Beyond Stills-Interactive Resource Guide

Beyond Stills - Interactive Resource Guide The Beyond Stills - Interactive Resource Guide (IRG) is a part of and a companion resource for the e-book:

Welcome to the “Beyond Stills—Interactive Resource Guide” (IRG). While the IRG is not intended to be allencompassing, it is intended to give you quick access to Websites and on-line information focused on areas, products and subjects in which you may have greater interest. Feel free to download the IRG. The IRG which is published on Issuu will be periodically updated. The easiest way to receive updates is by activating the Issuu subscription feature.

You can scroll through the document or click on the topic in the Interactive Table of Contents to go directly to the page you want. Once you are on the page, click on an image or the red text, and you will be directed to the appropriate Website where additional information can be found. In addition to product listings, many of the manufacturers offer tutorials and other materials on their sites which can serve as additional and valuable resources.

Notes and Notices No responsibility is assumed by the publisher or author for any injury, loss and/or damage to persons or property, directly or indirectly, as a matter of product liability, negligence or otherwise, or from any use or operation of any methods, products, hardware, software, instructions, exercises or ideas contained in the material herein or any addendum which may be issued. The material is distributed on an as is basis and without warranty. Company, product, brand or Website mention in this publication does not constitute an endorsement, and no consideration has been offered or taken by author or publisher from any company mentioned herein. Nothing contained herein supersedes the manufacturer’s safety and operating instructions for any product. The information provide herein as a resource and for reference and purposes only. Many of the companies and product names used in this publication are registered trademarks and are the property of their respective owners. All product names and company names that appear in this publication are used in editorial fashion only and for the benefit of the respective companies and their subsidiaries, with no intention of infringement of any service mark or trademark.

©2010 Byron Atkinson

Interactive Table of Contents Video Editing Software Considerations  

Video Editing Software Free Video Editing Software

Other Software and Storage Considerations 

Software and Storage Solutions

Stabilization Considerations 

Stabilizers

Lighting Considerations 

Lighting and Light Meters

Audio Considerations 

Audio

LCD Screen Aid and Filter Considerations 

LCD Screen Aids



Filters

White Balance and Color Correction Considerations 

White Balance and Color Correction Aids

Internet Resources

“There are a lot of accessories available for HDSLRs already, and more are on the way. Let your use determine what you need. But before you go out and buy a boatload of accessories, learn the ins and outs of operating your camera.�

Video Editing Software Considerations When it comes to video editing software, there are a number of choices for the various computer platforms. Here are a few things to keep in mind as you consider your options.

Many editing programs, consumer-oriented and advanced/professional, offer free trial periods: Take advantage of these.

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Compare the features available in the various options.

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Check the graphics card requirement as well as system requirements.

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Some programs may have limited functionality and/or may be watermarked during the trial period.

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Check the product specifications for file compatibility.

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If you are going to shoot at 30 and 24 FPS, note the FPS export choices offered because not all software, particularly consumeroriented programs, support multiple frame rates.

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Make sure you are comfortable with the software interface.

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Upgrades are often made available for earlier editions of software you may have purchased at special prices.

Desirable features for consumer-oriented software include:     

Recognition of the video files without having to convert them to an intermediate format.

Ability to make primary and secondary color adjustments and apply effects.

Ability to add multiple audio tracks.

Ability to “produce” output for specific applications (Facebook, YouTube, Vimeo, and multiple output file types).

An “easy” or “quick” movie-making mode for those who want a more structured and automated process.

Interactive Resource Guide – Video Editing Software Under $130 (PC only)

^Pinnacle™

^Magix® Movie

Studio 14

Edit Pro 16

Under $200 (MAC® only)

^Final Cut® Express 4

^ CyberLink Power Director 8

Under $400 (PC only)

^Magix® Video Pro 2X

^Corel® Movie Studio 9

^Sony Vegas Studio 10

Over $500 (MAC® only)

^Final Cut Studio®

^Muvee Reveal™ 8

Over $500(PC only)

^Sony Vegas Pro 9

^Adobe® Premier® Elements 8

Over $500 (MAC® and PC)

^Adobe® Premier® Pro CS5

The pricing of the software falls within the indicated range as of the publication of this resource. Additionally, many manufacturers run special promotions periodically that also affect price. Several of the companies offering products priced under $130 offer multiple software options with different feature sets.

