMSBM;$9.95
EDu Advantage $8.96
oben at-3400 with
ba-00t ballhead
Finding a quality tripod that's
sturdy enough to handle the
bulk of a DSLR with a zoom lens,
while still being small enough
to take anywhere can be quite
a challenge. Finding one at this
price range is amazing. The AT-
3400 folds into a compact 15.4"
package for easy transport and
is made of anodized aluminum for
lightweight stability.
SKU# OBAT3400BA00;$159.95
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fujifilm finepix X100
The X100 pays homage to
rangefnders of old, but packs
advanced technology like a DSLR
size APS-C sensor into a compact
body. Aside from slick retro
styling, it ofers a hybrid optical/
electronic viewfnder for varying
situations and preferences.
External controls, such as a
shutter speed dial, allow for more
tactile manipulation. And with the
latest camera features like HD
video recording, the X100 delivers
the best of the old and new.
SKU# FUFPX100;$1199.95
profoto acute 2
provalue 1200 kit
The Acute 2 ProValue kit comes
with a high-performance
generator that delivers on power
but keeps a small footprint. It
includes two fan-cooled D4 heads
with zoom refectors. Fast recycle
times, short fash durations and
asymmetrical lighting options
make this a perfect on-location kit.
SKU# PRA21200VPK;$3,385
impact medium
Luxbanx 24x32"
softbox
This economical softbox for fash
(not hot lights) has two removable
internal and external difuser linings
to better control the softness of
light. The softbox is designed to
be assembled quickly and easily.
Requires a compatible speedring.
SKU# IMLBM;$69.99
creative Light 41
umbrella/softbox
Creative Light ofers a hybrid
umbrella/softbox so you no longer
have to choose one over the other.
SKU# CRU41TST;$53EDu Advantage $37
Volume IV
Volume IV
canon eos rebel t3i
The T3i improves upon the
successful T2i to bring you a
higher resolution fip-out screen,
the ability to trigger of-camera
Speedlites, and manual audio
level control for video recording.
While the 18MP APS-C sensor is
essentially the same as the T2i,
the T3i is an attractive entry-level
option with its new features.
Body OnlySKU# CAEDRT3I;$729
Body w/18-135mmSKU# CAEDRT3IKZ;$1099
canon speedlite 320eX
Finally, a Speedlite for the hybrid
photographer/videographer. The
320EX packs a lot of punch with
a guide number of 32, adjustable
angle of coverage of 24mm to
50mm, and the ability to turn on
its LED light continuously for video
capture. It can also be wirelessly
triggered by a compatible Canon
DSLR, such as the T3i, making
this a great entry-level fash, or a
secondary of-camera fash.
SKU# CA320EX;$239
sigma 120-300mm f2.8
The focal range of 120 to 300mm
ofers an incredible zoom range and
is designed for full frame DSLRs.
The fast f2.8 maximum aperture
stays constant throughout
the zoom range. It features a
hypersonic motor for fast and quiet
autofocus operation.
SKU# SI12030028*;$3,199
EDu Discount 5% O
pearstone wireless
shutterboss
Available for Canon, Nikon,
Olympus and Sony cameras, the
ShutterBoss can trigger a camera
wirelessly at up to 250 feet and
includes a customizable timer
control.
SKU# PERCW*;$49.95 104.95
EDu Discount 10% O
impact powersync16
Event photographers, or anyone
needing to shoot with of-camera
fash units at up to 590' away
(outdoors) will appreciate the 16
digital channel PowerSync16 radio
slave's host of features and value.
SKU# IMPS16DCK;$149.99
pocketwizard flextt5
Available for both Canon and Nikon
camera systems, the FlexTT5 is a
slave transceiver that works over
radio signals allowing triggering
over greater distances and an
X-sync speed of 1/800.
For CanonSKU# WIFTT5C;$229
EDu Advantage $189
For NikonSKU# WIFTT5N;$219
EDu Advantage $179
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nikon d5100
The D5100 is a prosumer DSLR that
features a 16MP sensor, up to ISO
25,600 and 14 bit RAW capture.
Compared to its older sibling, the
D7000, the D5100 lacks some pro
features like a 39-point AF system
and wireless fash control and has
fewer external controls, though the
image is otherwise nearly identical.
Body OnlySKU# NID5100;$799.95
impact Litetrek kit
This kit is designed for
photographers who need more
power than a shoe-mount fash
without having to carry a pack
and head onto the feld. The
monolight is compact and rugged
while delivering 400W/s. The
included battery completes the
kit and provides 650 fashes at
the maximum power setting. The
battery can also power many
popular shoe-mounted fash
units with a compatible cable.
SKU# IMMLTBK;$899
EDu Discount 10% O
nikon af-s nikkor
50mm f/1.8g
Features an updated optical design
and a built-in autofocus motor to
work with all Nikon DSLRs.
SKU# NI5018GAF;$219.95
vello battery grips
Increase your shooting time and add
control for portrait shooting with
Vello's line of high-quality battery
grips. Available for most DSLRs from
Canon and Nikon.
SKU# VEBG*;$45.95 69.95
EDu Advantage 10% O
moab general
sampler-8.5 x 11
Sample some of Moab's greatest
photographic papers with a total of
10 samples in this pack.
SKU# MOSP8512
oben tt-100
Can stabilize a camera weighing
up to 6 lb on tables, foors
and other surfaces. Made of
aluminum and includes a single-
action mini ballhead.
SKU# OBTT100;$29.95
Volume IV
Volume IV
o b e n s u p p o r t s . c o m
At Oben we strive to rise above in quality and design by ofering a full line
of feld-tested photography supports for every scenario. From compact and
lightweight, to high and mighty, Oben ensures you're on steady ground.
Why Choose Oben
TRIPODS
MONOPODS
TABLETOPS
BALLHEADS
THE BASICS
A stereoscopic image is made up of two images photographed with a slight horizontal ofset, which mimics the way our
eyes see the world. When a stereoscopic image is viewed with the appropriate viewing system, each eye sees only one
of the two images; there is a left-eye image and a right-eye image. Our brain then interprets these two images the same
way it would normally interpret the two views from our eyes, estimating distance using the diference in the apparent
horizontal position of objects as observed by each eye. Generally, this efect occurs when we view objects within 13-16
feet. Objects that are farther than this have less of a 3D efect because the diference in horizontal position as viewed
from each eye is so slight. This can be a serious issue for 3D flmmaking, where producers and audiences want to see
a pronounced 3D efect in situations where no such efect would, normally, be visible. This is a particular problem in
television broadcasting of sporting events where all subjects are efectively more than 16 feet away.
InTEroCulAr/InTErAxIAl
The interocular distance is the distance between the centers of each eye. Most people have a distance of 2.5 to 3 inches
between their eyes. The interaxial distance is the distance between the centers of each lens within a two-camera setup.
The distance between the cameras controls the horizontal ofset between the right and left image. Consequently, increased
interaxial distance will intensify the 3D efect by increasing the apparent horizontal separation of nearby objects relative
to their distance. Filmmakers need to balance the need for this efect in each scene, with the risk of causing discomfort to
the audience. Factors including the focal length of the lenses used, the distance to the subject, and the fnal screen size will
either increase or decrease the 3D efect and need to be considered when setting the interaxial distance.
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CONVERGENCE
Convergence refers to the tendency for the lines of sight of both eyes to toe in, come together, or converge at a nearby
object, when that object is the focus of attention. The angle of convergence is increased as the object gets closer to the
eyes. You can see the eyes converge by observing someone looking at an object close up. The eyes will cross in converging
lines in order to focus on the object. Our eyes do this so that the object we want to see is aligned in both eyes. A stereoscopic
camera system can be adjusted to mimic the eect of convergence in the human eye by aligning the cameras to converge
at a convenient distance. Convergence on extremely close objects can cause discomfort by creating excessive horizontal
disparity of background objects, separating them beyond what would be normal for human vision.
PLANE OF CONVERGENCE
The location in which the object appears relative to the screen and viewer is called the plane of convergence. The
cinematographer can control the plane of convergence by adjusting the angle of each camera and the focal length of the
lenses employed. An object can be made to appear mere feet away from the viewer, provided that the object does not touch
the edges of the frame; otherwise, the brain will interpret that as a cue that the object is not really in front of the screenan
edge violation. The plane of convergence can change depending on the viewers position in relation to the monitor.
IMMERSE
YOUR
AUDIENCE
Mega-
explosions and
extraterrestrials
have never looked
this good. With the rapid
expansion of 3D cinematography,
filmmaking will never be the same.
BY: BILL KORMAN
Volume IV
Everything changed with James Camerons Avatar. Cam-
eron reportedly waited to create his epic flm until he felt the
technology had fnally caught up with his ideas. Since then,
many flms aimed at the mass market have either been con-
verted into 3D or originated in
3D. Prodded by James Cameron,
NASA has been attempting to
integrate an advanced 3D cam-
era system into the future Mars
Rover project. For NASA, the
study of otherworldly planets is
further enabled by giving its re-
searchers a three-dimensional
view of the Red Planet.
The impressive quality of 3D has clearly had an efect on
moviegoers, as proven by their willingness to pay a hefty pre-
mium for the 3D option in theaters, and while 3D cant trans-
3D
stereoscopic cinematography splashed into the mainstream in
the late 20th century. because stereoscopic techniques were in
their infancy, the first few generations of 3d could cause nausea
and headaches, and moviemakers were quite limited in what
they could do in a 3d film. 3d as a film medium retreated to the
obscure world of specialty cinema.
VIDEO
SECTION: 4
PHOTO: FRANK UEBE
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form a bad movie into an award-winning lm, it can enhance
the craft when used appropriately. Even lmmakers that are
not intent on jumping on the bandwagon just yet should at least
understand the underpinnings of a technology that could be-
come part of every lmmakers tool set in the future.
There are several approaches to capturing the required
left-and right-eye images, although the predominant one is to
combine two identical cameras on a single mount. Generally,
its impossible to place two cameras su ciently close together
because of their physical size, so some rigs use a semi-silvered
mirror to allow two cameras to observe nearly-coincident im-
ages. With a second camera, however, comes a whole new set of
challenges and considerations for the lmmaker.
Generally, two cameras are arranged so that they do not ex-
ceed a distance of about 3, or the resulting footage risks giving
the audience a headache. Separating the cameras fartherup
to a foot for every 30 feet of distance to the objectis some-
times done to make the 3D eect visible on distant subjects, but
this must not be done when any object in the scene is nearer
than the target object. This technique has the side-eect of re-
ducing the apparent size of the subject (called miniaturization)
by an amount proportional to the dierence between a normal
interaxial distance and the actual distance in use.
CHALLENGES
It may be quite tempting to jump into stereoscopic lmmak-
ing, but there are some unique challenges that need to be con-
sidered before embarking on the adoption of this technology.
Most two-camera setups, whether side-by-side or on a mirror-
based beamsplitter rig, will pose more challenges to the cam-
era department for mounting and moving the camera during a
shot. The additional weight requires more expensive tripods,
Steadicams, dollies, cranes, etc. Many rigs will be limited in
how and where they can be mounted.
Everything that would normally need to be controlled in
order to operate a camera has to be doubled for 3D. To start
with, two of the same cameras with Genlock are absolutely es-
sential. This locks both images together in sync; if the cameras
are not frame-synchronized, the result can cause severe dis-
comfort to the audience. Techniques to synchronize cameras
not intended for this use, such as HDSLRs, do exist but can be
unreliable. For cameras with a LANC port, connecting a split-
ter cable to both cameras will allow you to control both cam-
eras with one controller.
With 3D movies, its critical to ensure that both right and
left images are only horizontally dierent, but everything else,
such as lighting, contrast, color, focus and shutter angle are
the same, or the resulting footage risks causing the audience
discomfort. This takes additional time, manpower and tools
to perfect. Two-camera setups will need extra precaution to
always use the same lens, focus and focal length. Professional
productions will go as far as testing dierent pairs of lenses
until a matched pair is found, and even then use equipment
to physically shift the entire camera to compensate for tiny
misalignments in the lens. Zoom lenses are more di cult to
set up correctly, but are nevertheless required for many setups.
Both the focus and iris of each lens will need to be controlled
simultaneously, which is why high-end 3D rigs have built-in
control boxes to accommodate drive motors for two lenses.
Interaxial and convergence settings may need to change
during a shot if the camera and/or subject change positions.
Without proper control
over these parameters,
the nal 3D eect will
not be optimized and will
surely aect the viewing
experience. For this rea-
son, high-end rigs, such
as the Atom from Element
Technica, have the ability
to control these param-
eters remotely with drive
motors. For low-budget
3D camera rigs that dont
have remote-control ca-
pabilities, the crew needs
to be careful about how
the camera and subject
are positioned relative to
each other, and where ob-
jects at various distances
appear in the frame.
One of the keys to en-
suring that your 3D movie
will accomplish a good
level of 3D eect, as well as ensuring the comfort of the view-
ers, is the ability to monitor what both cameras are capturing
in 3D. Some 3D monitors display an anaglyph image, which
requires red/cyan colored glasses to be worn, while other dis-
plays use a passive polarization technology (see page 8 for more
on the dierent 3D monitor technologies).
3D
STEREOGRAPHER
Most high-end productions employ a
stereographer who has experience with the
process of stereoscopic lmmaking and
will advise the cinematography team on the
best way to achieve their vision. All of the
calculations, rules and best practices will be
overseen by this role.
