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Interchangeable Lens Camera Buyer’s Guide page 24

EVERYDAY

YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO

RAWURSA POWER Blackmagic

* reviewed

MAY 2015

Makes handheld shooting difficlut

Weighs over 16 pounds!

Love these VU meters

GY-HM200*

THAT’S JVC

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Integrated 12x Ultra HD Lens

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BMD embraces knobs! [*Better stock up on hard drives.]

* GY-HM200 shown with optional microphone.

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Interchangeable lens mount

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ContentsMay 2015 Volume 29 • Number 11

www.videomaker.com

Features 24

Interchangeable Lens Camera Buyer’s Guide

Graphic EQ

Understanding a graphic EQ is key for video producers who want to take their audio to the next level. Learn what a graphic EQ is as well as what to do with it. By Chris Monlux

Digital interchangeable lens cameras allow video to be shot with precision and creativity. By Marshal Rosenthal

Gimbal Buyer’s Guide

Combine three separate gimbals to allow rotation along three different axes and you have a 3-axis gimbal — and an excellent tool for achieving silky smooth handheld video. By Mark Holder

On the Cover Blackmagic Design URSA Digital Film Camera

Columns 2

Basic Training

Shooting

57 60 Next Month

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On Sale: May 27, 2015

In on the action by Matthew York

• Get the most out of your action cam • Discover New Lenses • Nodes or Layers? • Working with Mixed Color Temperatures

Viewfinder

How to Calibrate a Monitor by Odin Lindblom

Shooting with Discretion by Peter Biesterfeld

Directing

Rehearsing with actors by W. H. Bourne

Departments

4 59

What’s On Videomaker.com Ad Index

Reviews 6 Blackmagic Design URSA Digital Film Camera By Greg Olson

12 Zacuto Recoil Rig

Shoulder Mount By Cameron Farboud

16 RODE Stereo VideoMic X

Camera-mounted Microphone By Joshua A. Siegel

Editing

Software: Rent it or Buy it? by W. H. Bourne

Audio

Event and Concert audio by Blag Ivanov

Production Tips

20 Pinnacle Studio 18 Editing Software By Doug Dixon

22 Mini Reviews

Polaroid Cube Grip&Shoot Grip Domke Director Steadicam CURVE

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VIEWFINDER

C A N O N C O L L A B O R AT I O N S

b y Ma t t h ew York

In on the Action

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Videomaker empowers people to make video in a way that inspires, encourages and equips for success. We do this by building a community of readers, web visitors, viewers, attendees and marketers.

publisher/editor associate publisher director of content associate editor multimedia editor art director/photographer

ideo camera technology is a fast-moving category marked by innovation that has resulted in increasingly better image quality packaged in increasingly smaller and less costly cameras. Logically, the pioneers of camcorder technology were primarily camera, lens and electronics companies — big players like Sony, Canon and Panasonic. Through the 1990s and early 2000s video camera innovation flourished with rapid improvements in image sensor technology and changes in format that led us from VHS through to huge-capacity storage on standard compact SD media. The technology inside today’s palm-sized camcorders has changed the game. Little cameras have become big business. Since 2005, the video production world has been taken by storm by a small, non-traditional, low-cost camcorder that has garnered a cultlike following. GoPro’s tiny, durable, fixed-lens Digital Hero line ushered in an entirely new category of POV video and introduced a new market segment for wearable and mountable media recorders. Like Kleenex, Hoover and Coke, the GoPro name is the definition of the category it created. Because they can be mounted to almost anything, are nearly indestructible and offer submersible enclosures, GoPros have become the go-to choice of young, cool and invincible extreme sports enthusiasts and drone owners. At the time of this writing, the collection of GoPro videos posted to the company’s YouTube channel had just over 2.8 million subscribers and boasted more than 736 million views. The company went public in 2014. At the IPO GoPro, Inc., whose cameras sell for $129-$499, was valued at nearly 3 billion dollars. The GoPro is not merely a product. It is a phenomenon. It has become a celebrity with a youthful, Apple-like attitude and the swagger that comes from being young, cool and invincible.

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Speaking of Apple; Apple has taken notice. In January 2015, GoPro shares dropped drastically when Apple announced a patent for a rugged, mountable, digital camera that suggests intent to compete with GoPro. While one can only speculate as to Apple’s true intentions, this patent represents a shot across GoPro’s bow. With its massive R&D budget, Apple, valued more than $483 billion, could make itself a formidable rival to GoPro. While many still think of Apple as the underdog startup that began in a garage, it may well be time that we all start to think differently. Apple is a behemoth that has the power to own any market in its sights. Would it be bad for Apple to introduce a GoPro competitor? Likely not for makers of media. Competition often drives innovation, and almost always drives down prices. If Apple does go after a piece of GoPro’s market share, lets not assume that GoPro will roll over. As they say, it’s not the size of the dog in the fight, it’s the size of the fight in the dog. If there’s one thing we know, it’s that GoPro knows no fear.

Matthew York is Videomaker's Publisher/Editor.

You can comment on this article by going online: www.videomaker.com/article/17807

Matthew York Patrice York Mike Wilhelm Nicole LaJeunesse Chris Monlux Susan Schmierer Kyle Cassidy Chris “Ace” Gates Mark Holder Mark Levy Terry O’Rourke

PRODUCER/DIRECTOR

// JESSICAH FILIPAS POST-PRODUCTION MANAGER // LAYNE PAVOGGI

DP/SHOOTER/DIRECTOR

Olin Smith

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SAM MACARONI

Isaac York

INFRARED SHOOTING

RODE NTG-2 SHOTGUN MIC

BUILT-IN WI-FI, GPS COMPAT IBILIT Y

Stephen Awe Jessica Anderson Tiffany Harness

MP4 AND AVCHD CODE CS AT UP TO 1080/60P

20X HD ZOOM LENS

5-AXIS IMAGE STABILIZATION

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THE X A 25 AS CONFIGURED BY THE CREW OF MAKER STUDIOS

DUAL-FORMAT RE CORDING

1/ 2.84” HD CMOS PRO SENSOR MANFROT TO 503 T RIPOD PEARSTONE DUSM-1 UNIVERSAL SHOCK MOUNT

Maker Studios is a next-generation media and technology company, home to some of the internet’s top digital content. Partnered with over 50,000 content creators, Maker produces and distributes a wide range of content across various genres. With tight turnarounds and unpredictable conditions, the compact XA25 HD Camcorder helps the Maker crew capture incredible footage without disturbing the scene. Combined with the cinematic style and integrated workflow of the EOS C300 Cinema Camera, Maker is equipped with the tools to produce high-quality content in a fast-paced environment. Watch the crew of Maker Studios discuss this configuration at: cinemaeos.usa.canon.com/xa25configured

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Advice Wanted

Question: Alfred S.C: My question is how to handle a crew member that is constantly giving new ideas about how to shoot, how the story should end, how the actors should act, how the camera should move, etc. From my perspective, what this person does is not entirely bad, but I believe it’s making the ﬁlmmaking process longer and taking so much useless time because of the endless argument that just makes everyone frustrated in the end. How can I handle this kind of situation and how can I handle this type of person?

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Reply: Ben Kumanovski: Managing creative teams is an integral part of the production process for the producer/director. You need to have a chat with this person face to face and explain that while their input is valid, it’s counter productive to be stubborn about their ideas and that, really, dealing with the talent is the directors job. Professional productions have clearly deﬁned roles and each person needs to remain in their place within the pecking order. Filmmaking is a collaborative process, but there always needs to be a boss who can make a decision that is ﬁnal. Talk with this person about these rules. If he/she cannot cooperate, let them go. See more at: videomaker.com/r/797

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If you are, good news! Soon, you’ll be able to access our tablet edition on your favorite mobile devices for free. Experience Videomaker in a whole new way, with video, links to support material and easy social sharing. Keep your eyes open for details on how to access the tablet edition in the July issue of Videomaker. Not a current subscriber? Go to videomaker.com/save76 to subscribe. Addendum In our April 2015 issue on page 15, Videomaker reviewed the Westcott Ice Light handheld LED. At the time of publishing, Westcott recently introduced the Ice Light 2, a successor to the Ice Light with many improved features. The original Ice Light will still be available at a reduced price.

Blackmagic URSA Review Blackmagic Design is known for making high end, budget friendly cameras. How does the URSA stand up? 4K Raw, 10 inch preview monitor, easy to see VU meters, interchangeable lens, touchscreen menus and more! EF, PL, HDMI and Broadcast options. videomaker.com/r/799

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Speed. Capacity. Reliability. I only trust SanDisk. I’ve been using SanDisk memory cards since I started

SanDisk Extreme PRO CFast 2.0

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* * Based on internal testing; performance may be lower depending upon host device. 1MB = 1,000,000 bytes. ** UHS Speed Class 3 designates a performance option designed to support 4K Ultra HD video recording with enabled UHS host devices. Full HD (1920x1080) and 4K Ultra HD (3840 x 2160p) video support may vary based upon host device, file attributes and other factors. See :www.sandisk.com/HD. 1 1GB=1,000,000,000 bytes. Actual user storage less. 2 Based on internal testing; performance may vary depending upon drive capacity, host device, OS and application. 1MB = 1,000,000 bytes. SanDisk and SanDisk Extreme PRO are trademarks of SanDisk Corporation, registered in the United States and other countries. The SDXC mark and logo are trademarks of SD-3C, LLC. All other trademarks are the property of their respective owners. © 2014 SanDisk Corporation. All rights reserved.

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Available at

revIeWS

Blackmagic URSA by Greg Olson

Built Like a Bear: Big, Heavy, Powerful

Blackmagic Deign

www.blackmagicdesign.com

StrenGthS • 12-bit 4K rAW • 12 stops of dynamic range • Large sensor with global shutter • three monitors for shooting

and control • reduced moiré/aliasing • Built in XLr • Frame rates up to 80 fps • time-lapse mode • Image quality

WeAKneSSeS • Black hole sun • Limited ASA options • Weight • Storage and workstation

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demands • Poor internal mic • no included viewfinder suitable for handheld shooting

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$5,995

Sound Focus Hi-def digital video deserves hi-def digital audio.

he URSA has a “super 35” CMOS image sensor that comes in at 21.12 x 11.88mm. This will give you a 1.7x crop factor when you slap a full frame lens on it. With a global shutter, there’s no jello effect to speak of. The shutter angle can go up to 360 degrees to eek out a bit more exposure at the expense of more motion blur. There are plenty of pixels packed into the sensor, which has a 3840 x 2160 (UHD) effective resolution when recording in ProRes and 4000 x 2160 when shooting RAW. Blackmagic claims a dynamic range of 12 stops, and our tests leave no reason to doubt that this is in fact the case. The ASA (the equivalent of ISO on a DSLR) options are very limited with options of 200, 400, and 800. This makes it tougher to shoot with low light levels. Unfortunately, there is one huge flaw in the sensor. When the sun is directly exposed, the resulting image produces a “black hole” where the sun is in the shot. Our tests found that even early morning and late evening sun suffered from this effect. This means you’ll either need to fix it in post or avoid the sun in your shots. When it comes to lenses, you’ve got a few different models that have different types of mounts. We tested the

EF mount version, but you can also get a PL mount or a Broadcast mount (not yet available as of February 2015). There’s even a “sensorless” version with a 4K HDMI input to which you can mount a DSLR camera.

Recording Options

The URSA has two slots that record to CFast 2.0 cards. These cards are relatively new, which also means they’re record to two CFast 2.0 cards.

SYSTEM

DIGITAL 2.4 GHz HIGH-F IDELITY WIRELESS Put the professional stamp on your video projects with Audio-Technica’s new simple-to-use System 10 Camera-mount. Operating in the 2.4 GHz range far from TV interference, this digital wireless system features advanced 24-bit operation and three levels of diversity assurance to deliver the amazingly clear, natural audio your digital images demand. Wherever your audio – or video – takes you, listen for more.

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audio-technica.com VIDEOMAKER >>> MAy 2015

CAMERA-MOUNT

REVIEW

Review

Blackmagic URSA

TECH SPECS

Format: CinemaDNG RAW,

Power: 4-pin XLR for external

Apple ProRes2

power supply or battery, 12 VDC output on 4-pin XLR Recording Media: CFast 2.0 (2 slots) Audio In: XLR (2) (Mic or Line level with +48V phantom power) Audio Out: ¼-inch stereo audio headphone, 2-channel SDI Audio Output (x2) Video Out: 12G-SDI (10-bit 4:2:2), 3G-SDI (downconverted for signal monitoring) Video In: 12G-SDI Additional Connections: Reference, Timecode In, Timecode Out Other Interface: 2.5mm LANC for remote control; USB 2.0 mini-B port for software updates Weight (body only): 16.52 lbs

Sensor Type: 4K Super 35mm Sensor with global shutter Size of Sensor: 21.1mm x 11.9mm Shooting Resolutions: 4000 x 2160, 3840 x 2160, 1920 x 1080 Project Frame Rates: 23.98p, 24p, 25p, 29.97p, 30p, 59.94, 60 Sensor Frame Rates: up to 80 fps (with the exception of 4K RAW and 4K ProRes 444) Lens Mount: EF, PL, Broadcast (planned), HDMI Microphone: Integrated mono microphone Battery Options: V-Mount or Gold Mount mounting holes fairly expensive. We used two 128GB SanDisk cards that run just under $800 each at the time of writing this review. There are numerous recording format options that we can break out into two categories: Lossless Cinema DNG RAW and Apple ProRes. The 1:1 RAW mode ca…n record 23.976, 24, 25, 29.97 and 30 frames per second. The benefits of shooting in 1:1 RAW come at a hefty price on storage, allowing only around 8 minutes and 24 seconds of recording at 23.976 fps onto a single 128 GB CFast 2.0 card. One step down the chain, you can record at RAW 3:1 and get more than 16 minutes of footage onto a single 128GB card at 23.976 fps.