Free Video Editing Software

Canon ZoomBrowser (comes with Canon HDSLRs) Windows Movie Maker (XP and earlier Windows versions) Windows Live Movie Maker (requires Vista or Windows 7) Apple iMovie速 QuickTime速 Player (PC and MAC: The player is free; QuickTime速 Pro costs extra and allows you to create and export video files.)

Other Software and Storage Considerations There are lots of software options in addition to editing software that can be of value in your relentless pursuit of motion.

Storyboard Software and Resources A “storyboard” can be a valuable tool because it serves as an outline to help you organize and sequence your movie and shots. A storyboard can be words and/or schematics put to paper or index cards with pen/pencil, a collection of photographs and developed drawings, or facilitated via software. A storyboard is a tool to assist you. Remember your goal is to make movies, not to be a storyboard artist. If the method you have selected to develop your storyboard is too complex and/or time-consuming, try another one, If you are working by yourself, you may not feel the need to outline your shots using a storyboard. There are indeed people who can visualize their concept without documentation. If you are collaborating with others, however, a storyboard can be important in the development of shared understanding, vision and goals.

Other Software If you need to convert your files out-of-camera to a more “edit” friendly or different editable format (PC or MAC®,) a program such as 5 Squared’s MPEG-Streamclip is of great value. If you are working on a MAC® platform, and using Final Cut Pro®, The Canon Movie PluginE-1 and Magic Bullet Grinder from Red Giant Software™ can streamline the file transfer and conversion process.

There are audio and visual effects available which expand the creative options available to you during the editing process. Companies such as NewBlueFX and Red Giant Software make plugins which are compatible with many of the popular brands of video editing software, and function much like the plugins with which you are familiar that work in conjunction with still photo editors. If you are looking at FX software and plugins, make sure that they are compatible with the platform and video editing software you are using.

If you are using a separate digital recorder for sound, Plural Eyes™ or Dual Eyes™ from Singular Software can facilitate syncing your audio and video. As with all software, check for compatibility with your video editor.

Storage Video files can take up significant space on your computer which can adversely impact computer performance. Consider the following: – – –

Moving unnecessary files off your desktop (shortcuts are okay); Expanding your computer memory; and Off loading video and image files to external hard drives.

External hard drives are relatively inexpensive and easy to connect to your computer. If you are doing any type of multi-media work, they should be considered an essential. These memory units will not only allow you to store files, but they can also be used to backup data you have stored on other drives including your computer hard drive. Among the things to keep in mind when looking at external drives are the following: – – – – – –

Transfer interface between the drive and your computer: USB, FireWire® and/or eSata and sustained data transfer rates; Whether the drive includes back-up utility software if you want or need an automated back-up process; The storage capacity of the drive; Drive speed (specified as rpm); Buffer size; and Power requirement: computer powered versus dedicated AC.

Interactive Resource Guide –Software and Storage Solutions

^Story Boarding

^Storyboard iPhone® App

^Storyboard Template

By Xinsight

^MPEG-Streamclip From 5 Squared (transcoding)

^NewBlueFX

^Red Giant Software™

Audio & Video

Visual effect tools

effects and plugins

EOS Movie Plugin-E1 ^Buffalo™ Technologies Storage Solutions

^Seagate® Technologies Storage Solutions

^ LaCie Storage Solutions

^ (Plug-in for use with Final Cut PRO®)

^Singular Software (A/V syncPlural Eyes™ and Dual Eyes™)

Stabilization Considerations What a stabilizer does and why you need it: Basically, a stabilizer is a device which allows you to steady your camera in order to optimize the resulting images. By steadying the camera, you get level, sharp, well-focused images and you eliminate motion blur or camera shake which can result from camera and lens weight, and/or longer exposure times.

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The most basic stabilization tools are tripods (greatest stability with three points of contact on the ground and a wide base) and monopods. For motion capture, a fluid head works best because it allows smooth movement. Ball heads generally work better for still work than motion. In selecting a tripod and head, make sure your combined camera and lens weights do not exceed the manufacturer’s load capacity specifications.