Volume IV
BEAMSPlITTER
Most cameras are too large to get the distance between the cen-
ters of each lens to be around 3 inches, which is necessary for
shooting objects under 16 feet away. For example, two RED Ones
mounted side by side will be approximately 6.5 inches apart. This
is where a beamsplitter becomes necessary. A beamsplitter en-
ables a much closer distance between the cameras by mounting
one camera perpendicular to the other. The top camera focuses
on an angled mirror, while the bottom camera shoots through
the glass so that both cameras can be aligned more closely to-
gether. Low-cost systems can start at $2,500, while higher-end
rigs can cost around $25,000 to $100,000.
SIDE By SIDE
For shooting subjects beyond 13-16 feet, such as landscapes and
buildings, a side-by-side rig can be utilized because the cameras
dont need to be so close together (as long as the miniaturization
efect can be tolerated). These rigs are relatively cheap compared
to a beamsplitter and are simpler to operate.
PlANNING
Filming a 3D movie can involve highly technical considerations,
as well as complex mathematics. A proven approach for smooth-
ing out a 3D production is a thorough planning phase before pro-
duction begins. There is specialized software that, together with
a CGI mock-up of the scenes, can calculate the most important
stereoscopic settings needed for each scene.
Experimentation is key to making a good 3D movie. Most ste-
reographers today dont have many years of experience with the
current technology, so it is safe to assume that there are many
uncertainties that they will need to address before shooting can
begin. New techniques and approaches are continuously being
developed through this process. The rules have yet to be written
in stone, so most likely, youll need to plan and test diferent ap-
proaches, before jumping into your production.
lIGHTING CONSIDERATIONS
3D movies demand more from our eyes and brain, and because
of this, require a careful approach to lighting. For one, extremes
in highlights and shadows can create excessive contrast and the
risk of ghosting during playback. Lighting the scene more evenly
can help avoid this issue and make it easier for the viewers to
watch. More light may also be required if a beamsplitter is used,
since the mirror it employs will absorb at least one full stop of
light. Lens fares, sensor blooming and overexposure artifacts
that difer between the two cameras can also be a source of dis-
comfort.
POST-PRODUCTION
While its important to get the most accurate alignment and
measurements of both cameras during production, there are
likely to be many small adjustments that need to be made, like
changing the interocular distance of the left and right image
(sometimes called depth grading), fxing image skew caused by
convergence and matching the diference in color, contrast and
brightness in both images.
BeaMsPLITTeR
sIDe By sIDe
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EDITING
The edit process
also requires
new guidelines.
For example,
its best to avoid
cutting between
shots with sig-
nicantly dif-
ferent planes of
c onv er g enc e .
Cutting from a
fairly at shot
to one with an
object that hov-
ers right in front
of the viewers eyes will be di cult for the audience to view
without causing headaches. Of course, this should also be of
concern when planning out the shots in preproduction, but
the level of convergence can be adjusted in post to either de-
crease or increase the eect in order to smooth out the transi-
tions between shots. The simplest way to edit a 3D movie is to
edit in 2D and then transfer an EDL to a 3D edit bay for output.
VIEWING
Viewing the 3D image throughout the editing and post-pro-
duction process is crucial to optimizing the 3D eect and en-
suring a comfortable viewing experience. The cheapest way to
do this without additional equipment is to view the 3D image
in red-cyan anaglyph presentation on a normal monitor, with
red-cyan-ltered glasses. The next step up would be to use a
home 3D TV hooked up to a computer via a graphics card or
the Matrox MXO line of I/O and monitoring devices.
OUTPUT
The nal output of the movie will depend on the intended audi-
ence, whether it is online, Blu-ray or a theatrical release. There
are currently a handful of dierent approaches to packing the
two images of a 3D sequence into a single frame, including Side
by Side, Over/Under, Interlace and Anaglyph. At the moment,
the Anaglyph method is the easiest way to distribute and view
3D content, since it doesnt require any special monitor to play
backjust ltered glasses that can be bought for a few dollars.
Distribution on the Internet is made easy by the likes of You-
Tube, which is compatible with the side-by-side format.
Mastering to Blu-ray 3D is currently restricted to high-end
software costing thousands of dollars. However, Roxio has
worked together with RealD to include a feature in the DVD-
authoring tool that enables the burning of a RealD Blu-ray.
This is currently the simplest and most cost-eective method
to burn a Blu-ray 3D disc.
CONCLUSION
3D brings new challenges that require the lmmaker to adapt
to new technologies and an entirely dierent approach to cin-
ematography. A reported 10-15% of the population has yet to
fully experience the 3D eect due to eye-dominance issues or
simple visual impairment to one eye, and a similar proportion
may be unable to separate convergence distance from focus
distance and will always experience discomfort. New technol-
ogies are already in development that may help this segment
of the population to enjoy the 3D illusion.
Judging by the pace of new movies being released in 3D and
by the quantitative and qualitative advancements in stereo-
scopic tools, 3D movies will be a reality for the foreseeable
future. Successful 3D lms will employ the most advanced 3D
tools that enable them to give the audience an impressive, yet
comfortable, 3D experience. Advancements in the 3D tool set,
such as beamsplitter rigs and on-set 3D monitoring, will aid
lmmakers in improving the process.
The most important thing for any lmmaker trying to get
into 3D moviemaking is to start experimenting with any at-
tainable camera system. If you dont have access to profession-
al 3D rigs, try and get two of the same video cameras, or even
two identical still cameras (with motion capability) and rig
them together. See how the horizontal relationship between
the two cameras aects the 3D illusion and experiment with
dierent focal lengths, depth of eld and motion.
EDITING GEAR CHECKLIST
1. 3D-CAPABLE GRAPHICS CARD
2. RAID ARRAY OF DRIVES
3. 3D MONITOR AND GLASSES
4. 3D-CAPABLE NLE SOFTWARE
5. 3D-SPECIFIC TOOLS AND
PLUG-INS
6. ADDITIONAL RAM
7. 64-BIT OPERATING SYSTEM
NEO3D
Created with 3D in mind, Neo3D brings
everything you need to process 3D footage
into one streamlined interface. All of the
various adjustments that need to be made
are consolidated and well-designed in this
software, making it easier to get through
the learning curve. All of these adjustments
are done in real time, so you can see how it
all aects the 3D image. At $3,000, though,
it may be out of range for someone just
starting out in 3D.
NEO3D
Volume IV
350,000
There are a few common choices for people who want
to work with camera or grip equipment either working
up from an entry-level post such as runner or starting in
a rental house, preparing equipment. Others make a
direct entry to higher-level roles (such as director of
photography) on independent productions and short
films, honing their craft with the intention of securing
higher-level work later on.
Running
It's sometimes possible, especially with personal
connections, to secure a minimum-wage position
as a runner, a general on-set gopher.
Runners may either be assigned to a
particular department or, more commonly,
assigned to people on demand.
According to the U.S. Bureau of Labor Statistics, more than
350,000 people worked in the motion picture and video
industries in 2008, most of them as self-employed individuals
or for small companies with just a few employees. Ultimately,
the way to get into this competitive field is any way you can,
and it's easy to find people who have taken various routes.
In the end
The director of photography is in charge of the camera
department and this position is a common goal, but very
fulfilling careers are available as a senior camera
assistant, grip or as a specialist of a particular piece of
equipment such as a Steadicam or cranes.
The camera
department
Direct entry
Starting out in a more senior position, as a camera assistant,
focus puller or even DP, is possible on lower-end productions.
Jobs can be found using resources
such as Mandy and Craigslist.
Often, owning low-cost prosumer
camera equipment such as an
HDSLR or lighting gear is a route
to work, although it's sometimes
necessary to supply the
equipment for free in order to
secure employment.
Director of
photography
Rental house
Starting off in a rental house simply means bombarding
as many of them as possible with applications. Formal
qualifications are often not required.
The role involves drawing equipment from storage against a
list of requirements from a production, testing it and preparing
it for use in collaboration with the production's camera
department. This provides the opportunity to learn the
equipment and meet potential future colleagues.
1
2
1
2
3
4
It's dicult to strike a balance between
looking appropriately busy and learning
anything from the experience. Pursuit of
advancement must be done without giving
a negative impression of the current role.
Doing a good job with little experience can be
tricky, and the available work may be very low
end, especially at rst. It can be dicult to
make a living at rst, or to ll the critical show
reel with suciently impressive material
without signicant perseverance.
It's important not to shortchange a rental housethey're
employing people to do work for them, and those who make it
clear they're there only as a route to other things may do less well.
Ultimately, the rental house worker may be able to use contacts
made at work to move into freelance camera department roles.
Nepotism
if you have any
personal or familial
connections, now is
the time to exercise
them (as if you
needed telling). It's
surprising how many
people who are big
in the business had
family or friends with
similar careers.
Film Careers
Where to
Direct entry
It is rarely possible to begin directing shorts, independent
projects, and then move up to directing major motion pictures.
For all
trades
But I want
to direct
Robert Rodriguez famously made
this happen, but his fame for doing
so is in proportion to its rarity.
I
n
f
o
g
r
a
p
h
ic

d
e
s
ig
n
:

w
w
w
.
b
o
r
is
b
e
n
k
o
.
c
o
m
We'll deal with a few common ways into
particular departments, but similar routes
exist for many of the allied trades as well.
1
3
2
2
3
The official route into post
production is either
through running or
working in a tape room.
The tape room
The Tape Room In the bowels of every post-production facility
is a room filled with computers, tape decks and the back-end
hardware that makes editing and color grading possible.
Money
Be prepared to work
for free, but not for
long. Interning with a
company or
individual for more
than a few weeks full
time is generally
exploitative, and this
is an endemic
problem in the
industry, even in
places with
minimum-wage
legislation.
Running
Clients in grading or edit sessions need to
eat. An entry-level worker may end up doing
tasks ranging from fetching takeaways to
retrieving media from the tape room.
One can gain an in-depth understanding
of the people and the technology that
operate the Tape Room, which will
serve a future career well.
Start a business
Some people have made careers in post
production by starting a business that offers the
service. Usually, this is done by professionals with
prior experience in existing businesses, but it is
possible to build a business from scratch, working
for increasingly high-end clients as time goes on.
Take heed: the
initial investment in
equipment and work
space will be large.
Film Careers
to begin
Other trades
People whose tasks involve a degree of directing others have
occasionally directed films or have become full-time film
directors. Similar opportunities sometimes open up for
directors of photography and some other trades. None of these
are entry-level roles, though, so this is not so much a way in
but rather a way to move around. Phil Tippett, the visual-effects
specialist, directed the sequel to Starship Troopers.
Writing
It is not uncommon for successful writers to become
directors, but the prerequisite is that a writer's work be in
sufficient demand in order for his interest in directing to be
considered by the production company. Michael Crichton
directed several films based on his and others' novels.
For all
trades
Director
Running may be a precursor
to more technical work, if
the facility does not directly
accept newcomers to
technical roles.
Post
production
BY: Phil RhoDes
GUIDE
TO VI DEO EDI TI NG
WORKSTATI ONS
To edit HD and 3D footage, the average
home PC won't cut it. Real power
is needed. In this article, well show
you how to upgrade your PC or build
a new one that can handle the most
advanced non-linear editing. Well deal
mainly with Windows PCs, though
most of it will also be useful to Mac
usersjust check before you buy.
BY: PHIL RHODES
PROCESSOR
GRAPHICS CARD
POWER SUPPLY
MEMORY (RAM)
INPUTS/OUTPUTS AUDIO CARD
EXPANSION SLOTS
STORAGE
VIDEO
SECTION: 4
BandH.com/edu
base components
All the major components of your computer (processor, graphics processor, hard
drives, etc.) are connected to the motherboard or mainboard. Select a motherboard
that supports the processor you want to use and has any extra featuressuch as
USB ports and disk controllersthat you may need. Current workstations will use
motherboards compatible with Intels Socket 1366 (for Core i7 processors), 1356 (for
second-generation Core i Sandy Bridge processors), or one of the Xeon range.
The other core components are the power supply unit (PSU) and case. The PSU,
rated in watts, must be powerful enough for the proposed components, which can
be estimated using online calculators. A conventional PC might have a power supply
rated at 300W, though many edit stations demand ratings of more than 800W.
The case is just a box, although the ability to mount and adequately cool components is critical.
Options range from traditional upright desktop confgurations to designs including hot-swappable
disk bays to cases compatible with standard 19-inch equipment racks. The quality of core compo-
nents is critical. Heat kills hard disks as surely as mechanical shock, and while a high quality power
supply might fail, it should do so without destroying the rest of the machine.
PROCESSORS
Intel currently holds the crown, with its Sandy Bridge processors, for those looking to get the most
bang for their buck. Only the fastest Core i7 devices outpace them, but if youre looking for the abso-
lute best, theres no substitute for Xeon. AMDs Phenom range struggles to compete, though there
may be circumstances where a good deal makes AMD attractive. Most current CPUs operate be-
tween 2 and 3.5 Gigahertz with anywhere from two to eight cores. Each core is a separate CPU on the
same chip, and while this isnt used much in of ce applications, its of great beneft to video editing.
Some motherboards have two CPU sockets to allow a larger core count in one box.