The RAW 3:1 mode adds in the ability to shoot at additional project frame rates of 50, 59.94 and 60 fps. As if this wasn’t enough, the URSA also allows adjusting the sensor frame rate up to 80 frames per second. For example, choosing a project frame rate of 23.976, and setting the sensor frame rate to 72 results in footage that comes straight off the card at 33 percent speed to your 23.976 timeline without any footage interpretation. Both the RAW and RAW 3:1 modes only allow shooting using the Film dynamic range setting. If you’re willing to leave the added control of RAW behind, there are plenty of ProRes options. At 3840 x 2160 (UHD), ProRes Dedicated buttons provided easy access to specific controls. 444 sits at the top of the heap. We tested this footage for keying green screen and were blown away with the results. Additional ProRes options for UHD include

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VIDEOMAKER >>> MAy 2015

422 HQ, 422, 422 LT and Proxy. There are also ProRes options for shooting 1920 x 1080, including 444, 422 HQ, 422, 422 LT and Proxy. All the ProRes formats allow project frame rates up to 60 fps. All of the ProRes modes support a sensor frame rate up to 80 fps, with the exception of 4K ProRes 444, which is limited to sensor frame rate of 60 fps. The ProRes formats allow you to shoot in Film or Video mode. The Video mode looks fantastic straight out of the camera, while the Film mode gives you more flexibility in post. We’re not sure why Blackmagic left out a 2.5K option, but we’re keeping hope alive for that option to come out in a future firmware release. Another nice feature is the timelapse function. One option will record a still frame every 2 to 10 frames while simultaneously recording video. The second option allows recording single frames at a set time interval. Options for the interval include 1-10 seconds, 20, 30, 40, 50 seconds, as well as 1-10 minutes. The interval options get fantastic results, while keeping memory usage down to a minimum.

Triple Threat

When people ask for our opinion of previous Blackmagic cameras, such as the 2.5k or Production 4K models, our typical response is that they aren’t very easy to shoot with, but the results are often worth the struggle. The URSA puts many of those complaints to rest. Let’s start with the strengths. The URSA has not one, not two, but three monitors to help you get great shots and control various camera functions. The 10.1-inch foldout monitor is ridiculously big, has a 1920 x 1080 resolution and makes composing shots and judging focus a breeze. It’s bright enough to see in direct sunlight, and has great overlay options for shooting different aspect ratios. You can display Video mode while recording Film mode, which gives you a better idea on how your footage will look after color correction. On the left hand side of the monitor, you’ve got button controls for record, playback,

zoom for setting focus, display to reveal or hide overlays and Program to show you what’s coming into the SDI in port. The front left side of the camera has duplicates of all but the Program button that can be used when the foldout monitor is closed. Behind the 10-inch monitor on the left side of the camera is the first of two 800 x 480 5-inch touch screen monitors that allow you to access the functions that URSA has to offer. There are seven buttons that sit just below this monitor. Iris is used to automatically set exposure for supported lenses. In Film mode, exposure is adjusted so no pixels are clipped. In Video mode, scene average is used to set exposure. Focus allows you to automatically set focus, again, for supported lenses. The iris and focus buttons worked well with our Canon L series 24-105mm lens. The Peak button toggles focus peaking on and off. Display toggles between status and camera display. The status display is a great feature that offers a real-time histogram, focus scope and an audio waveform display for judging audio levels. Menu gives you access to the four main menus, including camera, audio, recording and display settings. Slate is used to enter metadata. It’s safe to assume we can all figure out what the Power button does. The zebra function works well as an exposure assist, but navigating the menus to make changes to the ASA and white balance settings can be a bit of a hassle if you’re doing it a lot. We’d put dedicated buttons for those two controls on our wish list. On the right-hand side of the camera, you’ve got a second 5-inch touch screen that controls all the same functions as the first, which is a great feature when you’re working with a larger crew. Both 5-inch monitors are a bit tough to see and use in direct sunlight, which had us using whichever display was on the opposite side from the sun at times.

Get Connected

The URSA doesn’t skimp on inputs and outputs. On the front right, there’s

Highly visible monitoring tools allow crews to operate the URSA efficiently.

a 3G-SDI output — downconverted for external monitoring — and a +12V power output for camera accessories. Also on this side of the camera is a LANC remote control port. The back end of the camera has five BNC connectors. If you’re in a multi-camera environment, you can feed the program out of your switcher into the SDI in port so the camera operator can view what’s being shown by pressing the program button. Below the SDI in is a 12G SDI out port that sends out a 10 bit 4:2:2 signal. Also included are BNC connections for Reference in, Timecode in, Timecode out, and a +12-20v power input. The backside of the camera is also where you connect a V-mount or Gold Mount battery plate. Paired with the right batteries, the short-battery life woes of previous Blackmagic cameras are no longer an issue. Finally, the underbelly of the camera has a USB 2.0 port for camera updates. One thing that is notably absent is an HDMI port. The URSA is ready for accessories with multiple 1/4-20-inch UNC mounting options on top of the camera and handle bar and multiple 3/8inch mounting options of top of the camera body. Integrated rod mounts are compatible with the 15mm lightweight support standard. V I D E O M AKE R > > > M Ay 2 0 1 5

Sweet Sound

On the right hand side of the camera, you’ll find two XLR inputs, along with two huge audio meters that you can see from a mile away. Large knobs to adjust input levels, and buttons to mute or solo each audio channel give you easy access to record great audio. While you can route channel one into channel two, we were disappointed to find that you couldn’t independently control each channel in this mode. Independent control would allow setting two different input levels for the same source. A full 1/4-inch headphone jack sits just to the right of the audio control knobs. The layout of the controls on the right side make it a slam dunk for an audio operator to have access to everything they need without interfering with the camera operator. On the downside, the internal microphone is probably the worst we’ve ever heard and is barely even suitable for audio syncing.

Size Matters

Okay, we’ve successfully avoided the 16-pound elephant in the room long enough. The URSA comes in at 12.3 inches long, 6.1 inches wide and 9.6 inches tall. It’s a big, impressive looking

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RevieW Blackmagic URSA

camera, but the weight is a hefty 16.52 pounds with no battery or lens attached. Reading the weight of this camera simply cannot do justice to how shockingly heavy it feels when you pick it up for the first time. If you’re used to shooting with expensive cinema cameras, this may not be the case for you, but if you’re used to a DSLR or even a pro camcorder, it’s definitely an adjustment. Not only does this make you think twice about its usefulness as a handheld camera, it also means that you’ll be forking out more money for camera support like tripods or stabilizers because less expensive support won’t support the weight of the URSA. We mounted a handheld rod system to the URSA and took it out for a spin, and while the weight was easier to manage on the shoulder, the 10-inch foldout monitor was far too close for comfortable shooting. To shoot comfortably, you’d need to attach a third-party viewfinder, adding yet more weight to an already heavy load. In addition, with no HDMI output, you’ll easily drop more than $1,000 to get an SDI capable viewfinder, or you’ll Plenty of connection options

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have to mount and power an SDI to HDMI converter, which is not an elegant solution. If you’re content to leave it on a tripod, you do get used to the weight after using it for a while.

Image Quality

Okay, the URSA is a behemoth. It’s heavy, and it may not be the best option for run and gun, but how does the image look? If you keep your ASA at 200 or 400, the images the URSA produces are stunning. From full 4K RAW on down to ProRes 422 at 1920 x 1080, it’s tough to find any fault in the footage. The color rendition is beautiful and true, and the amount of fine detail in the shots was extremely impressive. Initially, users complained of fixed pattern noise in dark areas, but the 2.0 firmware seems to have fixed this issue. It is possible that shooting for an extended period of time causes the sensor to heat up, and that may reveal this issue, but our tests came back clean. Shooting at ASA 800 pushes the boundaries of acceptable noise, and you’ll have to use post-production tools to make it usable in some scenarios. ASA 400 isn’t perfect either, but should be clean enough for use by many professional shooters. ASA 200 produces a result with far less noise. Shooting RAW over ProRes helps to reduce the noise in any scenario. The takeaway is to use fast lenses and shoot RAW if you want decent low light results. We can only assume that Blackmagic decided to limit the ASA offering because options above 800 didn’t produce usable results. When it comes to moire, the URSA proved to be very resistant. We tried to get the moire effect on some clothing with tight patterns and the URSA returned solid results. As advertised, the dynamic range is very wide. Even when we had our doubts about our shots in the field, the edit room revealed a wide latitude that was easily gradable. The Film mode looks flat out of the camera, but was robust enough to handle color grading without detrimental effects. Video mode looks crisp, colorful and clean right out of the camera and VIDEOMAKER >>> MAy 2015

required little to no correction. While shooting RAW creates large files and adds steps to the workflow, the extra control over the footage makes the effort worthwhile. DaVinci Resolve 11 is included, and though there is a bit of a learning curve if you’re new to it, it’s a robust correction program that takes full advantage of the RAW footage. For those who want a faster workflow, the ProRes footage is more than sufficient in image quality and comes in an easy to use package tailor-made for editing systems.

The Bottom Line

When you boil it all down, the URSA is an impressive camera if you’re willing to deal with the four major shortcomings. The noise at higher ASA settings, the weight, the black hole sun effect and the need for additional accessories to do extensive handheld shooting definitely factor into how and when you can use the camera. However, a huge dynamic range, great detail, integrated audio and mindblowing rates of 80 fps at RAW 3:1 alongside great time-lapse features allow for truly creative options with highly impressive results. While it may not be the go-to camera for every scenario, it’s easily the most userfriendly Blackmagic camera to date. The footage certainly comes close to the results you’d expect from cameras that are far more expensive.

SUMMARY

Blackmagic cameras seem to strike a strange balance of strengths that rival high-end cinema cameras along with weaknesses that have us scratching our heads in disbelief. While the URSA certainly alleviates some of the pain points of its predecessors, it’s still a bit of mixed bag when all is said and done. Greg Olson worked in the video and film industry for more than 20 years. He is currently a Media Production Specialist at California State University, Chico. You can comment on this article by going online: www.videomaker.com/article/17842

Lenses and accessories shown are not included

Introducing Blackmagic URSA, the world’s first user upgradeable 4K digital film camera! Blackmagic URSA is the world’s first high end digital film camera designed to revolutionize workflow on set. Built to handle the ergonomics of large film crews as well as single person use, URSA has everything built in, including a massive 10 inch fold out on set monitor, large user upgradeable Super 35 global shutter 4K image sensor, 12G-SDI and internal dual RAW and ProRes recorders. Super 35 Size Sensor URSA is a true professional digital film camera with a 4K sensor, global shutter and an incredible 12 stops of dynamic range. The wide dynamic range blows away regular video cameras or even high end broadcast cameras, so you get dramatically better images that look like true digital film. The extra large Super 35 size allows for creative shallow depth of field shooting plus RAW and ProRes means you get incredible quality! Dual Recorders Blackmagic URSA features dual recorders so you never need to stop recording to change media. That’s critical if you are shooting an historical event, important interview or where you just cannot stop shooting! Simply load an empty CFast card into the second recorder and when the current card is full, the recording will continue onto the second card, allowing you to change out the full card and keep shooting!

User Upgradeable Sensor Blackmagic URSA features a modular camera turret that can be removed by unscrewing 4 simple bolts! The camera turret includes the sensor, lens mount and lens control connections and can be upgraded in the future when new types of sensors are developed. This means your next camera will be a fraction of the cost of buying a whole new camera! Choose professional PL mount, popular EF mount and more! Built in On Set Monitoring! Say goodbye to bulky on set monitors because you get a massive fold out 10 inch screen built into Blackmagic URSA, making it the world’s biggest viewfinder! The screen is super bright and features an ultra wide viewing angle. URSA also includes two extra 5” touch screens on both sides of the camera showing settings such as format, frame rate, shutter angle plus scopes for checking levels, audio and focus!

Blackmagic URSA EF

5,995

Blackmagic URSA PL

6,495

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www.blackmagicdesign.com

rEviEWs

“Takes handheld to another level.”

Zacuto Recoil Rig

—Michelle McCabe, DP, Nun Creative, LLC

Camera not included

by Cameron Farboud

Maintaining Balance

any modern camera rigs suffer from frustrating balance issues that can cause cameramen to fall over into bushes. Rigs that force you to mount the bulk of the weight in front of or behind the shoulders can very quickly become fatiguing. Instead of solving the problem of balance by adding massive counterweights, Zacuto has done things properly. Enter the Next Generation Recoil Rig, a versatile product from Zacuto designed with balance from the

Zacuto

http://www.zacuto.com/

StrengthS • Balance system • Expandable • Works with most cameras • Portable • High Quality Construction WEaknEssEs • Time consuming to configure

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$1,520

outset. It is designed to sit on your shoulder, ENG-style, and has an adjustable base plate that can slide forward or backward depending on your setup. If you’re running a RED Epic with Canon’s nifty fifty, you’ll want to shift the plate forward to compensate for the lighter glass. If you decide to switch to Canon’s 400mm, simply slide it back using Zacuto’s very convenient quick lock mechanism. This clever method of balancing weight on the shoulders by manipulating center of gravity really does make a huge difference on long shoots while also getting rid of the frustration of constantly having to rebalance a rig when swapping glass.

The Rig

tion. It’s so comfortable, in fact, that you can use it as a pillow on set while the talent is rehearsing (not an advertised feature). They’ve also considered comfort with their wooden cage grips, which will keep your hands from freezing and make you look like Vincent Laforet. The optional Tornado follow focus system, while slightly turnip-ish in design, is incredibly easy to use and

The package includes a VCT Universal Baseplate, QR Rissturdy and stylish wooden handgrip er, Zgrip Zwivel, Zacuto Halfcage and Recoil Handle for a solid side and top grip. The VCT Universal Baseplate’s builtin shoulder pad is a huge improvement over the previous generaVIDEOMAKER >>> MAy 2015

“I’ve been shooting handheld my whole life,” says Michelle McCabe, a DP who specializes in fashion, commercials and documentaries. “I just want to move the camera, make things flow and look beautiful. The Sony PXW-FS7 takes that to another level. It’s so reminiscent of cat-on-the-shoulder film cameras. The 4K XAVC™ codec is superior by far. Being able to jump over to HD and shoot 180 frames per second is massive. I can use all kinds of 35mm lenses: cine, SLR and Sony’s sweet servo zoom. The FS7 is just so much more than I thought I could get from a camera in this price range.” sony.com/FS7 © 2015 Sony North America. All rights reserved. Reproduction in whole or in part without written permission is prohibited. Features and specifications are subject to change without notice. Sony and the Sony logo are trademarks of Sony.