You will also want to consider a tripod’s or monopod’s physical weight, number of leg sections (three versus four), leg-locking method and its height (tip: Your tripod also should be tall enough that with the camera mounted to the head, it is close to eye level.)

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If your shooting requires substantial mobility, points-of-contact (POC) stabilizers are good options. These stabilizers while being “handheld” depend on points of contact with the body to achieve stabilization: The more points of contact with the body, the greater the stabilization should be. In addition to the hands, points of contact can involve the shoulder, abdominals, and/or neck. These stabilizers may include LCD screen aids, or will allow LCD screen aids to be added for an additional point of body contact.

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There are also center-of-gravity-based (COG) stabilizers which while involving body contact, also have a counter-weight balance system as an integral part of their operation. These products are widely used by filmmakers and video camera operators, and include such products as the Steadicam® Merlin™ and the SteadyTracker® from Cobra Crane USA. Because these products often depend on balance and counter-balance, they may initially prove to be more challenging than some of the other stabilizer types and may require special training.

If at all possible, try out various stabilizers before you commit to one. Make sure to take your camera and lenses along. If you purchase a stabilizer without first trying it out, make sure it can be returned and that you can meet the retailers return requirements. If you decide to go with a POC or COG stabilizer, remember that learning how to move while holding it and operating the camera is fundamental.

There are stabilization options available for a multitude of uses and at every price point. The challenge is finding the one (or ones) best suited for you.

Interactive Resource Guide – Stabilizers

^Cavision

^Manfrotto™

^Zacuto

^ Steadicam® Merlin™

^Redrock Micro

^Switronix

^IDC Photography

^Bushhawk™

^Frezzi®

^Stedi-Stock®

^Hoodman

^SteadyTracker®

Lighting Considerations Most of your shooting motion will be with available light ‒ be it natural, what’s in the room or what you bring or a combination of the ab ove mentioned. Whether you are shooting indoors or outdoors, there are two lighting priorities: –

Controlling the light on the subject

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Controlling the light in the balance of the scene

If you decide that you need supplemental lighting – for indoor and/or outdoor use, there are options for every budget. If you are going to be working in both environments, AC/DC options may be worthy of consideration. Supplemental lighting sources available include: –

Tungsten/hot

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HMI®

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Fluorescent

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LED

Tungsten lights can be relatively inexpensive but generate a lot of heat and require significant power. Fixtures which use HMI® bulbs are highly prized for their ability to simulate daylight. HMI® compatible fixtures require a ballast (either internal or external) to regulate the light. When you factor in the fixture and the bulb, they are among the more expensive of the available lighting options. There are smaller “sun-gun” fixtures available which can be utilized on or off-camera that utilize HMI® bulbs. Daylight-balanced fluorescent lights produce a soft even light and are relatively cool and energy efficient. LED lights come sized for on-camera application as well as for off-camera. With all continuous lighting options, there is no guessing: WYSIWYG (what you see is what you get). There are some “hybrid” lighting products available on the market (FJ Westcott) which can accommodate different types of continuous light sources as well as flash.

If you do opt to use supplemental lighting, you may need set a custom white balance and/or color balance your lights with gels.

Small On- and Off-Camera Continuous Lighting Hot shoe mountable continuous lighting products are capable of: Filling in shadow; adding catch-lights to the eyes; and lighting close-up subjects when shooting video as well as stills.

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LEDs are a popular portable lighting solution because: –

They are easily carried and camera-bag friendly.

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They are cool relative to other available portable units and are energy efficient.

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They can be powered by a variety of battery types.

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They are flicker-free lights with minimum color shift.

Whether you opt for LEDs, tungsten or HMI®-compatible fixtures, don’t be afraid to use these lights off camera. They can be easily mounted to light stands, extension arms and handles. Remember that lights with dimmer controls give you greater flexibility than those without.

Small on- and off-camera lighting will continue to evolve and grow. Lowel® introduced the Blender™ LED which allows users to “blend” daylight and tungsten colors to match the ambient lighting; and recently Litepanels® announced the MicroPro™ Hybrid LED on-camera lighting fixture, which is capable of providing continuous lighting when shooting video and flash when shooting stills.