Hyper-threading (HT) is an Intel proprietary extension, which provides some duplication of the
hardware of each core, allowing tasks to be queued ef ciently. An HT CPU with four real cores looks
like it has eight to a compatible computer. HT is not as good as more real cores, but its better than
no HT. All Xeons, core i7 and Sandy Bridge i7 devices have hyper threading. Its also important to
consider cache size. Cache is a small amount of high-performance memory on the CPU itself, which
is used to store data thats required for the current session and is many times faster than retrieving
the same data from memory.
GRAPHICS
Until recently, the graphics hardware in an NLE was required only to provide a display of the desk-
top and NLE user interface. Recently, though, Adobe released Premiere CS5, which makes use of the
graphics card as a general-purpose graphics processing unit (GPGPU). Current GPUs include arrays
of sub-processors, which are good at repetitive operations. This feature requires an NVIDIA graph-
ics board in the Quadro range, or some of the GTX 400 or 500 series. The Quadro range is aimed at
the high-end, although most Premiere CS5 use will not fully load any compatible card.
Graphics cards are available with DVI, HDMI and DisplayPort outputs, and monitors are avail-
able with those inputs, although conversion boxes are also available. Content using HDCP encryp-
tiontypically Blu-ray discsrequires support from both monitor and graphics card.
A graphics card is generally a PCI Express (PCIe) device. PCIe devices will work in any slot thats
physically able to accommodate them, although the slot closest to the CPU is often the only one that
provides maximum performance.
WHIlE HANDlING ANY PART OF A
PC, YOU SHOUlD USE ANTI-STATIC
MEASURES. IT S UNUSUAl FOR A
STATIC DISCHARGE TO DESTROY A
COMPUTER PART OUTRIGHT, BUT
THEY CAN EASIlY PRODUCE ONGO-
ING RElIABIlITY PROBlEMS.
!
ReLeVanT PRocessoRs
1. INTEl S CORE I7 RANGE
2. SANDY BRIDGE, THE
SUCCESSOR TO CORE I7
3. XEON RANGE FROM
INTEl
4. AMD S PHENOM II
Volume IV
MEMORy (RAM)
Most current PC designs use memory specifed as DDR3, for
the third generation of dual data rate memory, as small plug-
in modules called DIMMs (Dual Inline Memory Modules). The
motherboard will specify what it supports and the maximum
speed. Making memory work at full speed can involve altering
low-level hardware settings, and while this will usually not be
necessary to make the computer work, it may be possible to
slightly increase performance. Search Google for information
specifc to your hardware.
How much RAM do you need? Some motherboards accept
DIMMs in pairs, others in multiples of three. No PC should be
confgured with less than 4GB (or 6GB) of RAM, with 8 (or 12)
being common for media that can be extremely RAM hungry.
Even desktop motherboards often have four (or six) slots so its
possible to upgrade later.
High-end motherboards for Xeon processors can have a
large number of slots designed to take exotic memory. The
motherboard will specify what it needs, in pairs or threes, and
what the limits are, often in the many tens of gigabytes. Really
high-end tasks may demand this, although basic editing and
simple compositing can be done with as little as 6GB.
AUDIO
Modern media is distributed digitally, so the audio hardware
in an edit station will usually be used only for monitoring. If
we need to retrieve material legacy formats, we may need to
digitize analog feeds, but otherwise almost all sound will be
handled digitally on fle-based media. Many desktop-oriented
computer motherboards include suf cient audio features to
do stereo or surround monitoring, and it might be reasonable
to create a surround monitoring environment using a home-
cinema sound system.
A PCIe audio device, or a sound card, does more or less the
same job as built-in sound hardware. And although a plug-in
device may have better capabilities on paper, the diference
can be slight when evaluated by ear.
The interior of a computer is an electrically noisy environ-
ment, so to obtain really good analog audio we must move the
hardware outside the case. One approach is an ADAT Light-
Pipe link, an optical fber connection that runs between an en-
tirely digital PCIe card plugged into an expansion slot, and an
external analog-to-digital converter. This will provide enough
channels to implement surround monitoring, although it will
require careful calibration.
STORAGE
Storage concerns break down into two areas: the system/appli-
cation disk, and media storage. Most disks for either purpose
will use the serial ATA (SATA) interface, although higher-end
installations may use other types.
The system/application disk stores the computers operat-
ing system and applications. This disk does not need enormous
capacity, but it must rapidly access a large number of small
fles. Increasingly, a fash-based solid-state disk (SSD) is used
in this role, ofering increased responsiveness so obvious that
the price is justifed.
Your media storage will depend greatly on the anticipated
workfow. Typically, a disk array (RAID) will be used, in one of
several confgurations: Most disk controllers can create RAID-
0 or RAID-10 volumes of adequate performance, but producing
a usably fast RAID-5 can require an expensive disk controller
that may ofset the
price advantage of
using RAID-5 in the
frst place. In either
case, RAID protec-
tion is not backup:
user error can still
destroy data. Back-
up in this situation
generally implies
magnetic tape.
There are three
common scenarios
in which the disk
array is confgured.
The frst scenario
would be entirely
internal to the com-
puter, composed
of up to six or eight
disks using the disk
controller built into
the motherboard.
A six-disk RAID-0
using this approach
can handle uncom-
pressed HD.
The second sce-
nario would be in-
ReLeVanT PRocessoRs
1. RAID-0 MAXIMIzES PER-
FORMANCE AND PROVIDES
THE SUM OF All DISK
CAPACITY, BUT IF ANY DISK
FAIlS All CONTENTS CAN
BE lOST. USEFUl FOR UN-
COMPRESSED HD WORK
IN CONSTRAINED SITUA-
TIONS.
2. RAID-10 COMBINES THE
PERFORMANCE OF RAID-0
WITH REDUNDANT BACK-
UP, BUT REQUIRES TWICE
THE NUMBER OF DISKS.
USEFUl AS RAID-0, BUT
ADDS REDUNDANCY.
3. RAID-5 PROVIDES REDUN-
DANCY WITH FEWER DISKS
THAN RAID-10, BUT COM-
PROMISES PERFORMANCE.
USEFUl WHERE A lARGE,
REDUNDANT ARRAY IS
NEEDED, BUT SPEED IS
NOT SUCH A FACTOR,
SUCH AS HDSlR OR RED
WORK.
WESTERN DIGITAl CAVIAR HARD DRIVE.
$79.95-159.95
BandH.com/edu
ternal to the computer, using a plug-in PCIe expansion card to
control the disks. Arrays of eight or ten disks in RAID-10 can
provide for uncompressed HD editing.
The last scenario would be external to the computer, con-
nected via a high-capacity networking link such as fber chan-
nel. Arrays of up to dozens or hundreds of disks in a storage
area network (SAN) can provide real-time performance for
almost any task to a group of editors.
INPUT/OUTPUT
Most current cameras, especially HDSLRs, record to fash-
cards that can be read using a card reader. The fast card readers
(generally connected via Firewire 800) can be several times
quicker than cheaper alternatives, and more reliable.
If youre working with material on higher-end formats, your
I/O requirements may include something like a Blackmagic
Decklink board, to provide HD-SDI connectivity. This is also a
nice way to connect a monitor, since the Decklink boards often
include HDMI outputs with built-in lookup tables to allow for
color calibration.
A WORD ON 3D
Working in 3D still involves jumping through a few hoops un-
less you have a lot of money. Blackmagics Decklink Extreme 3D
provides connectivity, but software support remains patchy. In
theory, material that uses one of the common 3D multiplexing
techniques could be edited in any NLE that supported the fle
format, but so far the only reasonably afordable approaches
that avoid this sort of trick is Sonys Vegas Pro 10 with Cine-
forms Neo 3D plug-in.
Pure, unadulterated 3D footage has, by defnition, twice the
bandwidth of an equivalent 2D stream. Practically speaking,
many cameras halve the resolution of each signal and record
them as one, but in either case, there may be a storage overhead
that requires properly specifed storage.
Cutting or manipulating 3D will also require a 3D display,
and possibly an output device that understands whats going
on, although in some cases it may be possible to route the signal
without special handling. There may also be a need to translate
the 3D multiplexing between a format understood by the NLE
and one understood by the display, although most software and
some of the higher-end displays support converting various
input confgurations to suit their own needs. The technology in
this feld is still progressing and standardization is still some
way of.
MARSHAll 3D-241-HDSDI 24 STEREOSCOPIC TFT
DISPlAY
SKU# MA3D241HDS;$5,748.85 EDu Advantage $5,461.41
PElCO DX8100HDDI-4500 RAID 5 STORAGE
SYSTEM
SKU# PEDX8100HDDQ;$14,279.95
BlACKMAGIC DESIGN DECKlINK HD EXTREME 3D
SKU# BLDLHDE3DP;$945.25
Volume IV
BY: Bill KoRMan
VIDEO
SECTION: 4
c
olor is powerful. It can set scenes, intensify emotions,
and convey an intended mood. Getting the right color,
however, isnt easy. Youll need to train your eyes to
diferentiate between subtle shades and master com-
plex color correction software. In this article, well
look at the basics of color correction with Apple's
Color. Filmmakers color correct for a few reasonsto conform
to technical standards, to correct diferences between scenes,
and to add style or set the mood for a flm. Most productions
will use color correction to achieve all three of these goals. Al-
most all productions grade scenes to maintain continuity and
add artistic fare.
Apple's Color is part of the Final Cut Studio suite and pro-
vides more advanced tools than Final Cut Pro itself. With some
work, the app can give you professional results for a fraction of
the cost of a pro color correction suite.
WoRKfLoW
To move a Final Cut Pro timeline to Color, select File->Send
To->Color. Behind the scenes, Final Cut creates an XML le ref-
erencing the clips, allowing Color to import the timeline. When
all grading decisions have been made and the results rendered,
move the le back to Final Cut by selecting File->Send To->Final
Cut Pro.
While this workfow is straightforward, Color cant render
advanced motion graphics, text, or other non-video material.
Still frames or clips with speed changes should be exported
as QuickTime movies and imported back into the sequence
before you begin tweaking color. Filters, text and motion clips
should also be removed.
BasIc TeRMs
Gamma || Afects the brightness of an image, compressing or
expanding highlight or shadow detail without clipping any part
of the image.
Luma (Luminance) || A technical term for brightness. Infor-
mation may be lost to under-or overexposure in the result.
Contrast Ratio || Diference between the lightest and darkest
parts of an image. An image with a high contrast ratio looks
punchy and vibrant, with large areas at or near the maximum
and minimum luminance.
Primary Colors || Red, Green and Blue (RGB). Video displays
combine these three colors to produce all others.
Secondary Colors || Yellow, Cyan and Magenta, which com-
bine two primary colors. Sometimes called complementary
colors.
Hue || The color itself (blue, red, green, etc.), without reference
to intensity or brightness. The green of grass and the green of a
banknote are not the same, but both are green.
Saturation || Vibrancy, strength, or intensity of a color, with-
out reference to its brightness or hue. For example, the red and
blue of a national fag are diferent hues, but both are highly
saturated colors. Conversely, the blue of a lake or sea, which has
a similar hue, is typically less saturated . Technically, satura-
tion refers to purity. In an RGB color system, a pure color might
have strong red and green components, but little contaminat-
ing blue, resulting in a saturated yellow.
The coLoR WheeL
Hues are diferentiated by their wavelength of light, creating
the familiar spectrum of color. However, because of the special
interactions of various colors (as in a video system using red,
green and blue), its useful to view them as a color wheel. This
arrangement places complimentary colors that is, pairs of
colors that could be combined to create white light and have
great color contrastopposite each other.
Hue is often expressed in terms of angle on the color wheel,
with the three primary colors red, green and blue at (usually)
zero, 120 and 240 degrees. Notice the recent trend in feature
flm production design and color grading which makes use of
warm fesh tones (a hue of around 300 degrees) and cool blues
(around 120 degrees); these colors are complementary.
Color correction tools often use color wheels as part of the
user interface. This is convenient because correcting an un-
wanted color cast is as simple as moving the control directly
away from the color of the cast, toward its complementary
color. A red cast, for instance, at zero degrees (straight up)
would be corrected by moving the control toward cyan, at 180
degrees (straight down).
Color wheels can be found in the Primary In, Secondaries,
and Primary Out rooms. Each color wheel controls the color
balance of a diferent part of the luminance range. This refects
the traditional video processing amplifer controls of lift (con-
trolling absolute brightness, most obvious in the shadows),
gamma (controlling an exponential transfer function with a
tendency to afect midtones), and gain (controlling a linear am-
plifer with most of the efect visible in the highlights). Modern
approaches use similar, though not necessarily identical tech-
niques; some software allows the range of infuence on each
color wheel to be adjusted at will. There will usually be some
crossover of infuence between the three ranges.
Dragging a color wheel control (or moving a trackball on
a hardware control panel) will bias the relevant luminance
range toward the targeted color; for instance, moving the
middle control straight up will bias midtones toward red, while
moving the leftmost control down and to the right will bias
the shadows toward blue. Apple's Color provides sliders for
precision adjustment of the target hue and the degree of bias
toward that hue; the third slider, marked with a grayscale, al-
lows adjustment of the overall luminance within the selected
luminance range.
Volume IV
WoRKsPace
Creating a grading suite can take a lot of time, space, and money.