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ReView Zacuto Recoil Rig

TECH SPECS

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imperfections to note. First, you will need an external viewfinder to use Material: Anodized metal and this rig properly, given that most atwood tached cameras will sit too far back Load Capacity: As much as the for you to utilize the internal viewfinder. Second, when we setup this cameraman can handle Attachment: V-wedge tripod con- camera for our 5D MK2, we noticed that the HDMI cord we needed to run nector and 1/4-20-inch mounts picture out to our Zacuto viewfinder inconveniently stuck out of the camCounter Balance System: Sliding era and into the side of our necks. shoulder mount While this is nothing a 90-degree HDMI adapter can’t resolve, we do feels great in the hand while also wish that more attention had been providing another point of contact for paid to cable management. We were extra stability. constantly fighting to keep our cord Also included is Zacuto’s v-wedge from swinging in front of our lenses, tripod connector for easy transiand even Zacuto has noticed that tions to your sticks, 6.5-inch iris with wider lenses, the EVF will show rods and several rows of 1/4-20-inch up in the sides of the shot unless it’s threads along the sides for accessomoved further toward the camera ries. The Halfcage itself, which will operator. fit any camera system you throw in You can rest assured that all of it, comes with a three-inch Z-rail for these bits and pieces that make up mounting on the side of the VCT Unithe Recoil Rig meet Zacuto’s notable versal Baseplate, a 1/4-20-inch screw reliability and durability standards. and 15mm rod accessory attachment The Z-Lock pinch locks, which hold ports. Fastened on top of the cage everything together, are easy to mavia a quick release ratcheting lever nipulate and impossible to pull apart is another wooden top grip that can when they are engaged. accept two cold-shoe accessories and In the time we had to test this syshas a quick release 15mm rod port tem, nothing came close to breaking for an Axis Mini or articulating arm. loose or falling off, and we even felt While the Zacuto Recoil Rig imconfident enough to test our loaded presses with its balancing capabilirig by holding it by the articulating ties and accessories, there are a few Zgrip Zwivel handgrip. Everything about this rig The Tornado makes focus pulling a breeze. gave us the impression that it would withstand the crucible of frequent runand-gun filmmaking. And that’s a very good thing, because the barebones Zacuto Indie Recoil Rig, without an EVF or follow focus unit, weighs in at just over 1,500 bucks,

VIDEOMAKER >>> MAy 2015

Z-Finder helps frame the action.

making it a purchase you won’t want to make twice. After shelling out for Zacuto’s recommended accessories that make this rig a practical, everyday shooter, you’ll be in the ballpark of four grand. That’s a lot, especially considering this is roughly half the cost of the Sony PXWFS7 camera system, which comes with a handgrip and EVF in the box.

Conclusion

The Recoil Rig, then, may be financially intimidating for beginner or intermediate level filmmakers who are looking for an inexpensive way to jettison their old, crusty gear, but it’s an obvious contender for those who plan on making significant investments in their camera setup — for example, those who have bought a camera like the FS7 but find themselves needing a quick and easy way to work with external batteries, recorders, follow focus units, monitors and the like. For these folks, the Zacuto Recoil Rig would be the perfect weapon in their storytelling arsenal.

SUMMARY The next-generation Zacuto recoil rig is an easily balanced and expandable stabilizer rig that’s perfect for advanced shooters looking for an efficient way to build out durable camera systems.

Science of the Beautiful CION is the new 4K/UHD and 2K/HD production camera from AJA. Shoot vivid detail with vibrant colors at any resolution. Effortlessly unite production and post by shooting directly to edit-ready Apple ProRes 4444 at up to 4K 30fps, ProRes 422 at up to 4K 60fps, or output AJA Raw at up to 4K 120fps. CION ships with PL mount; EF, B4, and F-mount options available from third parties. Unrivalled monitoring output options put CION at the heart of production. NOW G IN SHIPP 4K sensor with 12 stops of dynamic range 4444 ProRes Recording Ergonomic and lightweight Open Connectivity

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Cameron Farboud is a documentary, wedding and narrative filmmaker and photographer.

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Find out more at www.aja.com/cion and visit us at Booth SL2505

ReViewS

YOUR JAW WILL DROP. The only question is if it’s from looks or performance.

RØDE Stereo VideoMic X by Joshua A. Siegel

Recording Life in Stereo

rofessional shooters making up a crew of one need an on-camera microphone that is lightweight, unobtrusive and easy to use. The RØDE Stereo VideoMic X (SVMX) hits those points and more while delivering broadcast quality audio. It’s perfectly suited for shooting live events, nature footage, even b-roll for films. The price and rugged aluminum construction show that the VideoMic X is made for pros, but its simple interface makes it easy to use right out of the box. It features professionalgrade balanced outputs — 3-pin miniXLR — in addition to an RF shielded 3.5mm stereo output.

RØDE

http://www.rode.com

StREngthS • Sturdy ergonomic design • Simple controls • Balanced mini-XLR outputs

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WEAknESSES • 9V battery can be tricky to remove

$799

What’s In The Package

Everything about the RØDE Stereo VideoMic X is beautifully designed, including its two included accessories. The pop shield, which looks like a futuristic soccer ball, provides some noise reduction while still being acoustically transparent. The wind shield, which looks like your standard furry dead cat wind protector, reduces noise even more but with a slight loss of high frequency detail. An RF shielded 3.5mm stereo cable is included, but you’ll have to buy a miniXLR cable separately if you want to take advantage of the balanced outputs.

The Microphone

1/2-inch true-condenser capsules, configured in a stacked X-Y configuration. A Rycote Lyre shock-mounting system isolates each capsule and reduces noise caused by vibrations and handling. The VideoMic’s cardioid pickup pattern picks up clear audio from the front and sides. Unlike shotgun mics that isolate a subject, the X-Y configuration captures immersive stereo audio that accurately reproduces the sound environment.

The Controls

The RØDE Stereo VideoMic X turns on with the touch of a button. The controls, consisting of three digital selector buttons, are well-lit and easy to use. Press a button to cycle through

The VideoMic X is sturdy yet lightweight. Its ergonomic design allows it to perch atop wind shield and pop shield included any camera with a standard shoe mount. A 3/8-inch thread at the bottom also allows you to mount the mic to a boom pole or tripod. The microphone has an acoustically matched pair of

Find out how G-Technology easily fits into your workflow at NAB booth SL12705.

With Thunderbolt™ 2 performance, these hard drives deliver extreme speed and immense capacity - equally beautiful specs designed to make 4K video editing and creative workflows run smoothly. See them in all their glory at g-technology.com Thunderbolt and the Thunderbolt logo are trademarks of Intel Corporation in the U.S. and other countries. Designed by G-Technology in California. G-RAID, G-SPEED, G-Technology and the G-Technology logo are registered trademarks of HGST, Inc. and its affiliates in the U.S. and other countries. ©2015 G-Technology, a division of HGST, Inc. All rights reserved. R0 03/15

VIDEOMAKER >>> MAy 2015

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REVIEw RØDE Stereo VideoMic X

Simple and easy-to-use controls

Acoustic Principle: Pressure Gradient

Polar Pattern: Cardioid Frequency Rate: 40Hz ~ 20kHz Frequency Range: (High Pass Filter) 0, 75, 150Hz Variable Level: -10, 0, +20dB Output Impedence: 200Ω Signal to Noise Ratio: 82 dBA SPL (as per IEC651) Equivalent Noise: 12 dBA SPL (as per IEC651) Maximum SPL: 143dB SPL each setting. A green LED indicates which position is currently selected. The lowest selector button on the back of the microphone is the Level Control. The middle setting (0dB) is the optimal gain setting for use in ideal recording conditions. Quiet environments and some DSLR cameras will benefit from the high setting (+20dB). The lowest setting (-10dB) will reduce the signal to lessen the likelihood of clipping from loud audio sources. The middle selector button controls the high-pass filter (HPF) settings, a low frequency cut-off that can reduce noises like distant traffic or a rumbling air conditioner. The high-pass filter has three settings: 0, 75 or 150. The top selector button controls a unique high frequency boost (+6dB @ XHz) designed to help pick out high frequency detail such as dialogue. RØDE recommends engaging the high frequency boost feature to combat the slight loss of high frequency detail experienced when covering the VideoMic with the wind shield.

Sensitivity: -32 dB re 1V/Pa (25mV @ 94dB SPL) ± 2dB @ 1kHz Dynamic Range: 131 dB SPL Power Requirements: 9V alkaline battery or Phantom Power (P48 via miniXLR) Output Connection (Unbalanced): 3.5 Stereo mini jack plug (dual mono)

Output Connection (Balanced):

Mini XLR (TA3F style connector) Weight (No Battery): 11 oz (300g) to your professional camera or audio recording device to deliver optimal sound quality. The mini-XLR jacks can also deliver phantom power (+48V).

Testing it Out

We tested the RØDE Stereo VideoMic X mounted on a Canon 7D DSLR, then later mounted on a tripod connected to a Zoom H4n portable audio recorder. While connected to the camera’s 3.5mm input, the microphone was powered by a 9V alkaline battery. Removing this battery proved to be the only quirk of the VideoMic, requiring some prodding and shaking to make it fall out rather than popping out easily. The VideoMic performed flawlessly during our testing period. As on-camera microphone, it was lightweight and unobtrusive. The selector buttons were Balanced output options

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While the VideoMic is designed to sit atop your DSLR or camcorder, it’s versatile enough to be used as a studio microphone or for gathering ambient audio with a field recorder. It’s a simple way to capture broadcast quality audio at interviews, weddings, sports events and other situations in which you are a one-person production. The RØDE Stereo VideoMic X has a price that reflects its professional quality, but it’s a worthwhile investment if you need a sturdy, versatile cardioid microphone that’s easy to use.

The RØDE Stereo VideoMic X is an on-camera microphone that delivers professional audio quality in a small, easy-to-use package.

You can attach the VideoMic to your camera with the provided RF shielded 3.5mm stereo output cable, but the SVMX really stands out because of its professional grade balanced outputs. Two mini-XLR cables connect the mic

On-Camera and More

SUMMARY

The Connections contents

easy to use, and their LED indicator lights were easy to see even in bright daylight. The high-pass filter (HPF) controls were a quick way to reduce low frequency hums, and the high frequency boost compensated for detail lost when using a wind screen outside. Sound quality is what you’d expect from a professional RØDE microphone. We tested the Stereo VideoMic X outside and inside with excellent results. Human voices were warm and clear, as were the nature sounds we captured outside.

Joshua A. Siegel is a filmmaker and visual effects artist. You can comment on this article by going online: www.videomaker.com/article/17819

VIDEOMAKER >>> MAy 2015

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reviewS

Pinnacle Studio 18

Pinnacle Studio 18 Editing Software

TECH SPECS

OS: Windows 8, Windows 7 (64-bit OS recommended) CPU: Intel Core Duo 1.8 GHz, Core i3 or AMD Athlon 64 X2 3800+ 2.0 GHz or higher, Intel Core2 Duo 2.66 GHz, Intel Core i5 or i7 1.06 GHz or higher required for AVCHD & Intel Quick Sync Video support Storage Space: 5.8 GB HDD space for full installation RAM: 2 GB of RAM or higher, min. 4 GB for Windows 64-bit Graphics / VRAM: DirectX 9 (or higher) graphics device with Pixel Shader 3.0 support like: NVIDIA GeForce 6 series or higher (CUDA enabled required for CUDA support), ATI X1000 series or higher, Intel GMA X3000 series or higher License restrictions: 1 Installation Requires Internet Connection: No

by Doug Dixon

The Pinnacle of Easy Editing Pinnacle Studio 18 offers more power, precision, and creative control. Pinncale offers three versions, increasing the timeline tracks, stepping up to 3D and then 4D editing and adding more effects, libraries and tools as the versions progress through Pinnacle Studio 18, Pinnacle Studio 18 Plus and finally Pinnacle Studio 18 Ultimate.

Pinnacle

www.pinnaclesys.com

StrengthS • All in one video editing • Extensive effects, plug-ins, and tools • Task-oriented interface avoids intimidating complexity

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WEAknEssEs • Gray color scheme can make it difficult to distinguish window elements • Difficult to find important options among content and tools • Omits advanced features like multi-cam and motion tracking

$60

The biggest news with Pinnacle Studio version 18 is that it is part of the latest wave of video editing tools to upgrade to 64-bit processing, providing the performance and capacity to handle the demands of high-definition video editing on today’s PCs. Studio is still also available in a 32-bit version. In addition, Studio 18 supports 4K smart encoding and XAVC 4K HD cameras and is optimized for Intel Quick Sync hardware video encoding and decoding. Studio 18 also adds interface enhancements, including Group to edit multiple segments together and Close Gap to clean up in the timeline, plus additional creative assets including 17 royalty-free tracks from Triple Scoop Music. There are also new tools like the Scorefitter music library for custom-fit soundtracks.

On Task

With all its power, Studio still retains a very task-oriented interface. The main control bar across the top of the main window controls the three basic modes — organize assets, edit videos and author discs — each of which fill the window with the associated editor. The Organize tab opens the Library view to organize the media elements for your production. A compact version of the Library provides easy VIDEOMAKER >>> MAy 2015

access to assets while editing your video production in the Movie Editor or adding interactive menus in the Disc Editor. Two additional tabs open separate windows with tools to import assets or export productions. The Importer manages importing assets from files and storage media, analog and digital camcorders, digital cameras and discs. It also supports stop-motion capture and still image snapshots grabbed from video frames. The Exporter can create a movie file, burn a disc or disc image to burn later or copy to a memory card, or upload directly to a Cloud site such as Facebook, YouTube and Vimeo, making sharing your video with friends across the web simple. Studio also conveniently provides the option to output only a selected portion of the timeline.