Interactive Resource Guide – Lighting and Light Meters LEDs

Light Meter

^Switronix

^LEDZ®

^Litepanels®

^Nila®

^Sekonic®

Multiple Lighting Options

^Cool Lights™

^Lowel®

^Alzo®

^Interfit

^FJ Westcott®

^Frezzi®

Audio Considerations On-board camera microphones have limitations because they will pick up camera noise including basic handling, IS, and lens focusing. An external microphone may be an effective alternative for improving sound recording. Benefits of using an external microphone include: –

Stereo recording potential versus mono recording with the internal microphone

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Placement flexibility and isolation

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Better sound pick-up

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Less camera handling and fewer function noises transmitted

There are microphones made expressly for camcorder use, and this is a good place for you to start. Most are “shotgun” type microphones which are highly directional. Additionally, these microphones are battery powered so no additional power source (referred to as phantom power) is required. The microphone can be seated in the camera hot shoe, or mounted to a stabilizer, and connected to the camera via the camera “mic” input.

For the more advanced user or those seeking improved sound, a separate digital recorder can be used to record audio. These recorders offer improved sound quality over the camera’s internal recorder because many are multi-track and have the ability to record at greater bit depth than the camera can.

When a separate digital recorder is used, it is often referred to as running a dual track system, since there is still a need to record sound via the camera as an aid is synchronizing the external recording. Recording to an external source like a digital recorder can add a degree of additional work during the editing process as the audio and video tracks must by synchronized. If your camera does not have an external microphone input, using a digital recorder is an excellent option for improving recorded sound quality. If you do opt to record to a separate device, there are a few things you should keep in mind: – – – –

If you intend to use professional audio equipment such as microphones with your digital recorder, those with XLR outlets are the best option.

At a minimum you’ll want a recorder that allows sound capture at CD quality (16 bit, 44.1 kHz,) or better.

Look for recorders that offer multiple recording options including MP3 and WAV. Check the display and operating controls to make sure you are comfortable with the user interface.

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Digital recorder memory capabilities vary, so it is important to understand whether the unit you are considering has internal and/or external memory options, as well as memory card compatibility.

Some recorders have remote controllers available which can serve to isolate the unit from manual operation related noise.

A “clap,” either manually or with the aid of a slate or slate equivalent, is valuable in the A/V synchronization process.

Another advanced audio option involves mounting a mixer/preamp to the camera to disable auto gain and allow for the connection of professional microphones and other audio equipment to the camera. The advantage of recording by this means is that you can control the in-camera recording levels and sound quality, and the sound is synchronized with the video. A downside in going this route is that the preamp must be connected to the camera which can impact stabilizer attachment and increase the bulk and weight of what you have to carry.

Interactive Resource Guide – Audio

^Sennheiser (Microphones)

^Azden® (Microphones)

^Rode®

^JuicedLink®

(Microphones)

^Beachtek (DSLR Audio Adapter)

^Samson®

(DSLR Audio Solution)

^Olympus (Recorder)

(Recorder)

^Sony (Recorder)

^Tascam® (Recorder)

LCD Screen Aid and Filter Considerations LCD Screen Aids Why are they helpful? LCD Screen aids or “viewfinder accessories” can reduce stray light from hitting the screen making viewing easier; assist in facilitating critical manual focus; and provide an additional point of body contact for stabilization.

All viewfinders are not equal because they have different features, adjustability, and available accessories. It comes down to personal preference and it may also be a matter of budget. You should pay attention to how the viewfinder is positioned and mounted to the camera, how it works with the stabilizer system you are using, and if you have multiple cameras whether you can easily mount it to different camera bodies.

Filters Most still photographers’ initial introduction to filters is as a protective “device” for their lenses. If you are going to shoot video outdoors in bright light, Neutral Density (ND) filters should be high on your list of accessories for your HDSLR. Many dedicated camcorders have ND filters built in. These filters are exposure aids. They reduce the amount of light hitting the camera sensor and can assist in bringing the shutter speed down when a scene is bright or they can be used to reduce depth of field and allow for the use of larger apertures.

The amount of light reduction that a ND filter facilitates depends on the strength of the filter you use. The strength is commonly expressed in "density value," "filter factor," or f-stops.

- A density value of .3 equals a filter factor of 2 which equals one stop.