The goal is to create an environment with consistent and con-
trolled lighting to reduce our visual system's tendency to nor-
malize color and brightness. While its impossible to account
for every subtlety of visual fatigue and eye strain, working in a
consistent environment will help create consistent results. Try
to avoid windowed rooms, or use thick curtains to completely
block out all light (natural daylight is inconsistent). Use soft
daylight balanced light sources with a high color rendering
index, while trying to avoid glare or spill of light onto the grad-
ing display. The dcor of the room should be kept neutral and
dark, or completely black to reduce the spill of light onto the
grading display. Add 18% gray, black, and white patches around
the monitor as a reference for the colorist. Often, a small gray
cyclorama is erected behind or around the grading display.
Choose a display that is capable of achieving the technical
standards to which you will work, and have it calibrated. Often
this means 3-chip DLP or some LCOS projectors, an older CRT
monitor, or a very high grade TFT monitor. Keep the display
chain calibrated. Consider a hardware control surface with
physical knobs and buttons, if your grading software can sup-
port it.
The fInaL LooK
Once youre comfortable with Colors tools, you can tweak
your features hue, saturation, contrast, and luminance to ei-
ther match footage from diferent cameras/lenses or imbue
your flm with more or less energy, depending on your project.
Pay attention to the color in your favorite flms. If a flm has
a certain look that you love, try to emulate it. Imitation is the
sincerest form of fattery, and youll learn a lot about color cor-
rection in the process.
Color correction is a fne art. It takes years to become prof-
cient and decades to become a master. Still, its not dif cult to
add a little fare to your flm with subtle color adjustments. Or
to saturate your image and engage your audience with buckets
of color. It simply depends on your flm. And now that youve
learned the basics, you can experiment and get the look youre
after.
The InTeRface
Color has eight 'rooms' or windows, with each room designed to handle a particular step in the pro-
cess of color grading.
Room 1: Setup
Manage settings, fles,
and preferences
Room 2: Primary In
Tweak color of entire
image where color
changes are made to
the whole image
Room 3: Secondaries
Apply color changes
to specifc areas of an
image
Room 4: Color FX
Where nodes are
applied and managed to
create looks and efects
Room 5: Primary Out
Fine-tune color after
primary changes have
been made
Room 6: Geometry
Crop, add vignettes, and
create trackers
Room 7: Still Store
An area for saving or
importing still frames for
scene-to-scene color
matching
Room 8: Render Queue
Manage clips for fnal
rendering
1
3 4 5
2
6 7 8
eXaMPLe gRaDes
Three example grades are featured
on this page to give a sense of what
grading can achieve. The original image
to the left was shot in los Angeles on
an early afternoon on a Canon EOS-
7D in the Neutral picture style with-2
contrast and minimum sharpening. The
sun is high in a clear sky and there is an
8x8 quarter grid overhead. The shot
faces south-southwest.
1. sUnseT
Increasing shadow contrast and
increasing blue gamma slightly,
along with a decrease in red gamma,
suggests sunset. A soft-edged mask
over the actress's face is used to
reduce the tendency of the eye sockets
to shadow.
2. sTaRK
Decreasing overall gamma and
reducing saturation results in a clean,
bright, high-tech look that is common
in pharmaceutical commercials. Note
that the actress's eye makeup is more
exaggerated, as it wasn't done with this
look in mind.
3. olD
This simulation of 1970s color reversal
flm can be achieved by reducing red
in the shadows and increasing it in the
highlights, and vice-versa with blue.
Shadow contrast is also decreased to
suggest old, faded stock.
blackmagic design davinci resolve
Colorists who want to work with an Emmy award-winning color grading system no longer have to cough up the high-end
costsat least not to start with. Before Blackmagic announced this new Mac version software for under $1,000, DaVinci
Resolve had for many years been used on big-budget Hollywood features like Avatar and Terminator Salvation, but ran
on a Linux machine with a cost in the six fgures. The new version includes all of the original features like true realtime
color grading, and multi-point tracking, but runs on any well equipped Mac with up to three GPUs (i.e. graphic cards). In
order to get real-time performance, a proper graphics card will be needed, like the NVIDIA Quadro 4000. The software
is compatible with the Tangent Wave control surface (see below), the JLCooper Eclipse CX, as well as Blackmagic's own
DaVinci controller. Once you've mastered the software, the upgrade path is equally exciting with a boost to a Linux setup
for more capability, like higher resolution 2k and 4k, stereoscopic 3D, and native support for RED's R3D fles.
SKU# BLDRCCS;$945.25
tangent devices wave panel
The Wave is a dedicated color grading controller
that works with many applications, such as DaVinci
Resolve, Apple Color, Assimilate Scratch, REDcineX,
Cineform Neo4k and Neo3D. The controller includes
dedicated buttons, three sets of tracking balls, a
jog shuttle, memory banks for storing a group of
settings that can then be applied to many diferent
clips, and many other features that greatly speed up
the grading process.
SKU# TAWAVE;$1,494.95
dsc Labs pce pocket camette
test chart
At 6.5" x 3.7" the Pocket Camette is the smallest
chart in the DSC lineup that is designed to be thrown
in a camera bag and taken to any shoot. The chart is
designed to quickly set up a camera in the feld and
includes six primary color chips, a fve-step crossed
grayscale, 18% gray and a CamWhite back panel for
white balancing. The chart helps quickly fx white
balance and color issues in post-production, as it
acts as a reference point for each scene.
SKU# DSPCE;$99.95 EDu Advantage $84.95
supports a
wider choice
of codecs and
works with
both apple
prores and
avid dnxhd
files.
realtime color
grading with
supported nvidia
cuda card.
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sound devices piX 220 and 240
There are a handful of capable stand-alone video recorders, but the PIX recorders pack a hefty list of features and
are built by a company with extensive experience creating high-end sound mixers and recorders. Connect the PIX
to a camera via HDMI or SDI (PIX 240 only) and record in a higher quality codec, bit rate and better color Chroma
subsampling than most cameras can record natively. The PIX records to either CompactFlash or SSD hard drives
and while the 5" 800x480 screen is not HD, the PIX can still serve as a great secondary on-camera monitor. The PIX
records in UDF fle format, which means it's not bound by the 4GB fle limit of some other recorders, which allows
up to 60 minutes per clip. Selectable codecs include Apple ProRes and Avid DNxHD, which can greatly speed up a
workfow by dragging the fles directly into Final Cut Pro or Avid without having to frst convert the fles. Bit rates are
also selectable from 36Mbit to a maximum of 220Mbit. The PIX 240 includes SDI and Timecode inputs/outputs, while
the PIX 220 leaves those out for a more afordable price.
PIx 220 w/ HDMI Input/OutputSKU# SOPIX220;$1,595
PIx 240 w/HD-SDI Input/OutputSKU# SOPIX240;$2,595
marshall electronics
v-Lcd70Xp
The 7" 800 x 480 LCD display
is a high quality on-camera
monitor for HDSLRs and video
cameras alike. Inputs include
composite, component and
HDMI. The monitor also includes
Marshall's renowned False Color
flter, which helps set exposure
more accurately by overlaying
diferent colors based on
brightness levels in a scene, as
well as a Peaking flter to help
manually focus a shot.
SKU# MAVLCD70XP*;$699-1045
genus nd fader filter
For cameras that lack built-in ND
flters, or for a greater degree of
control of exposure, the Genus
ND Fader flter is a great choice.
Simply twist the front of the flter
to increase or decrease the level
of Neutral Density. The flter
works by layering two polarizing
flters that absorb more or less
light, depending on the degree of
rotation.
SKU# GEGNDF*;$99.99 219.99
EDu Advantage $78.95-149.99
rugged and intui-
tive controls for
quickly accessing
and changing
settings.
audio inputs and
features are the
same as found
on the highly
acclaimed 7 series
audio recorders
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roxio creator 2011
The Roxio Creator software
features the ability to burn Blu-
ray discs with encryption and
password protection, as well as
the ability to burn 3D videos on
DVD and Blu-ray discs. It also
features video editing capabilities,
but for most professionals who
use another professional editing
software, the Roxio Creator can
be a cost-efective fnishing tool
for delivering and presenting 3D
projects.
SKU# ROC2011P;$99.49
pny technologies
nvidia Quadro 4000
The Quadro 4000 can take your
Mac where it hasn't gone before
with dual-link DVI outputs that
can drive two additional displays,
or a 3D display. The graphics
accelerator also helps software,
such as Blackmagic's DaVinci
Resolve, perform better. The card
requires an available PCI Express
2.0 x16 slot and is designed to
work on both Mac and Windows.
SKU# PNQ4000M;$753.99
ikan elements basic
stereoscope
Delving into 3D production
doesn't have to be prohibitively
expensive with the iKan
Stereoscope kit. The kit includes
everything you need to mount
two cameras side-by-side
with adjustments for interaxial
distance. The components
are part of the iKan Elements
solution, so every piece can be
repurposed for other rigging
situations.
SKU# IKELESB2;$279
EDu Advantage 7% O
redrock micro micro3d sxs rig
The Micro3D allows you to mount two cameras side-
by-side with this lightweight rig that can handle small
to large cameras like the RED ONE. Laser-engraved
adjustment markings helps setup the interaxial
distance more accurately.
SKU# RE20830010;$849.95
blackmagic design ultrastudio 3d
Using Intel's Thunderbolt technology, the UltraStudio
3D delivers uncompressed RGB 4:4:4 HD, 2K and 3D
capture and playback to computers in the studio or
laptops in the feld. Connections include dual HD-SDI
for full resolution 3D capture and playback, HDMI,
Component, S-Video, Composite, analog and AES/EBU
audio, Genlock and RS-422 deck control.
SKU# BLUS3DT;$945.25
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sony pmw-f3
While HDSLRs have dominated the scene for the
past few years, many shooters have been yearning
for a true cinema camera with a large sensor at an
approachable price. The F3 made big news as soon as
it was announced since it flls almost every wish that
independent and low-budget flmmakers have been
asking for. The relatively large 35mm sensor soaks up
light with larger pixel sites than HDSLRs and most video
cameras. The sensor size enables a shallow depth of
feld. Sony also ofers a paid upgrade to record 4:4:4
in S-LOGas close to recording RAW video as many
shooters will ever need.
Kit w/3 Prime lensesSKU# SOPMWF3K;$19,890
Camera OnlySKU# SOPMWF3L;$13,960
sony neX-fs100u
As a cheaper alternative to the Sony F3 camera, the
FS100U ofers the same low-light sensitive 35mm
Exmor sensor for incredible low-light performance and
shallow depth of feld, but achieves a lower price by
dropping some of the F3's pro features like built-in ND
flters and HD-SDI output. The FS100U also uses the
AVCHD codec at 24Mbits, compared to the F3's XDCAM
EX codec at 35Mbits. The FS100U features dual XLR
inputs and records to SD and Sony Memory Stick cards.
The E-Mount interchangeable lens mount accepts
Sony's full line of NEX lenses, but can also be converted
to accept PL lenses with the appropriate adaptor.
Camera OnlySKU# SONEXFS100U;$4,999
w/lensSKU# SONEXFS100UK;$5,599
Zacuto Z-finder evf pro
The Z-Finder EVF Pro is a 3.2" 800
x 400 LCD display that turns into
a viewfnder with the included
Z-Finder. It features a Zebra Stripe
feature to help adjust exposure and
a peaking flter to help manual focus.
SKU# ZAZFINDEEVFP;$950
anton bauer elightZ
This 10w halogen on-camera light is
part of Anton Bauer's ElipZ battery
system and is made of a lightweight
polycarbonate material and has double
hinged joints for fexible positioning. It
mounts either on a hot shoe or stud.
SKU# ANELIGHTZ;$150
atomos ninja
The aptly named Ninja has many
tricks up its sleeve, including 10bit
1080p recording of ProRes flesup
to 16.5 hours using a 750GB 2.5" SSD.
The 480 x 270 touchscreen is used to
record, stop, play back and monitor.
SKU# ATNK;$995
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Zeiss cp.2 compact primes
As prosumer HD cameras usher in the era of ever fner resolution, low-cost lenses have been lagging behind until
Zeiss fgured out how to pack its high quality optics in a rugged aluminum body with proper focus scales, geared
focus and aperture rings, and interchangeable lens mounts. The Compact Primes are available in a wide selection
of focal lengths: 100mm, 85mm, 50mm, 35mm, 28mm, 25mm, 21mm, and 18mm with a common aperture of T2.1.
The lenses can be purchased with PL, EF, F, E and MFT mounts. The mount type can also be changed. All lenses with
the exception of the 18mm have full-frame 35mm coverage. It's well known that a good set of lenses is a longer term
investment than a camera, and now with the CP.2 set of lenses, this investment is ensured to work with a wide variety
of cameras that provide a high-quality cinema style lens for a fraction of what it used to cost. Starting at $3,900
SKU# ZE7LCSEF / ZE7LCSPL;7 lens Kit $26,700
genus gcsmk shoulder mount
This shoulder mount is designed to provide
more stability and comfort while shooting with
HDSLRs and video cameras. The system is
modular and can be customized for a variety of
needs. CNC aluminum construction provides
a lightweight, solidly built rig. The included
counter-weight and shoulder pad help balance
out a front-heavy camera to increase shooting
time in comfort. Its standard 15mm rods can
be used to mount a matte box or follow focus.
The height of the camera can be adjusted,
which is crucial for many matte box/camera
combinations.