In the Library

The Library allows you to browse and preview elements in the main browser window, rate and tag them for more effective search and filtering, and group and organize them into collections. The Library also supports watch folders, which monitor specified folders and automatically import new files. Montage templates can be used to combine multiple assets into pre-

edited slideshows and animations with an opening, segues between clips and ending. These can then be customized in the Montage Editor. For fast-path editing, click the SmartMovie button in the Library to automatically generate a movie or slideshow from a collection of clips, which is saved as a Studio project that you can then tweak and finalize.

Pinnacle Studio 18 also has a Storyboard view, which displays the elements in the selected track above the timeline to make it easier to quickly add, remove and reorder them. By default, for ease of editing, the timeline works in the format defined by the first clip you import and automatically converts imported media as necessary. However, you can explicitly change the timeline settings at any time Movie Editing or define specific project settings. Pinnacle Studio 18 makes it easy to While you can edit directly in the start editing your video. The Edit tab in timeline, Pinnacle Studio also prothe main control bar opens the Movie vides separate editor windows for the Editor screen with the compact library different asset types. For media, these panel, plus the player panel with single organize operations on each clip, with or dual view for source and timeline. tabs for Transitions In/Out, Effects and You can click the tabs in the Library Corrections. window to quickly access different The Corrections tab offers tools asset types or pop up the full navigator to correct and enhance your media, tree for more complete access. including enhance and stabilize for video, equalize and Task oriented interface keeps workflow organized. noise reduction for audio and straighten and red-eye reduction for photos. Selecting a specific effect, transition or correction opens a side control panel to adjust the available settings, plus other displays such as a waveV I D E O M AKE R > > > M Ay 2 0 1 5

form view and channel mixer. You also can add keyframes on the timeline at the bottom of the associated editor window. The photo editor also provides pan and zoom animations.

In the Studio

Pinnacle Studio provides full-up video editing without imposing an intimidating interface. For example, there are only some 20 buttons in the timeline toolbar, which provide basic editing and additional tools designed with clear icons and helpful tooltips. You also can customize the toolbar to remove unwanted icons. Doubleclicking to open the associated media editor accesses detailed settings and corrections with keyframe controls. However, the volume of advanced controls can make it difficult to locate the one you need, and a couple of useful ones aren’t there at all, namely tools for multi-cam editing and motion tracking. Pinnacle Studio provides extensive help, with a 450-page PDF User Guide, as well as video tutorials. It also includes a six-week all-access pass to studiobacklot.tv for additional training, content and a royalty-free stock library. Pinnacle also provides a searchable knowledge base and online forum, and offers 14-day free warranty support for installation and activation, followed by paid support for other issues. For those who have ambitions to get serious, Pinnacle Studio 18 offers a nice graduated approach to the complexity and possibilities of video editing, while the new 64-bit processing in makes it a compelling upgrade for current users.

SUMMARY Pinnacle Studio 18 avoids intimidating complexity by sequestering advanced options in media-specific editor windows.

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Douglas Dixon is a developer and writer who covers digital media at Manifest-Tech.com.

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Mini Reviews

Mini Reviews by Joshua A. Siegel

by Joshua A. Siegel

Polaroid Cube

Domke Director

but we used a metal washer and tape as a cheap DIY mount for many other surfaces. After charging the Cube and inserting a new 2GB micro SD card, we went on a long scenic hike with the Cube. We took two photos, at which point the dim green LED turned orange and we were unable to shoot any videos or more photos. Turning the Cube off and back on did not fix the problem, and the tiny user guide says nothing about an orange indicator light. Frustrated, we consulted Polaroid’s online support page for the Cube. We discovered that a Class 10 micro SD card is recommended so we replaced the first card with a Samsung 32GB Class 10 card. Voilà! The camera

he Polaroid brand is most often associated with the old-school instant camera that featured squares of self-developing film. Since getting out of the film business in 2008, Polaroid has lent its name to several digital cameras. The latest is a nifty looking “active lifestyle cam” dubbed the Cube. The Polaroid Cube’s most attractive feature is its appearance. Its 35mm x 35mm design is a fun nod to the company’s past and allows to Cube to fit just about anywhere. It’s operated by one button on top. A small multicolored LED status light indicates when the camera is on, recording or low on power. A strong magnet on the bottom makes it easy to connect to metal surfaces. Polaroid sells enclosures and mounting options for the Cube,

www.polaroid.com

worked worked — — for for about about ten ten minutes. minutes. Then Then the the orange orange LED LED returned returned and and the the Cube stopped working yet again, Cube stopped working yet again, even even though though the the Cube Cube was was charged charged and and the the memory memory card card was was nearly nearly empty. empty. The The few few photos photos and and videos videos that that the the Cube captured weren’t terrible Cube captured weren’t terrible quality, quality, but but not not impressive. impressive. The The hassles hassles of of dealing dealing with with the the Cube Cube seem seem pointpointless less when when you you can can get get better better images images on most smartphones. If on most smartphones. If the the Cube Cube worked worked as as advertised, advertised, itit might might be be aa fun fun little little camera. camera. Otherwise, Otherwise, it’s it’s just just aa pricey pricey paperweight. paperweight.

www.tiffen.com/domke

omke offers a wide variety of bags for professional photographers and videographers. The Director is part of their Next Generation Viewfinder series and is meant for DSLR cameras and similar sized gear. We tested the Director bag over a rainy week, carrying a 7” field monitor at one point and later a DSLR camera. The bag’s interior

by Joshua A. Siegel

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tested the Grip&Shoot with a Samsung Galaxy S4 attached to the JawZ. To use the device, you must first download and install the free Grip&Shoot app from iTunes or Google Play (requires iOS 5.0 and up, or Android 4.3 and up). Turn on your phone’s Bluetooth, start the app, and you’re ready to go with a squeeze of the Smart Grip trigger. Use the grip to shoot photos and video while attached the phone, or separate it to remotely control your phone’s camera. Although the Grip&Shoot app gives you basic camera control, it lacks the advanced settings or filters found in other camera apps. The system was designed with an open API, and at the time of writing, 3 other compatible apps are available, including Slow Motion Camera, PureShot and 645 PRO Mk III. The Grip&Shoot serves its purpose as new way to hold or remotely VIDEOMAKER >>> MA y 2015

Camera not included

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he tiny cameras packed into our phones improve every year, yet it remains awkward to use the touchscreen controls, especially with one hand. The Grip&Shoot seeks to solve this issue, making it easier to conveniently capture great images. The Grip&Shoot is a pistol grip attachment for your smartphone that allows you to shoot still photos and video one-handed. The front trigger switch takes photos or starts/stops video. Two buttons on the back let you zoom in and out with your thumb. The device is connected to your phone via Bluetooth, making it an effective remote control that allows you to control your smartphone’s camera from a distance. The package includes two polycarbonate Shooter Cases that fit the iPhone 4s or 5S/5. It also includes a JawZ adapter that’s spring loaded to fit various sized phones and cases. We

the option of silencing the Velcro closures with a small flap of material. While this lets you open a compartment without the familiar ripping sound, it also prevents the compartment from staying safely closed. The Director bag was comfortable to carry and easy to use. All compartments were easily accessible, and the soft but tough exterior is built to last. It’s more expensive than most similar camera bags, but we highly recommend it for photographers and video shooters who want their bag to be as professional as the gear inside. The Director camera bag from Domke Next Generation is a tough yet stylish way to transport your gear. It features a highly customizable interior and a rugged exterior that will endure years of daily use.

by Marshal Rosenthal

Grip&Shoot Smartphone Grip

compartment is easily customized using bendable, self-adhering separators and movable pouches. The exterior is made of tough Codura material and features expandable side and front pockets. It also includes a rear slide pocket and a padded zippered sleeve for tablets up to 9.5 x 7.37. Domke bags are made for professionals, a fact that’s reflected in the price. The difference shows in fine details like the suede wrapped grab handle and a numbered identity plate that can help identify your bag if it’s lost or stolen. One feature you won’t find on bags from other companies is the Quiet system, which gives you

www.gripandshoot.com

control control your your phone’s phone’s camera, camera, but but itit feels like it should offer more in feels like it should offer more in order order to to truly truly compete compete with with similar similar smartsmartphone phone camera camera accessories accessories in in its its price price range. Hopefully, future versions range. Hopefully, future versions of of the the product product will will offer offer more more features features and and wider wider support. support.

www.steadicam.com www.steadicam.com

ompact cameras from GoPro and others make shooting a breeze because they can go most anywhere and shoot most anything. What they can’t do is hold themselves steady — which is why action cameras have to be bolted on to something.

Steadicam CURVE Hand-holding these cameras when people or scenery is racing by at high speed isn’t normally part of their wheelhouse, at least not if having a steady image is the goal. Since sticking them on a tripod is like tying a sack of cement to one’s feet for all the mobility that it offers, wouldn’t a portable stabilizer gizmo hit the spot right now? Forget the hunger pains ‘cuz Tiffen’s serving up the Steadicam CURVE, which, as you might guess, is a handheld camera stabilizer that eschews moving parts in leu of a lightweight aluminum design counter balanced for holding any GoPro camera. Yep, it’s only for the GoPro series and since all Tiffen’s ads say it works with the HERO out of the box, we’ll start with that. We attached a GoPro HERO at the CURVE’s top, then gripped the handle below the camera. We could feel the counter-balance cause the camera to sway as we spent a few minutes V I D E O M AKE R > > > M Ay 2 0 1 5

getting used to the feel — a small finetuning knob helped. There’s really no need for instructions as just using it explains what it does and shows you how it’s doing it. Big hands might feel a bit cramped, so those with smaller hands will have an easier time in working the CURVE for long stretches. The CURVE’s handle folds up for storage and transport and makes what is already a small accessory even smaller. It’s also affordable at $99.95, but it’s important to note that the optional weight kit will be needed with some series of GoPro cameras. Switching the weight that it came with to another might have made for a better shooting experience, but we can’t say for sure. We can say that the Steadicam CURVE makes shooting look more professional and that it’s just fun to use. We can see it quickly becoming more than just a worthwhile accessory, but a necessary one for GoPro camera users.

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Interchangeable Lens Camera Buyerâ&#x20AC;&#x2122;s Guide

Digital interchangeable lens cameras allow video to be shot with precision and creativity.

By Marshal rosenthal

hooting video with a camera rather than a camcorder is a relatively recent development driven by the ever-advancing digital technologies. Digital Single Lens Reflex (DSLR) cameras, for example, were initially created as the superior replacement to their film-driven predecessors but have since morphed into video-capable recorders as well. Technology built into the DSLR controls shooting and affects the visual outcome of the shot. This is also true of Cinema-specific cameras possess-

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ing interchangeable lens capabilities. The ability to change lenses provides creative freedom, and lenses provided by third-party manufacturers can even be used in some cases. Not being locked into a single fixed-lens situation also allows for cost issues to be more effectively reconciled. A DSLRâ&#x20AC;&#x2122;s single biggest asset is that you see exactly what the lens sees when looking through the optical viewfinder: a mirror focuses the image onto a viewfinder, making it easier to compose. To put it simply: no cut off heads. Just

VIDEOMAKER >>> MA y 2015

as with film-based SLRs, the mirror must move out of the way prior to the image being recorded. This necessitates the DSLR to be made large enough to contain the mirror and pentaprism in order for the viewfinder to be effective. An alternative to this is the electronic viewfinder (EVF) which provides the real-time image and which can allow the camera employing it to be made smaller. This is why MILCs (mirrorless interchangeable lens cameras) are typically slimmer than your average DSLR.

The larger size of the image sensors in both MILCs and DSLRs puts them above the range of point and shoot cameras. In addition, these interchangeable lens cameras possess a wide range of manual controls for more advanced shooting. Unlike DSLRs, a digital cinema camera (a.k.a. digital movie camera) is designed specifically for capturing digital video. In the late 1990s, cameras based on CCD technology furthered the branding of electronic cinematography as digital cinematography and led to companies such as Sony, Pan-

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Interchangeable interchangeable Lens lens Buyer’s Buyer’s Guide Guide asonic and RED, among others, offering cameras that can shoot high definition video and that are more tailored to use by filmmakers. These cameras offer such features as selectable frame rates and the ability to record with little or no compression. They come with large image sensors, as befits their ability to produce high resolution results. Cinema cameras, as a class, also feature a broad dynamic range and color depth that DSLRs cannot match, along with a lack of color banding and compression artifact issues. These cameras are video first and their pricing is many times higher than that of DLSRs. The decision regarding which interchangeable lens camera — DSLR, MILC or Cinema — will best suit your video needs will always be a personal one, though the features and pricing will be strong motivators. It will be helpful to look at a selection of industry leading cameras that are now in play in order to make an informed decision.

Dslr CaMeras Canon 5D Mark iii

Canon’s full-frame DSLR has many enviable specifications: a 22 megapixel sensor, the ability to shoot at six fps and HD + HDR video shooting capabilities. The camera has a pentaprism viewfinder, with a 3.2-inch color accurate LCD screen on the back that can automatically adjust its level of brightness. Also featured is the ability to correct for lens flaws — such as lateral color fringes — incamera. This allows for older and cheaper lenses to be used, a convenience where price is concerned. It can also correct for darkened corners and distortion. Other features include a silent shutter mode, an auto ISO function to select the slowest shutter speed before starting to increase the ISO and embedding of copyright and shooter information. There is no WiFi or built-in flash. Video can be shot at Full HD (1080) at 30, 25 and 24 fps. The results can be exported uncom-

Nikon D750

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DSLR CAMERAS

pressed pressedthrough throughHDMI HDMItotoan anexternal externalrecorder recorder while whilestill stillrecording recordingtotoan aninternal internalcard cardand and viewing viewingthe thevideo videoon onthe thedisplay. display.Dual Dualmemory memory card cardslots slotsare areavailable, available,one oneeach eachCF CFand andSD. SD.The The camera cameraretails retailsfor forabout about$3,400. $3,400.