- A density value of .6 equals a filter factor of 4 which equals two stops.

- A density value of .9 equals a filter factor of 8 which equals three stops. There are stronger filters available, as well as filters which are variable in strength. Finally, there are other types of filters which can be used for creative purposes.

Interactive Resource Guide –LCD Screen Aids

^The Z-Finder” line from Zacuto

^Hoodman Loupe 3.0 and Hoodcrane

^LCDVF™ Viewfinder

Filters

^Tiffen®

^Hoya

^Singh-Ray

^Cavision LCD Viewfinder Set

White Balance and Color Correction Considerations White Balance Auto white balance settings, depending on the camera, the lighting and the color composition of the scene, may not render the best results for color reproduction for stills and/or motion capture. Although the camera presets may be a better option, the best option is to custom white balance. Custom white balance allows you to make the decisions with respect to your color accuracy rather than the camera, and enables you to maintain greater control and consistency throughout your shoot under the same lighting conditions or as they change.

Incident method or reflective method for custom white balance? It’s up to you.

While many white balance tools are neutral, there are a growing number of options available which can add warmth. Warming white balance aids are often used to enhance skin tones.

Color Correction (for Lighting) If you are relying on several different lighting sources to illuminate your subject or “set,” you may want to alter the characteristics of the lights so that they are more consistent. This can commonly be done with “gels.” These are simply synthetic sheets placed near the light source to alter the color being transmitted through it. If using gels for color correction (CTB gels for converting tungsten to daylight, or CTO gels for converting daylight to tungsten, for example), apply the gels before shooting the white balance reference frame. If using gels for creative color effect, however, you need to apply the gels after the custom white balance frame has been shot, so that the color effect can be recorded. Using gels will impact the intensity of your lights. The transmission number (expressed in percent) is a key indicator of the filter effect on light intensity. Using gels with a transmission of 50%, 25%, and 12% results in a reduction of light intensity by one, two and three stops, respectively.

Many of the on-camera type lights have built-in gel filter holders and come with pre-cut gel filter panels. If you do use gels with continuous light and in particular those that generate heat, be sure not to place the gel on the bulb, and make sure that there is adequate ventilation between the bulb and the filter.

For the ultimate in illuminance and color value measurement and control, there are color-meters available such as the Sekonic® C-500 line of products.

Interactive Resource Guide – White Balance and Color Correction Aids

^Expodisc from ExpoImaging

^Brno™ BaLens™

^Seculine’s Vivicap

^Vortex Media’s Warm Card®

^Xrite’s ColorChecker®

^Sekonic

System for white balance

(White Balance)

(Color meter)

^Lastolite™ Exposure Targets

^Rosco Products for film, TV & stills (color correction and enhancing gels)

Interactive Resource Guide – Internet Resources Canon Digital Learning Center

The Beyond Stills Family of Sites and Publications and On-Line Articles www.beyondstills.com www.hdhd411.com The Lure of Continuous Lighting: HMI, HID or CDM? Frezzi: An Integrated Approach to HDSLR Stabilization and Lighting LEDZ LEDs (LED Lighting) White Balance Tools Plus (Reflective Method White Balance) When EDU, HD and the Internet Collide Beauty Dish: The Mola Mystique Up Close and Personal with Briese A Cool Experience: Lighting for Stills and Motion for Under $500 (Cool Lights LED 600) AC Lighting for Stills and Motion? The $42 Answer LED Lights for Still and Video Capture They Shoot Stills and Video Don’t They? Mounting it (A few thoughts on the Fig Rig and Bushhawk 320)

They Shoot Stills and Video (Part 3) - (A few thoughts on the IDC Photography U-Boat Commander) When Mediums Converge

www.hdslrs-n-motion.com Shooting Stills and Motion in NYC HDSLR Cameras: Products to Watch For White Balance Aids and Remote Controller Options (Incident White Balance and Canon Remote Control Options) HDSLR Stabilizers: A Modular Approach (Putting together a stabilizer) A Light and Portable Hand-held Stabilizer from Cavision Filter This: The Indispensable ND Filter

“Byron Says” Story Telling Stills and Motion: The Model dilemma

“Outfitting Your HDSLR”

Got a question about the material covered in the Guide? E-mail it in to: info@theimagician.com