SKU# GEGCSMK;$949.99 EDu Advantage $706.58
Lens mount can be
swapped to work with
a variety of cameras.
calibrated lens
focus scales
thumb knob to
easily mount and
dismount a camera
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arri L series Led
fresnel Lights
If you're looking for the light of the future,
the Arri L Series promises to deliver.
Pumping out a whopping tungsten
equivalent of 1k at 200 watts is quite
impressivethat's a power savings of
75%. Set within a traditional Fresnel-
like enclosure are 83 LEDs that achieve
a higher CRI of 90+. The series includes
three separate models that share the
same basic housing and 7" Fresnel lens.
The L7-D outputs a daylight-equivalent
5600k, while the L7-T outputs 3200k.
The L7-C version has a color mixing
option for both 5600 and 3200k.
camera motion research blackbird
For cinematographers looking to smooth out their
moving shots, a stabilizer like the Blackbird can make
all the diference. The system is easy to set up and
balance a camera weighing up to 8 lbs. With the use of
counterweights, the rig can be vertically balanced for
a variety of cameras.
SKU# CABBK;$669.95 EDu Advantage $569.95
westcott spiderlite
td5 ultimate
daylight kit
As a simple and cost-efective
way to upgrade to a basic
lighting setup, this kit includes
a light fxture with a large 36" x
48" softbox and a second fxture
with a 12" x 36" strip bank. Light
stands, bulbs and a case for
transport are all included.
SKU# WESTD5UDLK;$1,449
EDu Advantage $1,331.50
on-board controls for
adjusting intensity and
color temperature.
the entire fixture is
protected from splash-
ing water at any angle.
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Auoo avcoaoo Ao vAvsAcx nAs comv A oo wAv
since the days of mono. Stereo improved the listening experi-
ence by not only playing back the frequencies and volume of
sounds, but also the refected sound, which gives a better
representation of the space in which it was recorded.
Surround Sound was developed for the cinema in
order to strongly diferentiate and compete with
home TVs.
Something had to be done that would make the
movie-theater experience unique and other-
wise unobtainable in the home. The frst flms
to incorporate surround sound were Star Wars
(1977) and Apocalypse Now (1979). The flms
that followed experimented with diferent
speaker arrangements and track separations,
until Batman Returns (1992) was unveiled
with Dolby Digital 5.1. Since then, surround
sound has become a must-have for discerning
home theater enthusiasts.
WHy SURROUND SOUND?
The main objective of surround sound is to convey a
sense of space in what the listener is hearing (i.e. ambi-
ent sound). Moving sounds from one speaker to another, to
create a sense of 360-degree motion, can truly heighten the
realism in a movie or in music. In movies, surround sound
can also be used to help tell the story, by anticipating action
with sound before it occurs on screen. Although the music in-
dustry attempted to move toward surround sound audio with
the creation of SACD and DVD-A disc formats, very few con-
sumers bought into it, and so surround has been left mostly to
the flm industry and some live concert recordings.
5.1
5.1 surround sound consists of three speakers in the front,
two in the rear, and one subwoofer, typically placed in the
front of the listener. The subwoofer corresponds with the 0.1
of 5.1 and its designated channel is the LFE (Low Frequency
Efects) channel.
6.1
6.1 surround sound adds a center speaker in the rear for a
more complete 3D sound. Only a few higher-end A/V receiv-
ers are capable of 6.1 playback. The encoding format for 6.1
surround sound needs to be either Dolby Digital Surround
EX or DTS-ES Discreet.
7.1
For the most advanced surround sound audio available to
consumers, the 7.1 format adds two additional rear surround
speakers, compared to 5.1. This allows the original surround
rear speakers to be positioned at the sides, while the addi-
tional surround pair is placed directly behind the audience.
However, there arent many consumer A/V receivers capable
of 7.1 playback, and this has mostly been used for theatrical
releases.
The
Speed of
SOUND
x5.1
BY: GeRRY noVaK
AUDIO
SECTION: 5
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lfE CHANNEl
The LFE (Low Frequency Efect) channel in 5.1, 6.1, 7.1 and
beyond is designated for low-frequency sounds that are sent
to the subwoofer. The frequency range is typically between
100Hz and 30Hz and is mainly used for special efects.
RECORDING
Movies typically dont record all of the sounds that will end up
in the movie as the cameras roll. Many of the sounds that we
end up hearing in a movie are added later in the post-produc-
tion process. Individual sounds, such as footsteps, gunshots
or a plane fying by are recorded separately or pulled from a
special FX library. This method is conducive to the surround
sound process because individual recordings can be mixed
better into surround sound, rather than one mono or stereo
track of all sounds together. Each sound can be sent to one or
more speakers as needed.
Another method of recording is to use multiple micro-
phones with a multi-track mixer and recorder with fve or
more channels. In this scenario, fve or more mics are ar-
ranged to match the intended speaker confguration, typi-
cally 5.1. Managing this many microphones is challenging, so
many flmmakers and broadcasters have turned to integrated
surround mics, like the Holophone line. Ranging from $600
to $5,000, Holophone microphones have six to eight micro-
phones (depending on the model) arranged within a head-
shaped container that captures the natural ambience and
movement of sound in a location. The head-shaped mic emu-
lates the way sound travels across a persons head to create a
real sense of being in the space in which
the recording was made. It is designed
to capture live events such as concerts,
sports or documentaries.
A surround mic can either be placed
in front of the main audio source or
right in middle of it, for example, in the
middle of a band. Camera-mountable
models, such as the Holophone PortaM-
ic, PortaMic Pro and H4 SuperMINI
enable the audience to hear the sounds
shift as the camera moves around the
scene. This would be dif cult to achieve
with separate microphones.
MIxING
Mixing surround sound is similar
to mixing stereo in that sounds are
panned at diferent levels across mul-
tiple speakers. Only here were working
on six separate speakers or more. Most
DAWs support surround sound mix-
ing, such as MOTU Digital Performer
7, Sony Acid Pro 7, Cakewalk SONAR
8.5 and X1, Avid Pro Tools HD, Stein-
berg Nuendo, and Cubase. Both Apple
Soundtrack and Adobe Audition CS5 can natively mix 5.1 sur-
round sound as well.
Panning is the most important aspect of a surround mix.
The pan pot used in stereo is replaced with a joystick, or a vir-
tual joystick within the DAW software (if the cost of a joystick
is prohibitive). The joystick is used to pan each input channel
across the diferent speakers. As with a stereo mix, panning
can be static or dynamic. Static panning places a track in one
or more speaker channels, while dynamic panning moves the
sound across multiple speakers over time to produce a motion
efect. Dynamic panning should be applied sparingly and is
usually used to simulate a sound source moving across the
scene.
To create bigger sounds, the track can be placed into more
than one speaker channel. This is called divergence, and some
higher-end mixing consoles will have a dedicated divergence
knob in addition to the standard panning controls.
As for what to pan where, there arent any hard rules, but
the following are a few guidelines to consider when mixing
surround sound for cinema:
1. Crucial sounds should be placed in the front channels,
since many consumers dont have the rear speakers
properly set up.
2. Rear speakers are usually used for ambient sounds,
such as crowds, or reverberations of sounds to simu-
late the space the scene is taking place in.
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3. Placing hard sounds in the rear speakers tends to dis-
tract the audience from the picture in front of them, un-
less its part of a dynamic-panning efect.
4. Dialog should be placed in the center channel, but music
and special efects may also be mixed in at times.
5. The music score is generally placed in the front right
and left speakers.
6. Dont forget about the center channel when panning be-
tween the front right and left speakers. Treat all front
speakers as one group.
7. When a sound source is placed on multiple speakers,
or when dynamically panned from speaker to another,
equalization may be needed to "normalize" the sound
across the diferent speakers.
8. Equalization should be applied after panning because
the sound will most likely change depending on which
speaker the sound emanates from.
9. Avoid synchronization issues caused by varying sample
rates and bit rates on diferent tracks, or this will cause
issues with the soundscape.
10. Like the rear surround channels, the LFE channel
should be used
only on occasion
for special efects
like explosions,
earthquakes and
rumbles. This
is because most
consumer sur-
round receivers
will automatical-
ly send low-fre-
quency sounds
below 100Hz to
the subwoofer, in
addition to what
is mixed into the
LFE channel.
11. Filter sounds to remove all but the low frequencies be-
fore sending them to the LFE channel, otherwise some
subwoofers will attempt to play the full spectrum of
sound with poor results.
Once the mix has been completed, it can be sent to the
video-editing software to be combined with the image before
output, if the editing software supports the appropriate sur-
round sound encoding. In this case, six or more tracks can be
individually output as Broadcast Wave fles from the DAW and
imported to six regular tracks in the video-editing software.
The alternative would be to output a surround sound encoded
fle directly from the DAW. However, this should be avoided if
further decoding and encoding will occur through the post-
production pipeline because most surround sound codecs
introduce signifcant compression and can degrade the audio
quality if applied more than once. A special intermediate sur-
round format made especially for post production is the Dolby
E format, which supports up to eight channels of audio and can
be used to encode and decode several times without noticeable
degrading of the audio. This is due to a low level of compression.
The video-editing software may require an additional plug-in
or hardware to work with Dolby E.
fOR MUSIC AND lIVE EVENTS
Surround sound for music is still not widely used and therefore
the rules are, as yet, unwritten. The simplest and safest ap-
proach is to re-create the listening experience of the musical
performance. This approach is usually applied for live concert
and classical recordings. Ideally, fve or more microphones are
used to record the event. In this case, mixing is straightfor-
ward and involves assigning each mic channel to the appropri-
ate speaker channel in the mix. The second approach is to place
instruments on separate speaker channels to engulf listeners
as if theyre placed in the center of the band. Since a sounds
timbre tends to change based on the speaker placement, equal-
ization may need to be applied to certain instruments to get
them to sound as they normally would in a stereo mix.
SOUND fIElD
The sound feld is the area that a sound may seem to emanate
from. Sounds can be made to emanate from anywhere between
two or more speakers. An engineer can afect the placement
of sound by the use of relative volume (i.e., panning) and time
delay. With relative volume control, the sound can be louder in
one speaker and softer in another speaker so that it seems to
come from a diferent point in the sound feld. The time delay
method mimics the way a sound source reaches one ear sooner
than the second ear; the sound is delayed for one speaker.
While the relative-volume method of panning is the standard
approach, time delay can have better results when the listen-
er's position is controlled.
MONITORING THE MIx
Proper setup of speakers is essential for accurately monitoring
your mix. All speakers must have the same polarity and use the
same transmission path to equalize any delays or other anom-
alies introduced in the signal path. Its also important to use
identical speakers that are correctly positioned for monitoring.
In order to monitor each channel with individual speakers,
an interface or sound card with enough outputs is required. 5.1
surround sound will need an interface with a minimum of six
outputs.
TRacK assIgnMenTs
TRACK 1: lEFT (l)
TRACK 2: RIGHT (R)
TRACK 3: CENTER (C)
TRACK 4: SUB (lFE)
TRACK 5: lEFT SURROUND (lS)
TRACK 6: RIGHT SURROUND
(RS)
6.1 AND 7.1 FORMATS ADD
ADDITIONAl TRACKS AFTER THE
lS AND RS CHANNElS.
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Preferably, youll want to use a mixer with at least six dis-
crete channels, but this isnt crucial.
ENCODING
Surround encoding packages the fle in a way that will be read-
able by consumer surround sound systems. The most widely
adopted surround sound codecs come from Dolby and DTS.
DOlBy STEREO
In order to make the encoded surround audio compatible with
mono and stereo, Dolby Stereo embeds four channels into two
channels. This isnt, however, the full 5.1 surround sound that
weve come to know. Dolby Stereo provides a channel for center,
front right, front left, and one channel for one or more speak-
ers in the rear. Although
the format lacks a discrete
low-frequency channel, a
subwoofer can still be added
to provide a boost to low-fre-
quency sounds. Only when
a Dolby Stereo compatible
device is used will the two
channels expand back into
four. Otherwise, any mono
or stereo device will be able
to play back the sound as any
other normal mono or ste-
reo recording. While Dolby
Stereo provides a sense of
surround sound, it lacks the
full spectrum of frequencies
and discrete channels that
are apparent in 5.1, 7.1 and
8.1 surround.
DOlBy DIGITAl
Dolby Digital audio can be
found on DVDs, Blu-ray, and
even broadcast transmis-
sions. However, the format it utilizes is highly compressed.
DOlBy DIGITAl
SURROUND Ex
Dolby Digital Surround EX adds another channel for one or
two additional rear surround speakers for the 6.1 standard.
DOlBy DIGITAl PlUS
Utilized on many of the latest Blu-ray movie releases, Dolby
Digital Plus is the latest update to the standard Dolby Digital
format and brings with it a more efcient codec with the pos-
sibility for higher data rates. There is a marked improvement
in overall audio quality. The new format is backwards compat-
ible with Dolby Digital decoders, albeit at a reduced data rate.
Broadcasters have not adopted the new format and have stayed
with the original Dolby Digital.
DOlBy TRUEHD
As part of the next generation of codecs that aim to deliver high
fdelity surround sound, Dolby TrueHD ofers a lossless codec
with as high a resolution as 24 bit and 192 kHz. The format is
being included in many of the latest consumer receivers and is
being used on some Blu-ray movie releases.