Nikon NikonD750 D750

The TheNikon NikonD750 D750employs employs24.3 24.3million millionpixels pixelsand and isisknown knownfor forproducing producingclean cleanimaging imagingwith withlittle little noise, noise,whether whethershooting shootingstills stillsororvideo. video.ItItalso alsocan can do docontinuous continuousshooting shootingatat6.5 6.5fps. fps.ItIthas hasaapentapentaprism prismviewfinder viewfinderwith withaaflip flipdown down3.2-inch 3.2-inchLCD LCD screen screentaking takingadvantage advantageofofthe theLive LiveView Viewmode mode that thatisishandy handywhen whenshooting shootingvideo. video.AAsmartsmartphone phoneapp appcan canalso alsobe beused usedasasaaremote remotemonitor. monitor. Autofocus Autofocusutilizes utilizes51 51points pointsand andthere thereisisaagroup group area areaAF AFmode. mode. There Thereisisaabuilt-in built-inflash flashand andthe thecamera camerahas has built-in built-inWiFi WiFicapabilities, capabilities,dual dualmemory memorycard cardslots slots (SD) (SD)and andthe theability abilitytotoshoot shootfull fullHD HDatat60 60fps fpsoror24 24 fps. fps.The TheISO ISOrange rangeisis100-12800. 100-12800.Professional Professionalvideo video features featuresare arebuilt builtin, in,such suchasasbeing beingable abletotorecord record both bothuncompressed uncompressedvideo videototoan anexternal externalrecorder recorder via viaHDMI HDMIand andcompressed compressedfull fullHD HDvideo videointernally internally atatvarying varyingfps fps(60/50/30/25/24p). (60/50/30/25/24p).There Thereisisalso alsothe the ability abilitytotomanually manuallycontrol controlISO, ISO,shutter shutterspeed speedand and aperture aperturewhile whilerecording. recording.AAPower PowerAperture Aperturecontrol control makes makesfor forsmooth smoothiris iristransitions. transitions.AAFlat FlatPicture Picture Control Controlcan canbe beapplied appliedfor foreasier easiercolor colorgrading gradinginin post. post.The Thecamera cameraretails retailsfor forabout about$2,300. $2,300.

nal microphones provide Dolby-quality stereo sound recording. There is also an optional video interface unit for professional workflow use. The camera itself is designed for heavy field use, being of a splash and dust proof construction with sealing on every joint. The retail price is about $1,700.

sony a7s

The Sony a7S is a full-frame, mirrorless, compact digital camera whose sensor utilizes 12.2 million pixels and, combined with its processing engine, is able to provide diffraction reduction images shot at small apertures. The ISO range is high, 100-102,400 (expandable for video up to 409,600), allowing for unmatched low-light performance. Auto focusing is done through contrast detection, with a number of AF point modes to choose from (examples: Wide, Zone, Lock-On AF). It also has good low-light focusing capabilities. The a7S can record 4K video to an external device through an HDMI connection, although shooting directly to a card limits the resolution to full HD. Recordings can be done at 50Mbps in multiple frame rates so as to improve on the image quality and reduce noise levels. Time code can also be used for identifying and syncing footage, plus there is support for S-Log2 gamma, which expands the

effective dynamic range during video recording. The a7S employs an OLED electronic viewfinder whose sensor detects when the eye is nearby. There is also a tiltable (not articulating) three-inch non touch-sensitive LCD screen on the back. The camera saves to a variety of memory cards and Sony memory sticks. At this time, the list of usable lenses is limited. It retails for about $2,500.

sony a7s

Panasonic GH4

mirrorless CAmerAs

Mirrorless MirrorlessCaMeras CaMeras Panasonic PanasonicGH4 GH4

AAmirrorless, mirrorless,compact compactcamera, camera,the theGH4 GH4employs employs an anOLED OLED(organic (organicLED) LED)electronic electronicviewfinder viewfinder complemented complementedby byaaback-mounted, back-mounted,free freeangle angle three-inch three-inchLCD LCDpanel. panel.ItIthas hasaanumber numberofoftermiterminals, nals,such suchasasmicrophone microphoneand andflash flashsync, sync,plus plusthe the HDMI HDMIport portisiscapable capableofofreal-time real-timeoutput outputtotoan an external externalmonitor. monitor.The The16MP 16MPsensor sensorfunctions functionsinin concert concertwith withaa49-area 49-areaautofocus autofocuswith withaacustom custom mode modeenabling enablingthe theselection selectionofofaafocus focusregion region from fromthe thefocusing focusingareas. areas.Focusing Focusingtime timehas hasbeen been shortened shortenedthrough throughthe theuse useofofdepth depthofoffield fieldevaluevaluations ationsfor fordistance distancetotosubject, subject,and andthere thereisisWiFi WiFi with withNFC NFCbuilt-in built-infor forremote remotefunctionality. functionality.Images Images are arebright brightand andsharp, sharp,but butnot nothaving havingaafull-frame full-frame sensor sensormeans meansthat thatvideo videoperformance performanceininlowlowlight lightcan canbe beless lessthan thanoptimal. optimal. The Thecamera cameraisiscapable capableofoffull fullHD HDrecording recording and andvariable variableframe framerates rates(2fps-96fps (2fps-96fpsoror4X 4Xspeed speed with withfull fullHD). HD).AAMotion MotionPicture Picturebutton buttonon onthe the back backstarts/stops starts/stopsvideo videorecordings. recordings.Video Videocan canbe be recorded recordedinin4K: 4K:4096 4096xx2160 2160/ /24 24fps, fps,asaswell wellasas QFHD QFHD4K: 4K:3840 3840xx2160 2160/ /up uptoto30 30fps fpsininMOV/ MOV/ MP4 MP4with withan anultra ultrahigh highbitrate bitraterecording recordingcapabilcapability ityofof200 200Mbps Mbpsoror100 100Mbps. Mbps.Professional Professionalvideo video functions functionsinclude includetime timecode, code,color colorbars barsand and1kHz 1kHz test testtone toneand andzebra zebrapattern, pattern,among amongothers. others.InterInter-

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interchangeable InterchangeableLens LensBuyer’s Buyer’sGuide Guide CINEMA CAMERAS Blackmagic URSA

The URSA is a user upgradable 4K digital film camera with both lens mount and sensor being separate modules that can be swapped out. A Super 35 global shutter 4K image sensor is standard, featuring 12 stops of dynamic range and excellent highlight control, and there is a built-in 10-inch fold out on-set monitor. Besides shooting in Cinema DNG RAW, Ultra HD or HD in Apple ProRes can also be shot. It also features scopes for exposure, focus and audio levels and has two dedicated five-inch touch screens; one for major settings in conjunction with a row of control buttons, and the other displaying settings, including a scrolling audio waveform monitor. These touch screens can be used by camera assistants for checking and updating camera parameters independently of the camera operator. The camera has been described as ergonomically excellent and dead-simple to operate, featuring an admirable touchscreen interface and clearly designed menus. From the physical side, multiple mounting points enable customizing the rig to suit the need, with rail mounts built into the camera base. Dual recording slots allow for changing out the CFast 2.0 memory card when filled without having to stop recording. The camera makes use of standard broadcast connections, among them a 12G-SDI output that can down convert to HD or use directly at Ultra HD quality, and an input for displaying return video on the 10-inch monitor. Retail is $5,995 for the EF lens mount model and $6,495.00 for the model with film industry standard PL lens mount.

Canon EOS C100 EF

This cinema camera utilizes a Super 35mm sensor with the same signal processing as found in 3 chip RGB systems for reducing the angle of distortion. The ISO range is 320-80,000 and the

8.3MP resolution and wider pixel pitch than conventional pro camcorders also allows for greater sensitivity and reduced noise in low light environments. ND filters are built-in, as is an HDMI output for sending an uncompressed video signal with superimposed time code and 2:3 pull down marker to an external monitor. Dual memory card slots accept SDHC/SDXC cards. The camera has an EF lens mount for use with Canon lenses and has been optimized for use in run-and-gun and one-person operation — it has a solid grip that is adjustable. One-shot AF, a built-in mic and a Push Auto iris accompany full HD video. There is also full manual control over each aspect of the recording process, with focusing aids in both the EVF and the flip-out 3.5-inch LCD monitor. The LCD features Edge Monitor Display for displaying waveforms for the overall focus of the scene as well as for focus feedback of the three focus check boxes visible on the monitor. Those looking to shoot without the grip will find that they lose the XLR inputs as well as the built-in stereo mic. Also, video can output to HDMI, but not SDI. The C100 retails for about $4,500 or about $5,000 with the optional Dual Pixel CMOS AF Technology upgrade feature for enhanced autofocusing.

RED Scarlet-X

The Scarlet-X provides 4K video acquisitions via a super 35mm sensor and also allows for frame grabs to be taken without having to stop recording through the use of the free Redcine-X Pro software. It has advanced capabilities such as HDRx and a native 13.5 stops of dynamic range. Besides shooting RAW 4K motion footage at 25 fps, the resolution, if moved down to 3K, can do 48 fps with 2K getting 60 fps and 1K delivering video at 120 fps. It can also capture 5K stills. Due to the loudness of the built-in fan (which quiets down after being powered up), use of an external microphone is suggested.

Must-Have Must-HaveLenses Lenses DSLRs and MILCs areare useless without a lens attached to to them, DSLRs and MILCs useless without a lens attached them, but which lenses to to getget is often thethe first question asked. Regardbut which lenses is often first question asked. Regardless of of whether thethe camera is used forfor still photography or or forfor less whether camera is used still photography shooting video, only having one lens to to shoot with is boring. The shooting video, only having one lens shoot with is boring. The following focal lengths can cover thethe different situations that following focal lengths can cover different situations that might crop up:up: might crop Wide angle Lens: These lenses remove thethe cramped look when Wide angle Lens: These lenses remove cramped look when shooting in in a confined space. How wide to to gogo depends onon thethe shooting a confined space. How wide depends effect desired, asas thethe sides of of thethe image willwill appear more curved effect desired, sides image appear more curved asas thethe angle is increased (e.g., anan 18mm). Also, anan extremely angle is increased (e.g., 18mm). Also, extremely wide angle lens (e.g., fisheye) willwill not look normal to to thethe eye, but wide angle lens (e.g., fisheye) not look normal eye, but might find use in in artistic endeavors. might find use artistic endeavors. Portrait Lens: The slightly flatflat angle of of view of of a 75mm or or Portrait Lens: The slightly angle view a 75mm 80mm lens works well forfor shooting people due to to itsits being able 80mm lens works well shooting people due being able to to avoid having to to move right upup close, in in which case distoravoid having move right close, which case distor-

The camera’s lower cost in comparison to other RED family members — $7,950 — is due to it coming with the “Brain” and power supply only. On the negative side, this may actually lead to higher total costs, since additions such as lenses, an LCD screen, a storage media module and batteries, among other devices will be needed. Being modular, this is all user-serviceable.

tions of facial features relative to each other occur. Such a lens can well be used as a “normal” lens for most shooting environments also, except in those cases where a wide angle lens would be needed. telephoto Lens: A telephoto lens draws in light from a greater distance and so enables shooting from afar for situations which might be difficult to approach, as in sports, or dangerous, as in wildlife. These also offer a shallow depth of field that can be artistic as well as forgiving — unwanted objects or locations themselves can be rendered less noticeable. Zoom lenses make buying a fixed focal length, or prime, lens a less appealing option than it once was, but prime lenses do still have their advantages and are generally sharper and faster than their zoom counterparts.

The camera has been characterized as for the photographer transitioning to professional video as well as dyed-inthe-wool cinematographers. The camera has been described as rendering colors and motion so as to look “cinematic,” and is designed to produce professional quality 4K video. This selection certainly does not cover all of the option available on

today’s market, but it should give you an idea of what to look for in your search for the perfect interchangeable lens camera. Marshal M. Rosenthal is a technology and consumer electronics freelance writer based on the West Coast You can comment on this article by going online: www.videomaker.com/article/17809

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AtAt Full Compass, every camera wewe sellsell comes with support from a professional consultant who’s Full Compass, every camera comes with support from a professional consultant who’s trained toto help you select thethe right camera and make sure you’re happy well after thethe sale. trained help you select right camera and make sure you’re happy well after sale. The best gear. The best service. The best price. That’s Full Compass. The best gear. The best service. The best price. That’s Full Compass.

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n the never-ending quest to achieve smooth handheld video, a wide variety of techniques have been employed, from counterweighted poles to vest mounted articulating arms. The ultimate of these attempts has proven to be the 3-axis gimbal. If that terminology doesn’t resonate, think gyroscope. Most of us are familiar with the concept of a gyroscope from our years in elementary and high school. These devices are used in ballistic missile navigational guidance systems and as stabilizers for such things as the Hubble telescope and ocean vessels. Thankfully, they have found their way into the video production world to provide exceptional stabilization for non-stationary video. Of course, by non-stationary video, we mean video that has been captured while standing, walking, running, flying, moving up and down stairs and over all sorts of rough terrain. In an effort to easily discuss some of the growing number of gimbals that are now becoming available, we have categorized them as manual (non-motorized), motorized and aerial, with a sidebar on mini gimbals.

BUYER’S GUIDE

GIMBAL

Simply put, a gimbal is a pivot point that allows rotation along a single axis. Combine three separate gimbals to allow rotation along three different axes and you have a 3-axis gimbal — and an excellent tool for achieving silky-smooth, handheld video.

MANUAL

Manual, handheld stabilizing devices employing 3-axis gimbals have the advantage of lower pricing while still delivering excellent results. For smooth action shots on a budget, check out these offerings.

Glidecam HD-Series

A highly respected name in the industry, Glidecam offers their HDSeries of stabilizers (HD-1000, HD2000, HD-4000). The offset handle is attached to a fully free floating 3-axis gimbal, allowing the hand to move vertically and horizontally without affecting the camera. A quick release camera plate and mounting platform make camera attachment quick and easy while

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GiMbal buyer’s Guide Similar in concept and design to Glidecam’s HDSeries, the CAME-H4 3-axis stabilizer employs carbon fiber for its strength and lightweight properties and is especially well suited for use with DSLR cameras. Its price point places it well within reach of even hobbyist producers. MSRP: $255

Camera Motion Blackbird

Rather than utilizing an offset handle, the Blackbird’s handle and gimbal attach directly beneath the camera stage for firm, comfortable on-axis handling. In addition to the usual stage adjustments, the Blackbird employs dual bubble levels to aid in balancing as well as a scale reference for faster re-balancing when attaching the camera each time. The Blackbird employs patent pending SmoothTouch technology, which provides user adjustable gimbal friction control to minimize excessive pendulum motion. MSRP: $485 (basic); $675 (full kit: incl. custom case, universal docking bracket, resting stand and tripod adaptor)

MotoRIzED

For video use, the motorized 3-axis gimbal has its roots embedded deeply in the remote control helicopter world. Cameras initially were

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CAME-H4

Glidecam HD-Series

Manual

Freefly FreeflyMoVI MoVI

With Withaalong longlist listofofpatents patentspending pendingtototheir theircredit, credit, Freefly FreeflySystems Systemswas wasthe thefirst firsttotomarket marketwith with this thishandheld handheldcamera camerastabilizer stabilizertechnology technologyand and continues continuestotobe beaastrong stronginnovator innovatorininthat thatspace. space. From FromDSLRs DSLRstotofull-on full-oncinema cinemapackages, packages,the the MoVI MoVIM5, M5,M10 M10and andM15 M15bring bringamazing amazingstabilizastabilization tiontotoany anyproduction productionregardless regardlessofofthe thesituasituation. tion.Each Eachunit unithas hasaafull fullcamera cameracage cagetotolock lockthe the camera cameraininplace placeboth bothtop topand andbottom. bottom.These Theserigs rigs are arelightweight lightweightand andmake makeuse useofofcustom customdesigned designed and andbuilt builtsensors sensorsand andnear nearsilent silentbrushless brushlessmomotors. tors.InInMajestic MajesticMode, Mode,aasingle singleoperator operatorcontrols controls gimbal gimbaldirection directionusing usingthe therig’s rig’shandles. handles.While Whileinin dual dualoperator operatormode, mode,one oneoperator operatorconcentrates concentrates on onframing framingwhile whilethe theother othermaneuvers maneuversthe thecamcamera eravia viaaaseparate separateremote remotecontrol controldevice. device. MSRP: MSRP:$3,995 $3,995(M5 (M5Essentials EssentialsBundle); Bundle);$7,995 $7,995 (M10); (M10);$11,995 $11,995(M15) (M15)

along the pan axis, and locked mode where no following occurs in either direction. The rig features a 32-bit control board, is very lightweight and comes fully assembled and configured. MSRP: $1,300

Motorized

DJI Ronin

CAME-H4

hard-mounted hard-mountedunderneath underneathRC RChelicopters, helicopters,folfollowed lowedby bytwo twoand andthen then3-axis 3-axisgimbals gimbalsand andthen then belts, belts,servos servosand andso soforth forthininthe thequest questfor forever ever smoother smootheraerial aerialimages. images.Motor Motorcontrolled controlledhandhandheld heldrigs rigshave havesince sinceevolved evolvedfrom fromthese theseearlier earlier efforts, efforts,delivering deliveringamazing amazingresults resultsregardless regardlessofof the thedemands demandsplaced placedupon uponthem. them.

Freefly MoVI

platform control knobs, a telescoping center post and a counter weight system handle the balancing chores. MSRP: $449, $549, $649 respectively

The Ghost V3 and The Ghost Pro II

These two new Ghost gimbals from SICvisuals handle smaller camcorders up to five pounds and larger cinema setups up to 12 pounds, respectively. Both come with batteries, charger, stand, accessory mount and an extension grip. Each is constructed of lightweight, durable aluminum and carbon fiber materials. Three powerful brushless motors smoothly control pan, roll and tilt. MSRP: $1,795 (Ghost V3); $3,995 (Ghost Pro II)

AERIAl

As mentioned previously, motorized 3-axis gimbal technology shares its history with aerial photo and videography. To a large degree, the RC

helicopters of old have given way to quadcopters and multi-rotor drones. What was once a novel dream at best for most producers now has its own Aerial Robotics and Drone Pavilion at NAB!

Freefly Cinestar-8 MK Heavy lift RTF

A true heavy hitter in aerial butt-kickery is the Cinestar eight-rotor drone. Constructed largely of

DJI DJIRonin Ronin

DJI’s DJI’sRonin Roninisisdesigned designedtotosupport supportaawide widevariety variety ofofcameras camerasand andlenses lensesranging rangingfrom fromMicro MicroFour Four Thirds Thirdscameras camerastotothe theRed RedEpic. Epic.Strong, Strong,lightlightweight weightaircraft-grade aircraft-gradealuminum aluminumconstruction, construction, three threeoperational operationalmodes modes— —underslung, underslung,upright upright and andbriefcase briefcase— —high highprecision, precision,low lowvibration vibration and andincreased increasedtorque torquebrushless brushlessmotors, motors,aabuilt-in built-in receiver receiverand andremote remotefor foruse useby byaasecond secondoperaoperator, tor,SmoothTrack SmoothTrackgimbal gimbalcontrol controland anddual dual15mm 15mm rods rodsfor forfollow followfocus focusand andmatte mattebox boxsystems systems ensure ensurethe thehighest highestlevels levelsofofimage imagestabilization stabilization and andcinematic cinematicproduction productionvalue. value.The TheRonin Roninalso also features featuresthe theiOS iOSDJI DJIAssistant Assistantsoftware softwaretotoeasily easily set setup upall allsystem systemconfigurations configurationsusing usingan aniPhone. iPhone. MSRP: MSRP:$2,999 $2,999

CAME-7800 CAME-7800

For ForDSLR DSLRusers, users,an anaffordable affordablealternative alternativecomes comes from fromCAME-TV. CAME-TV.The TheCAME-7800 CAME-7800features featuresthree three different differentmodes modeswith withseparate separatejoystick joystickcontrol controlofof camera cameratilt tiltand andpan panfunctions. functions.Pressing Pressingthe thejoyjoystick stickengages engageseach eachmode: mode:follow followmode modeininwhich which the thecamera cameracontinues continuestotofollow followthe themovement movementofof the thehandles handlesininboth boththe thepan panand andtilt tiltdirections; directions; commixture commixturemode, mode,where wherefollowing followingoccurs occursonly only

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GIMBAL Buyer’S GuIde istics, and its open architecture design allows the use of a wide variety of cameras, from Canon’s 5D to the RED Epic. MSRP: $7,415

Ghost Pro II

CAME-7800

MotorIzed

AerIAL

GoPro HERO and other similarly sized sports camera users will want to check out the G4 from Feiyu-tech. The G4 accommodates the HERO LCD Touch Backpack and features a powered 3-axis gimbal with four operational modes. Mode #1 follows left and right pan motions; Mode #2 follows both pan and tilt motions; Mode #3 follows left/right pans while the camera is upside down for low angle shots and Mode #4 locks all three axes. A single button on the handle is used to select the desired mode. The handle end cap conceals storage space for additional batteries and is threaded for use with the optional carbon fiber extension rod. Don’t have a GoPro? The G4 also has a model suitable for smartphone use. MSRP: $349 (either model)

Mirrorless System Camera

• Active Micro Four Thirds Lens Mount • Super 16mm Sized Image Sensor • Apple ProRes 422 (HQ) at 220 Mbps • 3.5" LCD with 800x480 Resolution • Uses SDXC and SDHC Memory Cards Lens not included • EN-EL20 Compatible Rechargeable Battery • HDMI, L ANC, 3.5mm Audio Input and Output • Records Full HD 1920x1080 CinemaDNG RAW • Portable Design (5" Long & 12.5 oz) • 13 Stops of Dynamic Range

• 12.2MP full-frame Exmor CMOS sensor optimized for 4K QFHD and low light video • Uncompressed 4:2:2 UHD 4K video HDMI output capable • Compatible with Sony E-mount lenses and many others with adapters • Sony dual XLR microphone kit (optional) • 3.0" tilting LCD monitor and OLED electronic viewfinder • Built-In Wi-Fi connectivity with NFC • Pro-workflow with Picture Profile, S-Log2 and time code • 50Mbps XAVC S2 1920x1080 at 60P, 1280x720 at 120P • ISO 100 – 409600 with low noise and unprecedented 15.3 stops of dynamic range

#BLPKCINECAM

Body Only #SOA7SB

DSLR Camera

• 24.3MP full-frame 35mm Exmor CMOS HD sensor • E-Mount, and A-Mount with included L A-EA3 A-mount lens adapter • 1080/60i/60p/24p • Quad capsule microphone with XLR option • Tru-Finder OLED viewfinder with eye sensor • 3.0" LCD screen • Uncompressed 1080 HDMI Output • Memory Stick PRO Duo/PRO-HG Duo, SD/SDHC/SDXC • Cinematone Gamma with comprehensive manual control

• Full-frame (1.0x crop factor) • EXPEED 4 image processor • 36.3MP FX-Format CMOS sensor without an optical low pass filter • 3.2” LCD monitor / Optical viewfinder • Interval timer/time-lapse shooting • Continuous shooting to 5 fps in FX mode • Expandable sensitivity to ISO 51200 • Multi-CAM 3500FX AF sensor w/ 51 points • HD 1080 video capture in 60/50/30/25/24 fps • Wi-Fi capable with optional Nikon WT-4a • External mic and headphone inputs

#SONEXVG900

DJI Inspire 1

Mega Pixels

NEW

Mega Pixels

GY-LS300

4KCAM Handheld S35mm Camcorder (Body Only)

If you’d like to add an extra dose of high production value to your next video project, carefully assess your needs, consult your pocketbook and check out the many 3-axis stabilizers in today’s market. One of them just may provide the added oomph you desire. Contributing Editor Mark Holder is a video producer and trainer. You can comment on this article by going online: www.videomaker.com/article/17808

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800-947-9925 212-444-5025

Fax:

212-239-7770

Body Only #CAE5D3

NEW

• Single Super-35mm-Sized, 13.5MP progressive scan CMOS sensor • Ultra HD, Full HD at 4:2:2, SD & proxy • .MOV & AVCHD recording • Dual SDHC/SDXC card slots • 3G-SDI & 4K HDMI output • Built-In wireless streaming • Built-in network remote control • MFT mount supports mount adapters • 3.5" color LCD screen & 0.24" EVF #JVGYLS300

EOS-5D Mark III

DSLR Camera

• 22.3MP Full-frame CMOS sensor (1.0x crop factor) • 3.2” clear view high resolution LCD / Pentaprism VF • HD 1080 video capture in 30/25/24 fps • HD 1280p video capture in 60/50fps • DIGIC 5+ image processor • 61-Point high density AF • Extended ISO range (50-102400) • Up to 6.0 FPS continuous mode • Built-In HDR and multiple exposure modes • Dual CF and SD memory card slots • Durable magnesium-alloy construction

• 1/2.33", 12.4Mp CMOS sensor • Live 4K UHD output via HDMI • 4K Ultra HD 24/30p recording at 150Mbps • 4:2:2 1080p video up to 60p at 50Mbps • Dual SDHC/SDXC \card slots • 3G-SDI and HDMI output • 12x Optical Zoom Lens • Live HD Streaming via optional adapters • Simultaneous streaming and recording

Mega Pixels

Cinema 2.5K / Production 4K

Cinema Interchangable Lens Camera’s with EF Mount • Canon EF and Zeiss ZE mount compatible lens mount • 2.5K image sensor • 12-bit RAW, ProRes, DNxHD, and CinemaDNG RAW formats • Super wide dynamic range • 5" display size • Variable frame rate recording • Records to removable 5” SSD drives • SDI video output and Thunderbolt Port • Includes DaVinci Resolve and UltraScope • Uncompressed and compressed recording

Lens not included

#BLCINECAM.......................................

#BLPRODCAM4K .................................

PXW-FS7

EOS C100 Mark II

XDCAM Super 35 Interchangeable Lens Camera System

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• Super 4K 35 Single-Chip CMOS sensor with 14 stops of latitude & a wide color gamut • Sony E-Mount • Records internally in 4K up to 60fps in UHD 3840x2160 • Dual XQD memory card slots with simultaneous or relay recording • UHD Up to 60 FPS, HD up to 180 FPS • XVAC-I up to 600 Mb/s, XVAC-L, MPEG-2 • Record 4096 x 2160 via external recorder • Dual HD/3G-SDI & HDMI outputs • Ergonomic SmartGrip handgrip with zoom, start/stop and assignable controls

Lens not included

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Alpha a7S

Another serious contender in the drone airspace is DJI. The Inspire 1 features a 3-axis gimbal, powered by brushless motors controlled according to a continuous data feed based on the craft’s momentum, angular velocity, GPS data and more for maximum camera stabilization. The integral camera is capable of shooting video at 1080p60 and 4Kp30! Dual controller operational capability allows one operator to fly the drone while a second operator controls the gimbal and camera. MSRP: $2,899 (single remote); $3,399 (dual remotes)

For the ultimate in compact stabilization, check out one of the many mini-gimbals that are entering the marketplace. Lightweight, effective and far less likely to be noticed during covert filming, these devices are definitely worth a look.