DTS
While not as popular as Dolby Digital, DTS generally has a
higher bit rate, and some say, higher quality sound as well.
DTS-ES
DTS-ES is the updated version of DTS that includes an ad-
ditional rear surround channel for 6.1 surround setups. The
two favors of DTS-ES are
Matrix and Discrete. The
Matrix version decodes the
additional channel from
the standard rear surround
channels, while the Discrete
version includes a separate
channel altogether. Like
Dolby Digital Surround EX,
DTS-ES has not been widely
adopted as of yet and only
a handful of high-end con-
sumer receivers can output
6.1 channels.
DTS-HD MASTER AU-
DIO
Once youve selected the
format and have encoded
the mix, youll want to play
it back on a home surround
sound system to conduct a
quality check before moving
forward. Look for any issues
with phasing and base management, as there may be changes
when its played back on consumer setups.
DISTRIBUTION
Compatible disc formats for distributing surround sound to
consumers are DVD and Blu-ray for movies, and DVD-A and
SACD for music content. Distribution over the Internet is also
made possible with MP3 Surround, WMA Pro and QuickTime
formats, which the latest DivX and Magix players support.
Gerry Novak is a producer and technology writer based in
Los Angeles.
Volume IV
Acoustic Treatments
For Home Studios
Youve invested in a pair of high-quality
monitors because you want to hear
everything there is to hear in your mix.
But what about hearing things that
arent supposed to be there? How can a
mix be accurate if your studio causes
unwanted reverberations? Tweak your
mix to match a muddy studio and itll
sound muddy everywhere else. An
acoustically treated room will make
your monitoring environment much
more accurate. Acoustic treatment,
however, is not to be confused with
soundproong, which is an entirely
dierent topic. The main goal of treating
a room is to reduce sound reections so
that when you monitor audio, you hear
it directly from the source: your moni-
tors. This is accomplished by mounting
dierent kinds of absorption and
diusion material on the walls and
ceiling. Care should be taken to leave
some amount of reverberation
otherwise the sound will be too dry,
causing you to add more reverb to the
mix than you want.
Surround Sound
For surround-sound mixing, more absorption is
used at the speaker to control early sound reec-
tions. Due to the inherent ambience of a
surround-sound setup, youll want to reduce the
amount of reected sound in the room that might
trick you into the thinking you have more reverb
than you really do. Additional bass traps should
also be used, due to the subwoofers
low-frequency output.
Live Rooms
For live rooms, youll want to remove most sound
reections so that you can control the amount of
ambience and reverb in post. For voice-over booths,
a completely dry sound is what youre after in order
to give the voice-over maximum presence without
hearing the rooms sound.
35%
Leave some untreated
surfaces on the walls and
ceilings to avoid drying up
the sound. Depending on
the exact size and shape of
the room, cover about 35%
of the walls and ceiling.
Diusers should be
placed on the back
wall and ceiling
Diusers
Diusers dont absorb sound, but rather scatter the sound in order to control
(in a neutral manner) the amount of sound being reected. Diuser panels
keep the sound from bouncing back in pockets of waves without eliminating
the ambience of the room. Smaller rooms will generally require more
diusion to make the room sound clearer and more open.
Bass Traps
Reverberating bass frequencies can
really mess up your mix. Place bass
traps at each corner to keep them in
check.
A large amount of
absorption in the front
of the room to eliminate
early reections
Absorption
Absorption panels are
typically made of foam
(some higher-end panels
have a fabric cover on the
face of the panel for
aesthetic reasons). Some
absorbers remove only
certain frequencies, while
allowing others to bounce
back. Absorption panels
should be positioned
evenly across the walls and
ceiling, instead of being
concentrated in one area.
How much absorption to
apply depends on how
much ambience you desire.
For a more live-sounding
room, use thinner absorp-
tion panels. Alternating
panel orientation and panel
mounting patterns wont
change the acoustics of the
room, so the exact arrange-
ment of panels is up to you
and how you want the
studio to look.
steven spielberg, in a 2008 presentation,
described the awkward emptiness his
films would have if it werent for his trusted
composer, John williams. to illustrate his
point, mr. spielberg played back a sequence
of indiana Jones without the score, and
then with the score. the difference was
stunningit showed the power that a
good score can have on a film. without
the soundtrack, the film was simply not
as compelling or believable. step into the
world of award-winning composer Jeff
rona and see how the magic happens.
Filmmakers have utilized music to
enhance their flms since the silent
flm era. In the silent days, music was
added to overcome the noise from
the projector and to fll up an other-
wise silent flm. Film scoring has
developed over the years into well-
structured methods and techniques.
Why certain pieces of music give us goosebumps or make us
cry is intangible, says Jef Rona, an accomplished flm com-
poser who has worked with the likes of Steven Spielberg, Rid-
ley Scott, and Steven Soderbergh. But it is at times the secret
weapon that brings a scene to life and into the audiences deep-
er subconscious. At its most basic level, its just about creating a
unique experience for the audience.
Musical accompaniment can do more than raise the level
of emotion in a flm. It can help tell the story. It can afect the
perception of time and space. Music can provide insight into a
characters emotional state, without words. Music can also tie
scenes together.
l
earn the fundamentals for creating a score and youll
supercharge your flms with emotion. Of course it helps
to be well versed in music theory, composing, or just be
a musician. But if you havent dabbled in music, that
shouldnt stop you from creating a score. As technology
advances, software developers have come up with smart ways
to create fully customized scores.
This article is just a primer, as there is an enormous amount
to learn about flm scoring.
SCORING
FoR cineMa
BY: GeRRY noVaK
AUDIO
SECTION: 5
JEFF RONA
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Communication between the director and composer is critical
for a great score. There have been many cases where an entire
score was replaced due to a disconnect between the director
and composer. Its up to the composer to get a good understand-
ing of the flm, but directors should also learn some basic scor-
ing principles and terminology. Jef Rona studies the script,
but to get a deep understanding of the movies psychology and
style, he sits down with the director. First I try to get into the
psychology and style of the flm, mainly by getting to know the
flmmakers intent. I talk with my director and ask a lot of ques-
tions. I ask them to explain the story from their perspective,
which usually illuminates aspects that are not present in the
script, says Rona.
hit point/sync point
A hit point or sync point is where a part of the music will sync
with a specifc moment in the flm. Usually this will be at a cut
between two shots, or an action during a shot. Action scenes
will typically have many cues that are synced with the events
in order to intensify the emotion.
cue
A cue is one piece of music within the timeline of a flm. It
describes the moment where the music should start and end,
and can last just a few seconds or several minutes. Cues are
provided at the spotting session, but continue to be added and
changed throughout the process.
source music
Source music is music that comes from a source within the
flm. Examples of this can be a car radio, a dance club, or a live
band. Its either the music editor's, or musical supervisor's
role to oversee these bits of music, but the composer needs to
be aware of them in case the score needs to interact with the
source music.
spotting
One of the frst steps to creating a score is to meet with the di-
rector and other decision makers, like the producer and music
editor. This is called the spotting ses-
sion. The two will decide where to place
musical accompaniment throughout the
flm. Diferent styles of music will be
considered based on the needs and ideas
of the flms visionaries. A close working
relationship is formed between the di-
rector and composer. The director may
have specifc ideas for the style of music
and may come with examples of these
styles. Some of these examples can even
be paired with the edit to see how well it
interacts with the scene, before making
a fnal decision. This would be called a
temp (or scratch) track, and may be the
most crucial for a successful score. It serves to clarify inten-
tions and ideas. Diferent terms can be used to describe the
kind of music one is after, but concrete examples help avoid
drastic changes at the end of a schedule. On the other hand,
the examples should just be examples, and not restrict further
creative development, exploration and experimentation. This
is where good communication between the director and com-
poser comes into play.
the edit
On rare occasions, a composer will begin interacting with the
director when a flm begins production, but most likely will
get into the process toward the end of the editing phase. After
having decided on direction, style, and ideas for where music
ThRee TyPes of scoRes
1. AN ORIGINAl UNDERSCORE
SYNCED TO EVENTS IN A
MOVIE
2. AN ORIGINAl SONG CRE-
ATED FOR A MOVIE
3. AN EXISTING SONG EITHER
ADAPTED TO THE MOVIE, OR
USED AS IS.
Volume IV
should occur during the spotting session, the composer will
work closely with the editor to fgure out the exact timing of
music. The music must be synchronized according to the fnal
edits, and there may be several diferent versions of a score be-
fore its fnalized. If the edit changes, the composer works to
adjust the music accordingly.
mock-up
On larger flms where a recording session will take place with
musicians and ensembles, a mock-up of a cue will be created
using software and synthesizers. This is like a rough draft or
demo, and serves to communicate what the composers vision
is to the director. Once the director approves a mock-up, the
composer will then begin to orchestrate the cue and prepare it
for recording live musicians.
orchestration
Some composers take on the full task of creating composi-
tions, as well as orchestrating ensembles and orchestras. On
larger and more complex flms, the composer will work with an
orchestrator/conductor to fesh out the details of the composi-
tion.
creating motifs
To give a sense of continuity, the composer will create certain
melodies or rhythms that repeat throughout the flm, whenever
a certain character appears, an idea is expressed, or an emotion
evoked. This helps tie the diferent parts of the story together.
Motifs are typically created in the early stages of development,
in conjunction with the director.
Motifs are inspired by the story, not individual scenes. Ob-
serve the characters and their emotional drivers and fnd a way
to describe that musically. Sometimes one main motif for the
flm is all thats needed. Once the main motif has been devel-
oped, the same melody can be interpreted in diferent ways by
just changing the style, tempo, rhythm, or instrumentation.
This allows for the motif to be adopted to a particular scene
and its mood, but ends up creating a recognizable theme song
for the movie.
A movie that increases in tension as the story unfolds, con-
tinuously climbing the ladder of suspense, can be enhanced by
style, melody, rhythm, instrumentation, and tempo. A mood
board with freeze frames taken from the edited flm is a great
way to fnd inspiration and guide the scores development. Line
up the characters and visual cues that represent who they are.
Take stills from key moments in the flms timeline and line
them up in order of appearance. Fill this board with anything
that represents the flms story and try to fnd the right kinds
of music for main characters that can be repeated when they
appear.
recording and mixing cues
Once the composition and orchestrations for a cue are locked
down, recording can begin. Yet the job of a composer doesnt
end here. The score gets mixed by my engineer under my
watchful gaze, and the music is delivered in several batches,
says Rona. The way in which a score is recorded and mixed can
have a substantial efect on the feel. For example, The Incred-
ibles score, which was composed by Michael Giacchino, had a
retro 60s-sounding jazz feel. Analog recorders were used in-
stead of digital in order to give it authenticity.
Time is essential to a flm score and the recordings need to
be set up correctly. SMPTE is the timecode used on flms, and
so flm scores follow suit. Before beginning a recording session,
the project template needs to be set up to match the planned
cues. The template should include the correct frame rate, start
time, and tempo. For every cue to be recorded, a separate ses-
sion is created in software such as Pro Tools. The sampling
rate should also be set up to match whatever the flm is utiliz-
ing and can be verifed with the editor. Many flm projects use
48kHz; however, the majority of high-end productions will be
set up with 96kHz and 24bit recording. The fles should be re-
corded using the BWF (Broadcast Wave) fle format, as it marks
the fle with the correct timestamp for syncing correctly to the
footage, or for the fnal mix.
career advice
Find someone that can show you how its really done in the
real world. Musical training is incredibly important, but it is
just the frst step. Learning anatomy does not make someone
a surgeonit takes practice and discipline and learning from
mistakes (far less tragic in music than medicine!) recom-
mends Jef.
Dos anD DonTs
1. EMOTION
DO CREATE THE EMOTIONAl SETTING OF THE
FIlM QUICKlY
2. FOCUS
DO BRING FOCUS TO THE CHARACTERS IN
THE STORY
3. PSYCHOLOGY
DO SUPPORT THE PSYCHOlOGY AND EMO-
TIONAl IMPACT OF THE FIlM
4. SUBTLETY
DON T TEll THE AUDIENCE WHAT THEY
SHOUlD BE FEElING
5. KEEP A SECRET
DON T GIVE AWAY PlOT SECRETS TOO SOON
(CAllED TElEGRAPHING)
6. NOT THE SAME
DON T BE TOO SPOT ON. IT S lIKE TEllING
THE SAME JOKE TWICE.
BandH.com/edu
TOOLS FOR
CREATION
Photo
Video
Pro Audio
Graphics
Visit Our SuperStore
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Speak to a Sales Associate
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Our friendly sales associates are industry professionals with years of
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sound devices cL-wifi
If you own a Sound Devices 788T
or 788T-SSD, add this piece of
hardware to provide your recorder
with WiFi connectivity.
SKU# SOCLWIFI;$249
sound devices
mixpre-d
Sound Devices has released
this update to the highly-
acclaimed Mix-Pre and features
two independent XLR inputs,
each with phantom power, a low
pass flter, and limiter. The high
accuracy LED meter is easy to
see. It can mount directly under a
camera with an included adaptor.
But what makes this update
special is the dedicated mic-
level TA-3 connector design for
HDSLRs.
SKU# SOMIXPRED;$749
sennheiser
ew 112-p g3
One of the keys to recording
high quality audio is getting
the microphone as close to the
subject as possible. The G3 allows
you to do just that as a wireless
lavalier system. The transmitter
and receiver can automatically
sync to the correct channel at the
push of a button.