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• 20.1MP 1”high sensitivity MOS sensor • 4K QFHD video recording at 30 fps • Leica DC Vario-Elmarit 16x zoom lens • 25-400mm f/2.8-4 (35mm equivalent) • 2,359k-Dot OLED Live View finder • 3.0” Free-Angle LCD monitor • Built-In Wi-Fi connectivity with NFC • HYBRID O.I.S. 5-Axis image stabilization • High-speed AF with LUMIX DFD focus • ISO 25600 and 50 fps continuous shooting

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carbon fiber and with a total weight of 6.72 lbs, the MK is built to carry a payload of up to 12 lbs. It uses the Freefly Systems gimbal. In fact, the MoVI line of stabilizers was designed with the Cinestar platform in mind to provide a seamless transition from shooting handheld to aerials in minutes. Top mounted batteries ensure an accurate center of gravity for optimal flight character-

Lumix DMC-FZ1000

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Lens not included

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#SOPXWFS7.........................$7,999.00 052015

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• 64GB Internal and Dual SDHC/SDXC card slots with relay recording • 1920 x 1080 CMOS Image Sensor • Canon 10x HD Video Lens • 8-Blade Iris and Manual Focus Ring • DIGIC DV III Image Processor • 24Mbps Recording (AVCHD) • 3.5" High-resolution touch panel LCD and EVF • Dual XLR terminals

• 1/3" CMOS 1920 x 1080 CMOS sensor • Dual CF card slots • 50Mbps MPEG-2 recording • Canon's MPEG-2 4:2:2 color sampling • 60p/60i, 30p, 24p MXF File Format • 10x HD zoom lens • 3.5" 920K dot LCD monitor • Stereoscopic 3-D recording capabilities • Dual XLR inputs • Waveform Monitor

• Three 1/2.8" Exmor HD CMOS sensors • Sony G series, 20x optical, 40x clear image zoom lens • 3.5" LCD • Built-in LED video light • Wi-Fi smartphone/tablet control • Record 1080 - 24p, 30p, 60i, and 60p frame rates • Dual card slots with simultaneous or relay recording • Uncompressed 8-Bit 4:2:2 via HDMI out • Network-friendly MP4 720p, 3 Mbps format • Slow & quick motion recording capabilities • Includes NP-F770 rechargeable Battery

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• Shoots AVCHD Up to 1080/60p at 24Mbps • Balanced Optical SteadyShot • Equipped with Dual XLR Inputs • Built-In 96GB Flash Memory Capacity • Pro Audio Control & Level Adjustment • Built-In Projector & 3.5" LCD Monitor • Built-In Stereo Shotgun Microphone • Super-Wide Carl Zeiss 10x Optical Lens • Features SD or Memory Stick Card Slot

• 1/2.84" CMOS (1920 x 1080) sensor with RGB color filter • 20x zoom lens with zoom, focus, iris rings • 50Mbps MPEG-2 & 35Mbps MP4 recording • 0.45" 1.23Mp viewfinder/3.5" OLED screen • 4:2:2 color sampling / MXF and MP4 file format support • 23.98/29.97p, 59.94i/p • Dual CF & single SDXC card slots • Dual XLR inputs, 4-channels of audio • HDMI, WiFi & Ethernet connectivity XF205 Step-up Features: HD-SDI, 3G-SDI, Time Code, Genlock

• Three 1/2” Exmor CMOS sensors • Record 1080p 59.94/50, 1080i 59.94/50, 720p 59.94/50, or SD resolutions • 10-Bit 4:2:2 XAVC Intra/Long Codecs • MPEG HD422 (50 Mbps), HD420 (35/25 Mbps), IMX, & DV Codecs • Dual SxS Memory Card Slots • 17x zoom lens with manual control rings • Genlock In, Time Code In/Out • 3G-SDI output • Wireless streaming, file transfer, and GPS data recording • Cache, slow & quick motion recording

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Professional HD Camcorder

NXCAM HD Interchangeable Lens Camcorder

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• HD 1920 x 1080p recording • SC/SDHC/SDXC memory card slot • 3" touch panel LCD • 1/2.3 back-illuminated 12.8 MP CMOS sensor • 29.4mm f1.2 wide angle lens • Optical image stabilizer with A.I.S. • 10x optical zoom & 16x dynamic zoom • Supports shooting speeds up to 600 fps • Built-in Wi-Fi • Capture still images in bursts of nine frames a second

• 1/2.84” HD CMOS sensor with RGB primary color filter • 20x HD Zoom Lens • 2x SD/SDHC/SDXC card slots with relay and dual recording • Canon Digic DV 4 image processor • Built-in Wi-Fi technology with FTP transfer capability • Optical image stabilization • 3.5” LCD screen and color viewfinder • 2 phantom-powered XLR audio inputs • Native 24p and slow- and fast motion recording

• Advanced Exmor APS HD CMOS sensor • 18-105mm f/4 constant aperture Servo Zoom G lens • E-mount interchangeable lens system • Use Alpha A-mount lenses with 15‐point phase detection AF • Mechanical shutter Still Picture • 3.5’’LCD Panel • Records on media card and FMU128 Simultaneously • Record onto Memory Stick/SD/SDHC/SDXC/HXR-FMU128 (Optional)

• 1" Exmor R CMOS with 14.2 million effective pixels sensor • Dual SD card slots with simultaneous and relay recording • Slow & Quick Motion • 12x optical zoom lens with a manual zoom/focus lens ring • OLED viewfinder & 3.5" LCD screen • XAVC, AVCHD, DV File Based Recording • 3G-SDI & HDMI output / Dual XLR audio • Slow & quick motion selectable frame rate recording • Wireless LAN / NFC connectivity • Planned Upgrade To UHD 4K

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Mega Pixels

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• 1" Exmor R CMOS sensor with BIONZ X image processor • 1080p Video and 20 MP still images • XAVC S, AVCHD, and MP4 recording • 0.39" OLED viewfinder/ 3.5" XtraFine LCD • Built-in Wi-Fi/NFC connectivity • Zeiss Vario Sonnar T* 12x zoom lens (24x clear image zoom) • BIONZ X Processor / High Speed 120 fps • Optical SteadyShot image stabilization • One-touch NFC smartphone pairing • Built-in ND filters: Clear, 1/4, 1/16, 1/64

• Three 1/4.7" HD 2.19MP CMOS back illuminated sensors • 1920x1080 native with variable 60p, 60i, 30p and 24p frame rates • Five-Axis optical image stabilization • Dual SD Memory Card Slots • 12x zoom (f/1.5) and 25x digital zoom lens • 3.5" LCD screen & LCOS color viewfinder • Six scene presets, and seven programmable user buttons • Interval Record, Pre-Record, Record Check, Last Clip Delete • AVCCAM HD Recording Modes • Two-Channel XLR Audio Inputs

• 3x 1/3”, 2.2 MP CMOS sensor - 18-bit dsp • Three rings; Manual Zoom, Focus & Iris • 1080p 1080i 60/p30/p24 & 720p60 • 22x optical zoom lens • Dual SD/SDHC/SDXC card slots • AVCHD & DV recording (SD) modes

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• 3x 1/2" Exmor HD CMOS sensors • 14x Fujinon HD Series lens • 50Mb/s HD recording at MPEG HD422 • Interchangeable EX lens mount • HD-SD/SDI and HDMI outputs • Record to SxS, SD, Memory Stick, & XQD cards • Semi-shoulder style camcorder • 3.5" color LCD viewfinder • Advanced signal processing • Timecode and genlock interfaces • Optional wireless adapter

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052015

eing able to correct issues in postproduction that were created in the field will not only make you a stronger producer, but will also make your video sound — and look — that much more professional. Poor knowledge of audio holds many producers back from creating a truly polished finished work, and the difference between good and okay audio production can be the defining point in viewer engagement.

What is graphic EQ?

The graphic equalizer, also known as a graphic EQ, is a powerful tool for audio production. You might find yourself dealing with a distracting hum from a refrigerator that, if you can’t remedy, will ruin a perfect take. Knowing how to use the graphic EQ to solve this problem will save you from having to re-shoot. Many people have encountered a graphic EQ at one point in their life, but very few use them correctly. When you’re adjusting the bass or treble in your car stereo, for instance, it adjusts each corresponding band of EQ. The main difference between your car stereo and a Graphic EQ used for audio production is the precision with which each frequency can be adjusted.

Defining a Band

A car stereo, generally speaking, has bass, mid and high-frequency adjustments. That would be considered a three-band EQ. The Q, or range of frequencies that make up a band, is the main difference between a five, 10, 20 or 30 band EQ. A 30-band graphic EQ would have 30 different sliders, each representing a given frequency range. These manipulate the volume of each frequency within an audio clip, allowing you to raise or lower the volume of a frequency range according to the desired effect. The more bands in an EQ, the narrower the Q, or range that each fader controls. The average human spectrum of sound is from 20Hz to 20kHz. Because we produce things for humans to hear, that’s the range we slice up to make a graphic equalizer.

Hey, that hertz!

A hertz, or Hz, is the unit for frequency and is defined as one cycle per second. A cycle refers to how often a sound completes one rise and fall of its wave. Think of a lake. You throw a rock into the lake. The ripples coming from the rock falling into the water can be compared to a sound wave. The distance between each wave and the next defines its frequency. In the world of audio, a low frequency would mean more space between the waves whereas a high frequency would mean each wave is closer together. To get a good idea of how frequency ranges work, examine a piano. Each key on a piano

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makes up a given frequency. Pianos are tuned according to these frequencies. The very middle key of a piano is called Middle C. The A note just above middle C is 440Hz. If you were to use your voice to hum at a constant note, matching the A above middle C, your voice would be at 440Hz. Every musical instrument is tuned based on this standard. Instruments such as bass guitar have a lower frequency range, and instruments like a violin or flute are in the high range. The larger the Hz number, the higher the pitch. For example a sound at 1kHz is higher than one at 50Hz. In line with that, the lower the frequency the lower the pitch.

Finding Your Range

Every sound has a frequency range — a male voice, a female voice, the note of the exhaust of a motorcycle and every musical instrument. Knowing what frequencies to remove to extract the offending sound is key. The constant hum of a water cooler, an annoying cricket and even white noise exist within specific ranges of frequencies. Identify the offending frequency by removing one band at a time until it’s lessened or removed. It’s best practice to subtract frequencies rather than add to them. By adding to the presence of a frequency, you’re adding to the dynamics of that overall sound. This can create muddy audio. Also, many graphic EQs don’t do this transparently, meaning that they color the sound source, and this is typically unwanted. That being said, if you want to create more presence you might add a bit to certain frequencies so that the audio cuts through your mix. Adding and removing needs to be done in small increments as it’s very easy to muddy the sound by boosting frequencies or to change the quality by removing them. Problems like hum might exist in a very small frequency range, but things like the human voice make up a much wider range. For example, typical male speech lives between 85Hz and 180Hz, and female speech range is 165Hz to 255Hz. Knowing this is very helpful. Say you’re interviewing a man and you want to get rid of all unwanted frequencies. You can roll off frequencies above 155Hz and below 85Hz. Doing this removes the frequencies outside of those that make up the man’s speech. However, this can affect the quality of the voice, so in many cases, it’s better to be subtle with rolling off frequencies rather than just cutting them completely. Lowering them gradually along the frequency range to create a hill ramping up or ramping down will give more natural frequency removal. As we know, some people have high voices, and some low. Because of this, the range might slip around. This is a starting point, not the law of the land.

VIDEOMAKER >>> MA y 2015

Graphic

Understanding a graphic EQ is key for video producers who want to take their audio to the next level. Learn what a graphic EQ is as well as what to do with it.

By Chris Monlux

Understanding what things live in each frequency range is a huge advantage when combining or mixing many different sound sources together. Mixing your audio well creates a soundscape and allows you to bring focus to one thing over another. An analogy to this from the video world is depth of field. By having a defined focal plane, you are telling the viewer to look at one thing over another. The same is true for audio. Having too many sounds within the same frequency range creates a chaotic soundscape. Think of a large room with many people all talking at the same time. With so many sounds happening simultaneously and within the same frequency range, hearing nuance is very difficult or impossible. By working the frequencies of your audio sources, you can create space for each to live, allowing for all sound sources to be heard as a cohesive whole.

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graphic equalizer

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V I D E O M AKE R > > > M Ay 2 0 1 5

graphic equalizer

male speech female speech

Voice frequency range 40Hz

60Hz

80Hz

100Hz

120Hz

140Hz

160Hz

180Hz

200Hz

220Hz

240Hz

260Hz

The chart above shows the range of male and female speaking voices, but every sound you hear has its own identiﬁable frequency range. Knowing what frequencies are present in your sound source can help you remove unwanted sounds and create space for the sounds that need the most clarity — your character’s dialogue, for instance. Thunderbay 4 Your new 4 bay production partner.

Mixing for Clarity

Your primary goal is to give your audio better clarity. Audio that lacks clarity is considered muddy because it has frequencies in it that are not necessary and because when you raise the volume of a given sound source, you’re increasing the volume of every frequency within that source. To gain clarity, remove unnecessary frequencies from your sound source. Like in our example of the male voice, roll off the frequencies that aren’t within the range you are trying to accentuate. Many audio editing programs have a graphic EQ and come with a large slew of pre-sets. This is a great way to get to your desired outcome

more quickly. Starting with a preset can give you a baseline that you can then adjust to meet your desired outcome. Also, saving your settings once you have found and successfully removed a problem will allow you to easily get rid of the same kind of sound at a later date.

Increased Precision

The graphic EQ’s brother from another mother is the graphic editor. It works in the same way as a graphic EQ, but the Q of each frequency is user-selected. The Q, or range of the frequency you are manipulating, can be whatever you’d like it to be. Want to remove all frequencies below or above a given frequency? It’s simple with a graphic editor. Choose the point at which you want to begin the range kill, and then lower all frequencies. You can also do this to notch out frequency ranges.

Summing it Up

A graphic EQ is a very simple tool that is easily misunderstood and misused. Use the approach of less is more, and you will find that just a bit of EQ change will go a long way toward giving your audio clarity. Having good audio production along with good video production is key to professional video work. One without the other is best summed up with this: you are only as strong as your weakest link.

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Analog and digital graphic EQs both work in essentially the same manner. Users of either manipulate faders or similar controls, either real or virtual, in order to adjust the volume of particular frequency ranges.

graphic equalizer

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BASIC TRAINING

May 2015

Lindb lom by Odin Lindblom

How to Calibrate a Monitor A properly calibrated monitor is key to delivering quality work. Following a few simple steps to calibrate your monitor can ensure your screen’s color accuracy. Having a color balanced monitor may not seem all that important, especially if you’re in a rush to get the shots you need, but having a color balanced monitor while you’re shooting can save you hours of postproduction work and even improve the quality of your finished production. In post, a properly adjusted monitor is the only way to know how your footage and finished work really look. We’ll examine what affects color accuracy in monitors and look at calibration methods so you can achieve the best color reproduction for your projects.