SKU# SEEW112PG3*
ik multimedia arc
This system includes a
microphone and software
combination that helps you tune
the monitoring setup in your
studio with ease. It works well
in rooms where an acoustical
treatment isn't an option.
SKU# IKAS;$299.99
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BandH.com/edu
beyer dynamic dt 250
The DT 250 is a closed-back
dynamic headphone that provides
ambient noise isolation and a linear
response for monitoring audio in the
recording or editing process. The
lightweight padded around-the-ear
design provides lasting comfort. The
cable connector terminates with a
1/4" TRS phone plug.
SKU# BEDT25080;$179
EDu Advantage $139
roland r-09hr
This pocket-sized audio recorder
captures audio at up to 24bit and
96kHz in PCM or MP3 format
and uses SD or SDHC memory
cards. It includes a built-in stereo
condenser microphone for
convenience, but can also accept
external mics via mini mic and
line level inputs. The 1.5" OLED
screen displays key information
and makes it easy to navigate
through settings. A USB 2.0 port
is included for quickly o oading
fles directly to a computer. The
recorder operates on AA batteries
or an included AC power adapter.
Also included is Cakewalk pyro
Audio Creator LE software for
editing your recordings.
SKU# ROR09HRSET;$279
rode ntg-2 basic kit
Eliminate the guesswork in
choosing a shotgun mic kit with
this cost-efective solution. The
kit includes the Rode NTG-2
shotgun mic that delivers pristine
high quality sound, a shockmount,
cabled boom pole, hand grip,
windscreen, as well as short and
long right angle XLR cables.
SKU# RONTG2BK;$649.95
Volume IV
Volume IV
novation nocturn 25
This plug-in and sequencer
controller features 25 velocity-
sensitive keys, eight drum pads,
and a total of 33 assignable
controls in order to provide
tactile operation over your
plug-in instruments, efects
and sequencer. The included
Automap software is used to
easily and quickly assign and
customize controls to a particular
application using a user-friendly
graphical interface. It can also
assign functions automatically
to many of the most popular
plug-ins and sequencers without
customization. A USB cable
connects it to a desktop or laptop
computer and does not require a
separate AC adapter.
SKU# NON25;$179.99
se electronics 2200a
The 2200a packs a ton of quality
in a value package and is designed
for home and broadcast studios.
The mic features a wide frequency
response and cardioid polar
pattern for accurate reproduction
of vocals and instruments while
minimizing of-axis noise.
SKU# SESE2200A;$299
cascade microphones
fat head
The Fat Head houses a hand-
tuned ribbon element that ofers
a true fgure eight polar pattern.
It captures a warm full-bodied
sound with increased sensitivity
to both vocals and instruments.
SKU# CAFHBG*;$175
holophone h3-d
As an alternative to using six
separate mics to capture surround
sound audio, the H3-PRO is housed
in a shape that emulates the
human head in order to capture
sounds as you would hear them
live and in context. It features six
built-in miniature mic elements.
SKU# HOH3D;$1,499
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auralex d36
roominators kit
Reduce unwanted echo and
improve a room's acoustics in
a small project studio to better
monitor the audio in a mix. The
kit includes eighteen Charcoal
Gray DST-112 panels and eighteen
Burgundy DST-114 panels, along
with two Tubetak Pro adhesives
for mounting the panels to walls
or a ceiling.
SKU# AURDSTD36*;$139
presonus
firestudio mobile
The FireStudio is a high-quality
audio and MIDI interface that has
two combination 1/4" TRS and XLR
inputs with phantom power, an
additional six 1/4" TRS input and
two 1/4" outputs on the rear panel.
It connects to any computer via
FireWire 400 and includes the
Studio One Artist software for
recording and editing your audio.
SKU# PRFSM;$295
terratec dmX 6fire
The TerraTec stands on its own
as a high-quality computer audio
interface with four analog inputs,
including one combination 1/4"
TRS and XLR connector with
phantom power. What really
makes this interface special is
its ability to output 5.1 surround
sound via six coaxial connectors
on the rear panel. It records up to
24bit 96kHz audio and connects
to a computer via USB 2.0.
SKU# TESSDMX5FUSB; $229.95
smartsound sonicfire
pro 5 mega bundle
If youre a flmmaker without the
ability to compose an original score,
dont despair. You can still create a
soundtrack using SmartSound. The
software works with SmartSound
music libraries to create custom
soundtracks using specifc mood
indicators on the timeline. Libraries
are purchased separately, but this
Mega Bundle includes a music
library already. After selecting from
a variety of styles, you can reduce or
increase the power and tempo of the
melody. An integrated video player
lets you visually sync all the events
as you create the composition.
All in all, this is a great way to get
a customized soundtrack into
your flm projects without being a
professional composer.
SKU# SMSFPFCMB;$289.50
Volume IV
Volume IV
minnetonka
surcode series
Delivery of surround sound audio
for flms or music can come in a
variety of codecs, which may or
may not be supported by your
editing software. The SurCode
line of plug-ins and stand-alone
software enables you to encode
in any of the popular codecs for
the mastering stage.
SKU# MISDHQ;Starting at $24.65
sabra-som 5.1
microphone mount
Capturing 360 of ambience with
fve microphones doesn't have to
be complicated. This mount can
accommodate fve directional
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shockmounts, which eliminate
mechanical noise and vibrations
from invading your recording.
SKU# SASMS51;$618.95
JLcooper mcs-panner
The MCS-Panner delivers tactile
control for surround panning with
a hardware joystick controller
that works with the MCS-3000
series of controllers, or as a
stand-alone DAW controller. The
controller features a three-axis
joystick with a top mounted
trigger, nine switches and fve
rotary dials to control divergence
and parameters. It connects to a
computer or digital mixer via MIDI
connector.
SKU# JLMCSP;$1,312.50
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digidesign complete
production toolkit
This toolkit includes a host of
plug-ins for surround sound mixing
on the ProTools LE system. The
upgrade allows up to 128 mono or
64 stereo tracks at up to 48kHz, or
96kHz using 96 mono or 48 stereo
tracks. It enables mixing of up to
7.1 surround and allows greater
compatibility with Pro Tools HD
sessions. Sessions can either be
monitored in full 7.1 surround, or in
stereo using the included Neyrinck
SoundCode Stereo plug-in.
SKU# DICPTK;$1,399
JbL Lsr6325p/5.1 t
This is a complete high-quality
surround sound monitoring kit for
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fve LSR6325P active monitors
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Each monitor houses a 5.25"
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composite tweeter that provide
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a dedicated amplifer that provides
strong performance with very low
distortion, especially in situations
where accuracy is a must, but
physical space is limited. It also
features a kit that calibrates the
monitors to a specifc room's
acoustics, thereby eliminating
bass issues in your mix position.
SKU# JBLSR6325P51;$3,771.33
presonus faderport
This DAW hardware controller
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comprehensive transport control
section. It works with all Mac
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software including Pro Tools,
Cubase, Nuendo, Logic and more.
SKU# PRFPQ;$129.95
Volume IV
Volume IV
a photoshop cs5 extended how to
3d may have been an afterthought in photoshop cs3 and cs4,
but with cs5 extended, adobe pulled out all the stops. the new
app can truly work in a 3d environment, and features many new
parameters to control and perfect 3d content. with cs5, you can
import 3d files from applications like maya. now its possible to create entire 3d scenes
right from photoshop, instead of having to create and manipulate 3d objects in applications
like cinema 4d. even better, the tools and controls are easy to understand and use.
GRAPHICS
SECTION: 6
BandH.com/edu
CREATING 3D TExT
Type words you want to create in 3D, choosing the appropriate
font, weight, and size.
1. Go to 3D > Repouss > Text Layer and a dialog box ask-
ing to rasterize the text appears. Click OK and the 3D
parameter dialog box will appear.
2. The text can be rotated in three dimensions by simply
dragging on the canvas, or the heads-up display on the
left side for greater accuracy and control.
3. Choose the type of 3D face in the Repouss Shape Pre-
sets area. This can take some time to take efect.
4. In the Materials area, select the material either for all
faces of the object, or diferent materials for each face.
More materials can be downloaded from the Adobe
website.
5. Set the depth level in the Extrude area. 1 is the default
but most likely will be too much, so start with some-
thing like 0.2
6. Under the Scene Settings area, you can select the type of
lighting as well as the rendering quality and style. Some
very interesting efects can be achieved using this tool,
so experiment until you fnd a look that you like.
7. Click OK to render the object.
8. If further edits are required after this point, right-click
the 3D layer and select Edit.
9. Further settings can be applied to the 3D scene as a
whole using the 3D tool palette (see below for more).
10. Once the 3D efect is satisfactory, click OK and it will
render. Depending on the computer youre using, this
could take just a few seconds or more.
11. If the text needs to be resized after the 3D efect has
been applied, Photoshop will ask you to convert the
layer to a Smart Object. If you want to edit the 3D pa-
rameters at this point, youll need to double-click on the
layer to enter editing mode.
MAKE A SCENE:
Rendering: When the 3D composition is complete, a fnal high-
quality render should be applied. Go to the 3D window palette
and select Ray Traced Final from the drop-down menu in the
Render Settings area.
3D Animation: Yes, you read that right. You can now output
3D animations from Photoshop Extended. Heres a simple ex-
ample of a rotating text animation that will get you started.
1. Create the 3D text object following the steps mentioned
above.
2. Go to Window > Animation. On the timeline that ap-
pears at the bottom of the screen, click the arrow next
to the 3D text layer.
3. Click on the stopwatch icon next to the 3D Object Posi-
tion line. This will add a key frame at the start (repre-
sented by a small yellow diamond shape).
4. Move the Current Time Indicator farther down the
timeline, to about 2 seconds.
5. Select the Object Rotate Tool by pressing the k key
and rotate the object a full 180 so that the view is on
the back of the text. A key frame will be added automati-
cally.
6. Advance the Current Time Indicator farther, to about 4
seconds.
7. Using the Object Rotate Tool, rotate the object another
180 back to the front of the object. Another key frame
will be added automatically.
8. In order to make the animation loop back to the origi-
nal start point, right-click the frst key frame and select
Copy Key Frames.
9. Move the Current Time Indicator further to about 6
seconds and then right-click the frst key frame again
and select Paste Key Frames.
10. To output the video, go to File > Export > Render Video.
11. Choose the location where youll save the fle and set the
video settings like Resolution, Quality and Frame Rate.
12. Hit OK and the video will render. Depending on your
computer, this can take several minutes for even a short
video.
CONClUSION
The examples outlined in this article just skim the surface of
the possibilities that Photoshop CS5 Extended ofers. The key
is to experiment and fnd ways to incorporate 3D objects into
your compositions. Text is just the start, but complete scenes
using 2D and 3D objects is the future, and has already paved an
entirely novel path for designers.
3D MoDeL DoWnLoaDs
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for-adobe-photoshop/
Volume IV
Photo Retouching
brush up on some of the basic techniques for
turning a bland image into a perfect one.
dobe Photoshop CS5 is a powerful tool
for photographers, but it has a steep
learning curve. In this article well dis-
cuss basic retouching techniques that
anyone can use to spruce up their im-
ages.
SHADOWS AND HIGHlIGHTS
Start by adjusting the bright and shadow
areas to bring out the important parts of
the image, like the persons face in this
example. Duplicate the image (Com-
mand + j for Mac; Ctrl + j for PC) and then
select Image > Adjustments > Shadows/
Highlights. A dialog box will appear with
a full range of control parameters. The
tool automatically applies settings that
it deems appropriate for your image, but
you can manually adjust all the settings
to your liking. Make sure the Preview
check box is selected, to see the efect in
real time.
Once the efect is applied, you can add
a mask on the layer to selectively apply
the efect on specifc areas of the image.
Option + click the Add Layer Mask icon
and paint with white using a soft brush
on the areas in which you want the efect
revealed. The mask can be further ad-
justed using the Mask panel (Click Win-
dow > Mask). Here you can control the
a
GRAPHICS
SECTION: 6
PHOTOS: HUGO CHANG
BandH.com/edu
density of the mask to decrease the masks efect and also feather
the masked areas to smooth out the efects transition.
Adjusting the contrast of the image can bring out the details in
the image that you want to emphasize. Click on the Create New Fill
or Adjustment Layer. Select Curves from the menu and an Adjust-
ment box will appear. Control the contrast by adding points on
the line and moving them up to brighten the tone or moving them
down to darken it. The left side of the chart represents the dark
tones, while the right side represents the bright ones.
Just as before, you can control exactly where you want this efect
to appear on the image by using a duplicate layer on which to apply
the curve, and then apply a mask, brushing in the areas in which
you want the efect to appear. By applying a curve layer with a
mask, you can also address blown-out highlights or bring out more
detail in a dark area.
Sometimes, a curve adjustment layer can inadvertently change
the colors in an image. If the goal is to adjust only the brightness
of the image, then select Luminosity from the Layer Blend mode
drop-down menu.
lAyER MASKS
Layer Masks can be a powerful tool that saves an enormous amount
of time. For example, instead of painting in the area you want to
mask or unmask, make a selection based on the colors in the image
and then create a mask based on that selection. Click on the image
layer and go to Select > Color Range. Using the Eyedropper tool, se-
lect the color you intend to afect. Shift-Click in additional areas of
the image to include a wider range of colors in your selection. The
preview will display a black-and-white image, with white repre-
senting the area selected and black representing the excluded parts
of the image. Adjust the Fuzziness and Range to soften and control
the range of the selection. If the selection contains areas you dont
want to select, Option-Click the area (Alt + Click for PC) to exclude
that color range. Once youve selected the range you want, click OK
and click on the Create New Fill or Adjustment Layer icon. From
here, you can choose to selectively adjust the colors and contrast.
The same selection can be reused multiple times by Command-
Clicking (Ctrl + click for PC) the mask layer with the selection and
then selecting an Adjustment Layer to apply.
SKIN
While most people dont have perfect skin, people tend to get dis-
tracted when looking at a still photo of a face with even slight im-
perfections such as discoloration, spots, wrinkles, etc.
Blemishes: Zero in on apparent blemishes and use the Spot-
Healing tool to simply click on those problem areas. The brush size
can be adjusted to match the blemishes that are being targeted.
Under the eyes: Using the Healing tool, remove any bags or
discolorations, and soften the lines from under the eyes to freshen
up a persons face and make them look younger. Be careful not to
cover up the eyelashes, and try not to make granny look like shes
20 years old.
Volume IV
TIP
zOOM IN ON THE IMAGE WHEN WORKING,
BUT AVOID GOING BEYOND 100% BECAUSE
YOU ll MOST lIKElY FOCUS ON DETAIlS
THAT WIll NOT lOOK THE SAME WHEN
VIEWED AT THE NORMAl SIzE.
One of the most important parts of a portrait is the eyes. Some-
times, even with elaborate lighting setups, the eyes dont end up
perfectly lit. Enter Quick Mask mode by pressing the q key and
then select the brush tool from the tool palette and select black for
the fll color. Zoom into the eye and paint both pupils until they
are completely red. Exit Quick Mask mode by pressing the q key
again. At this point, the selection will actually be everything but
the pupils, so invert the selection by pressing Command + Shift +
I (Ctrl + Shift + I for PC). Make sure you have your image layer se-
lected, and copy this selection by pressing Command + J (Ctrl + J
on PC). Using the same process as before, apply a Curves efect to
the new layer, experimenting with diferent curves to increase the
brightness and also the contrast if necessary. The pupils may also
need sharpening. Go to Filter > Smart Sharpen and play with the
Amount and Radius controls until the pupils are adequately sharp,
but without introducing image noise or artifacts.
Skin can be softened in many ways, but a quick, efective way is
to make a selection using the red channel, since most of the infor-
mation for skin is contained in this channel. First, duplicate the
image and then Command + click (Ctrl + click for PC) the red chan-
nel and return to the Layers palette. Select the duplicate image and
apply a layer mask using the Add Vector Mask icon. Next, hide the
original layer to see what the mask is making visible. There most
likely will be a need to refne this mask, so select the Brush tool
and adjust the masked area, with black to hide and white to reveal.
Hide the lips, eyes and anything else except for the skin. Select the
image thumbnail on the layer to deselect the mask and select Filter
> Other > High Pass. Choose a radius level that brings out the most
detail in the skin and click OK. Invert the layer with the Command
+ I (Ctrl + I for PC). In the Layer Blending mode drop-down menu,
choose either Overlay for a strong softening efect, or Soft Light for
a subtler softening of the skin. The opacity can be lowered if the ef-
fect is too strong. Its important that the efect keeps the skin look-
ing natural, as softening the skin can quickly make a fake-looking
image. To do this, make sure to keep a minimal amount of texture
for the skin, instead of completely softening it.
Removing shadows under the nose, around the lips, or the eyes
can sometimes make more pleasing beauty shots. To do this, cre-
ate a new layer and choose the Clone tool from the tool palette. Se-
lect Lighten in the Blending mode drop-down menu on top of the
screen and lower the opacity to about 15%. Make sure All Layers is
selected in the Sample drop-down menu and sample a light area of
the skin by Command-Clicking (Ctrl + Click for PC) and then click
on the shadow areas of the skin.
fORM
Sometimes, youll want to add height to someone or make them
look slimmer. This can be accomplished as simply as using the Free
Transform tool to stretch the image up, or squeeze the image hori-
zontally. Dont go beyond 2-4% or the image wont look real. The
Liquify tool found under the Filter menu can be used to efectively
transform a person's form as well.
4
5
BandH.com/edu
The B&H Event Space is an advanced learning environment
designed to educate, inspire, and cultivate a community of
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and aspire to be great at what they love to do. By ofering
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eiZo coloredge cg243w
This 24" 1920 x 1200 monitor is designed for professional graphics, prepress, photography, and video post-production
applications. Unlike consumer monitors, the CG243W has a wide color gamut that spans 97% of the Adobe RGB color
space for producing a more accurate representation of artwork and displays these colors more uniformly across
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CG243W counteracts this with EIZO's digital uniformity equalizer (DUE), which ensures a Delta-E diference of three
or less across the screen when the monitor leaves the factory. An sRGB mode is also available for viewing images in
this more common but narrower color space. An incredible 850:1 contrast ratio produces a wider range of tones. The
monitor can be calibrated with ease to produce predictable results and to ensure color accuracy. The monitor has
a DisplayPort and dual DVI ports for a total of three independent inputs. Included is the ColorNavigator calibration
software, which makes it simple and quick to calibrate a monitor using an external device like the X-Rite ColorMunki
(see below) and can create an ICC profle in minutes. SKU# EICG243WBK
X-rite colormunki
Creative professionals who
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The ColorMunki is a completely
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SKU# XRCMP;$449
EDu Advantage $299
the flexstand
can tilt, swivel
and rotate 90
for portrait
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174mm of height
adjustment.
gray-to-gray
response time
of 6ms ensures
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wacom cintiq 12wX
If you crave the pen-to-paper feel when creating artwork , the Cintiq combines a high resolution 12" 1280 x800
monitor with a panel that has 1024 levels of pressure sensitivity. As the latest of Wacom's innovative line of tablets,
the 12WX features a patented cordless pen that does not require battery power to operate. The enclosure is sturdy,
but lightweight and comfortable to rest on your lap or desk. An integrated stand folds in and out to set up the tablet
at any angle. A single 6 foot cable leads to a breakout box that branches out to a power cable and a video cable that
connects to your desktop or laptop. And you don't have to worry about scratching the screen, thanks to a scratch-
resistant surface. The 12WX can also be used to control a computer's cursor for mouse-free operation. It's compatible
straight out of the box with the most essential design software, like Adobe Photoshop, Autodesk SketchBook Pro,
Corel Painter and hundreds of other applications.
SKU# WAC12;$959.95
epson stylus pro 3880
The 3880 is the lowest costing printer
in the Epson Pro line up and now has
the more advanced 9 K3 inks with
Vivid Magenta. This broadens the color
gamut of prints on a max width of 17"
and at a resolution of up to 2880 x
1440 in order to produce gallery-quality
prints. It utilizes two separate black
inks; one for matte paper and the other
for glossy. It accepts cut-sheet paper
with one of four ways to load the media.
The 3880 is individually calibrated in
the factory, so you know you're getting
a reliable printer.
SKU# EPSP3880P;$1,149
the pen offers
three nib styles for
a variety of "feels,"
and also provides
tilt sensitivity for
even more control.
assign
shortcuts and
macros to the
side keys to
speed up your
work.
Volume IV
Volume IV
3dconnexion
spacepilot pro 3d
If you use 3D modeling and
animation software, you may
never use another mouse again.
Just 15 minutes with this 3D
mouse and you'll be navigating
through 3D scenes with the
main six axis controller cap
that moves right/left, forward/
backward, up/down, tilt, spin, and
roll. It also includes a whopping
21 programmable keys that can
map to 31 commands. If that isn't
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you access MS Outlook e-mail,
calendar and task lists and also
displays commands, as well as the
function keys they're mapped to.
SKU# 3DSPP3D;$362.99
graphic authority
photoshop templates
Save time and take your designs
and photographs to the next
level with this collection of
add-on templates for Adobe
Photoshop. It includes edges,
frames, backgrounds, text boxes,
patterns, borders and brushes.
SKU# GR*;$44.95 299.95
X-rite i1Xtreme
The i1XTreme is a true end-to-end
color management solution for
creative professionals working
on either Mac or PC. The tool
supports both emissive and
refective profling so you can
calibrate printers, scanners,
monitors and, with an optional
accessory, digital cameras as well.
Includes an extensive software
suite for Mac and Windows.
SKU# XREOXTRUV;$1,449.95
BandH.com/edu
BandH.com/edu
canon imageprograf ipf6300s
As a creative professional working on a photography or graphics project, it's crucial to have prints that are as good as
when they were captured or created. The iPF6300S facilitates this with a user friendly set of features and controls
and a streamlined workfow for attaining consistently higher-quality prints. If you fnd yourself ordering large prints
of up to 24" wide from a lab, this printer is a great alternative. Although you shouldn't expect to rest this printer on
your desk, the iPF6300S is one of the smallest printers in its class, measuring 39" H x 46" W x 34" D and weighing 146
lbs. A monochrome screen on top of the printer displays everything from menus and settings, to the time remaining
to complete a print job. It accepts eight LUCIA EX inks, has a 160GB hard drive for storing large print jobs, and has
built-in calibration for streamlined convenience. Included, you'll fnd a plug-in for outputting and printing artwork from
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to get you up and running quickly.
SKU# CAIPF6300S;$2,995
built-in calibra-
tion sensors that
help compensate
for adverse
conditions.
Volume IV Volume IV
105
rotatrim 15"
mastercut
Cut and trim artwork at high
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from Rotatrim. It cuts paper up
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slice through fexible materials of
up to 3mm thick.
SKU# ROM15
iomega superspeed
usb 3.0 ego blackbelt
Transfer fles up to 10x faster than
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can be bus powered (i.e. via USB
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manhattan edit
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Sharpen your creative skills
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hp envy 17-2090nr
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includes active
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immersed on
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Volume IV
Volume IV
Higher Learning
Perfect your skills, or learn completely new ones with
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1. The Photographer's Eye:
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Photographic lighting
Authors: Fil Hunter, Steven Biver and
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While many books are available to
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SKU# FOLSM;$34.95
3. Heavenly Bodies:
The Photographer's
Guide to
Astrophotography
Author: Bert P. Krages Esq
If you're looking to jump
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Krages ofers his expertise
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The book ofers readers
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coverage of more advanced
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and doesn't feature
deep space photography
examples.
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1
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BandH.com/edu
6. Adobe Photoshop CS5
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SKU# KECS5DVD;$69.95
5. ASK Video Tutorial DVD:
Mixing With the Pros
By: James Tuttle and John McVey
Follow James Tuttle, an audio
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to fnish. He explains the general
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video tutorial ofers more advanced
information and does not delve into
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SKU# ASMWPE;$32.49
4. Digital Cinema
Training DVD: Digital
Cinema Training
Course
Books are great, but when
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only a video series like this
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Interviews of the crew
members as they go about
their job ofer a rare glimpse
of how movies are made, with
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SKU# DIDCTMPCOMMP;$439.95
6
5
4
Volume IV
ANDY FOSTER is a photography student at the Ohio Institute Of Photography in
Dayton, OH. See more of Andy's work here:
Flickr.com/fosterphotography17
It's not every day you capture something as
incredible as lightning during a gorgeous,
colorful sunset. Life without a tripod for
most of the summer in 2010 made for some
really intriguing ground perspective shots,
and this was certainly one of those images.
I set my camera on the road just hoping to
capture some of the intense colors, and out
of nowhere a lightning bolt darted across the
sky. After my shutter closed I immediately
grabbed my camera, and I was thrilled to see
that there along with the beautiful colors was
what appeared to be hands reaching across
the sky. I titled this photo 'Sun Hands,' a
song title by the indie band Local Natives. I
did hardly any editing to this shot, the colors
were truly this vibrant.
WHEN LIGHTNING
STRIKES
BY ANDY FOSTER
CAMERA SPECS
>> CAMERA
Canon 40D
>> LENS
Canon EF 17-40 f/4L
>> FOCAL LENGTH 17mm
>> APER TURE f/4
>> SHUTTER 1/30
>> ISO 100
SUBMISSIONS
To submit an image for the 'Behind the Shot' series, please email us at:
edusubmissions@BandH.com
THE VIEWS EXPRESSED IN THE ARTICLES IN THIS PUBLICATION ARE THE PERSONAL OPINIONS OF THE AUTHORS AND/OR THE INDIVIDUALS APPEARING IN THE ARTICLES AND DO NOT NECESSARILY REPRESENT THE VIEWS OF B&H. PRICES, SPECIFICATIONS, AND IMAGES ARE
SUBJECT TO CHANGE WITHOUT NOTICE. SOME RESTRICTIONS MAY APPLY. CALL FOR DETAILS. MANUFACTURER REBATES ARE SUBJECT TO THE TERMS AND CONDITIONS INCLUDING EXPIRATION DATES PRINTED ON THE MANUFACTURERS REBATE FORMS. NOT RESPONSIBLE FOR
TYPOGRAPHICAL OR ILLUSTRATIVE ERRORS. 2011 B &H FOTO &ELECTRONICS CORP. ALL RIGHTS RESERVED.
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