It’s about the light.

Part of the calibration of a monitor is adjusting it to the ambient light around it so the color and contrast are as accurate as possible. Just like a camera that has to have its exposure and white balance adjusted when the light changes, your monitor will

What monitors do I need to calibrate?

Ideally, any monitor you’re using while shooting or in post should be calibrated so that you don’t have to worry about making a decision based on looking at an inaccurate screen. Realistically, you’ll always need at least one monitor for your post-production that is calibrated, and you should have one, whenever possible, while shooting.

blackout drapes. Additionally, you may want to consider dark tinted film for the windows. Remember to clean your monitor frequently and keep it free from dust. It’s also a good idea to re-calibrate before an important project. Remember, as a monitor ages, it’s reproduction of color can shift. You’ll want to calibrate more frequently on older monitors and monitors that get heavy use.

Calibrated Monitors for Post-Production

Calibrated Monitors on Location

Using a calibrated monitor in post is the only way to know how your video really looks, from your source footage to the changes you make in post to your final renders, but you shouldn’t calibrate your monitor only when you first bring it into your edit suite. It should be re-calibrated anytime the room light changes significantly — including a fresh light bulb or a new lamp — or every few months. Ideally, you should situate your edit suite in a room without windows. If this cannot be avoided, invest in heavy duty need to be readjusted when the light around it changes. This is why, on big feature films, the digital image technician (DIT) who is responsible for the accuracy of the video monitors on set often sits in a tent that blocks the outside light; likewise, many editors and colorists work in rooms without windows to help control the ambient light.

Types of Calibration

Monitor calibration is done by one of two methods: qualitative or quantitative. Both have their own advantages. Qualitative calibration relies on the

user to look at the screen and make adjustments based on what they see. This leaves open the chance for human error, but it is often a cheaper and quicker calibration method. Quantitative monitor calibration relies on a colorimeter to measure the light from the screen and guide the user through calibration; it also may be used in a system where calibration is automatic. Quantitative calibration, on average, is more accurate; it can be a slow process though, and for some monitors, the hardware needed to calibrate is extremely expensive.

As mentioned before, while at first it may seem like a calibrated monitor on a shooting location wouldn’t be necessary for many workflows, it can save hours of post-production work, including having to fix what couldn’t be seen when shooting. For instance, if you’re shooting a web video for a company, they’ll more than likely want you to use their logo in the graphics of the finished video. If that same logo appears on a sign or on a product in your footage, they will expect that logo to match

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exposed. Many higher-end camcorders have waveform options for their LCD monitors. Built-in waveform monitoring is also standard on better LCD monitors. There are even solutions that allow you to use a laptop or tablet as a waveform monitor while shooting. Waveform monitors are easy to read and, on some monitors, can even be setup as a graphic overlay on your live shot. Using a waveform monitor can be especially helpful if there’s no way to have a calibrated monitor in the field.

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basic training

basic basic training training

May 2015

Turn your monitor’s chroma setting all the way down to calibrate your monitor’s brightness and contrast using the Picture Lineup Generation Equipement (PLUGE) bars.

the graphic as closely as possible. Using a calibrated monitor on location will help you achieve that goal.

Video Monitors vs. Computer Monitors

Video and computer monitors each have their own challenges in calibration and monitoring. The format you shoot in and the format you deliver in will dictate what type of monitors you use. If you’re shooting in NTSC HD, which most productions currently are, and your final renders are in NTSC HD, then that is the format you’ll want to monitor in. Professional HD monitors are easy to calibrate and are relatively inexpensive. You may shoot in HD but still finish in SD for DVD or mobile video. In that case, monitoring in SD is a viable option. There are still many old, used, professional SD monitors you can buy very inexpensively; also, many new HD monitors have SD inputs. Computer monitors use a larger color space than HD video. This can make it a difficult to monitor HD video with a computer monitor

because becauseititcan canreproduce reproducecolors colorsthat thatHD HDvideo video can’t. can’t.The Thecolor coloryou yousee seeon onthe thescreen screenmay maynot not be bean anaccurate accuraterepresentation representationof ofhow howyour yourvideo video really reallylooks. looks. There Thereare areinterfaces interfacesavailable availableto tolet letyou youuse useaa computer computermonitor monitoras asaavideo videomonitor, monitor,but butsome some of ofthese thesecost costmore morethan thanaaprofessional professionalvideo video monitor. monitor.However, However,aacomputer computermonitor monitorisispreferpreferable ablefor forwork workthat thatisisshot shotin inraw rawand andgoing goingto to film filmfestivals festivalsat atmovie movietheaters theatersor orto tothe theweb webto to take takeadvantage advantageof ofthat thatexpanded expandedcolor colorspace. space.

Before BeforeYou YouCalibrate Calibrate

Check Checkthe thework workarea areaaround aroundthe themonitor. monitor.The The lighting lightingshould shouldbe bebright brightenough enoughto towork workin in but butnot notoverly overlybright brightto tointerfere interferewith withthe the monitor. monitor.Make Makesure surethere thereisisno nolight lightreflecting reflecting on onthe thesurface surfaceof ofthe themonitor. monitor.You Youmay mayneed need to toturn turnon onany anyequipment equipmentthat’s that’saround aroundthe the monitor monitorto toensure ensurethat thatthere thereare areno noreflections reflections from fromLEDs LEDsor orother otherscreens screenson onthe themonitor monitor when whenthey’re they’rerunning. running.Make Makesure surethe themonitor monitor screen screenisisclean; clean;this thismay mayseem seemtrivial, trivial,but butitit can canmake makeaabig bigdifference. difference.

When adjusting chroma, turn on your monitor’s blue-only setting, if available, then calibrate the monitor by matching the top and bottom portions of the bars.

May 2015

For video monitors, you’ll need to send color bars to the monitor. On a shoot it is best to get color bars from your camera, but you can use the color bars from the monitor, if it has that option, or from any device that you can hook up to your monitor and feed color bars, like a media player, pattern generator or a computer. For monitors used in post-production, you’ll need additional hardware to send a video signal from your computer to your video monitor, unless your current hardware already supports this option. Most hardware interface makers like Blackmagic Design, AJA and Matrox list the software their products work with on their websites. Once you have the hardware you need installed and recognized by your software, it’s just a matter of finding the color bars in the software and sending the signal to your monitor. Color bars are grouped with other test patterns in some software.

NTSC Video Monitor Calibration with Color Bars

This is the broadcast standard method to calibrate a video monitor. It’s a qualitative method of calibration, so it can be a challenge to calibrate multiple monitors to match each other. Since colorimeters accurate enough for broadcast use are very expensive, the qualitative method remains the preferred calibration choice. 1. Turn on the monitor and allow it to warm up for a few minutes (this will take longer on older CRT monitors). 2. Make sure that your color bars are being sent from your camera, editing computer or other device. Switch to the right input on your monitor to see the bars if you’re not already seeing them. 3. Adjust your monitor’s brightness, contrast, chroma and phase to their midpoints.

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4. Notice the three short black bars on the lower right side of the screen

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basic training

May 2015

below the red bar. These are called PLUGE bars (Picture Lineup Generation Equipment bars). Turn the chroma all the way down so that the image on screen is in black and white. 5. Look at the PLUGE bars. The bar on the left has a value of 3.5 IRE, the middle 7.5 IRE and the right 11.5 IRE. Since 7.5 IRE is the darkest signal that can be produced in NTSC, you’ll want to adjust the brightness so that the left PLUGE bar and the middle PLUGE bar are the same as the larger black square next to them. The right PLUGE bar should just barely be brighter than the middle and left PLUGE bars. 6. Turn the contrast up all the way. The right PLUGE bar will become very bright. Turn down the contrast until you can just barely see where the bar is again. If the contrast is too high, the white square at the bottom left will start to bleed over onto the adjacent colors; this is very common on older CRT monitors. Turn the contrast down until the white square is well defined again. Now your luma is set; it’s time to work on the chroma. 7. Turn the chroma up to its middle position. Turn the “blue only” button on. Now at the top of the screen you’ll see alternating blue and black bars. For SDI, HDMI and component signals, you’ll only need to adjust the chroma so that the tops and bottoms of the blue bars match. For Y/C (S-Video) and composite, you’ll use the chroma to adjust the outside blue bars and the phase for the inside blue bars until the tops and bottoms match. Notes: You really shouldn’t be making color decisions based on a composite signal sent to your monitor. Composite video signals lack the quality of color reproduction needed for such work. If you’re working with a consumer monitor, brightness may be called picture, chroma may be called color and the phase may be called hue or tint. Consumer monitors may not have all of these adjustments and won’t have a “blue only” button so you’ll have to do some adjusting by eye. Once your monitor is calibrated, don’t change its settings. If you don’t have a waveform, vectorscope or histogram, your monitor is the only guide you have to the quality and accuracy of your video. If there is a change in

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light that causes your monitor to look a little off or if flesh tones or other colors don’t look accurate, restart the calibration process from the beginning. Also don’t forget to perform periodic calibrations, especially on older monitors.

Calibrating a Computer Monitor

Computers don’t use the same color space as HD video, so you can’t just use NTSC color bars to calibrate them. There are a number of colorimeters available that work in conjunc-

caLibrating YOur mOnitOr wiLL heLp YOu see YOur fOOtage mOre accurateLY — but it’s nOt a magic wand. tion with software to automatically calibrate your computer’s monitor. Companies like Datacolor, X-Rite and SpectraCal make calibration tools for a number of workflows that range in price from affordable to specialtyonly. Some monitors built for color accuracy come with the hardware and software needed to calibrate them. You can manually calibrate your monitor using test patterns designed for computers. Both the current versions of the Windows and Mac operating systems offer color calibration tools, but these are not ideal for accurate calibration. There is software available with test patterns and guides to help you use them, but for most users it’s a very difficult process. For the small jump in price, you can often get better results from hardware calibration systems.

Conclusion

Calibrating your monitor will help you see your footage more accurately, but it’s not a magic wand. Your monitor will still be limited by the dynamic range it can reproduce as well as the accuracy of its color reproduction. Still, a properly calibrated monitor is the only way to know how your footage really looks. With a bit of practice, you’ll be calibrating your monitors in no time and improving the quality of your productions every step of the way. Odin Lindblom is an award-winning editor whose work includes film, commercials and corporate video. You can comment on this article by going online: www.videomaker.com/article/17816

VIDEOMAKER >>> MA y 2015

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shooting

Shooting with Discretion

by Peter Biesterfeld

Bulky cameras and gear can be intimidating, ruining your chances at recording something truly candid. Sometimes, getting the shot you need requires a bit more discretion.

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narc narc (2002) (2002)

In Joe Carnahan’s gritty 2002 good-copbad-cop thriller “Narc,” the director kept it real by shooting some scenes guerillastyle with a hidden camera. There’s a montage in the film where two actor playing cops are out in the streets of Detroit questioning unsuspecting real people about a not-so-real murder. The camera captures it all with a documentary rawness but from a distance, on a long lens and according to the director’s commentary, from inside a van. This is an unusual approach for a scripted film because we usually associate candid shooting with nonfiction storytelling such as documentaries and video journalism. If you’ve ever tried shooting unscripted fly-on-the wall video, you’ll know the challenges of shooting without attracting attention. Before we unpack some of the tricks for capturing useful candid video footage without spooking your subjects, let’s first talk about why you’d want to.

Hidden Camera Investigations

The BBC has guidelines for secret shooting in its handbook for independent producers. The UK broadcaster stipulates that the footage must be “necessary to the credibility and authenticity” of a story, and its publication must be in the public interest. What comes to mind is a pencil camera poking through a hole in a briefcase shooting secretly in an institution for an exposé on elder abuse. Or think of a GoPro mounted out of sight in a hard-to-get-at place recording the mistreatment of animals in a factory farm. Let’s not forget also the classic hidden-camera gotcha show, “Candid Camera,” and their memorable tag line.

Capture more candid shots by keeping your camera low-profile. Smartphones are so common that people won’t think twice about one sticking out from a shirt pocket, but this can be an ideal setup for covert shooting.

May 2015

Most of us, however, are not in the business of covert recording and our needs for candid video are probably much more mundane. We might require a street scene for a documentary or some action shots of people being themselves in a variety of settings and situations at work or at play. It could be street performers, kids feeding the pigeons in a public square, interesting characters just hanging out in the hood or a group of old-timers having a kick-about in a park. Depending on the subject matter of your story, these scenes would certainly add colorful actuality to your non-fiction film. In order to remain unobtrusive so as not to interrupt what’s going on, the need for discretion, if not downright sneakiness, remains as high a priority as it does for capturing investigative footage of wrongdoing. But how do you go about it?

spy-cams that you can hide in a pen, palm-sized digital camcorders you can set up out of sight almost anywhere or even smart phones that you can casually hold in your hand or tuck into a pocket. Big lenses and tripods are attention-getters when set up in a busy place, but if you’re shooting from a distance you can achieve nice-looking results of people traffic or other kinds of activity. These images can be quite telegenic when shot with selective focus on a telephoto lens, but removed from the action, these kinds of visuals don’t involve the viewer emotionally. For that you have to move closer to the action and consider shooting with less obtrusive gear. A DSLR or even a bridge camera that shoots video or a palm-corder set up on a bench will do the trick.

Blending In

Street photographers suggest not wearing bright clothing when doing candid shooting and leaving your fancy oversized camera bag at home. If you know you’ll be shooting in unfamiliar terri-

By using a GoPro or similarly sized camera, you reduce the likelihood of being noticed. Ditching the tripod and making use of another solid surface already present in your environment is another way to avoid attracting attention.

tory, it’s a good idea to scout the location ahead of time. You can pre-visualize your shots and identify suitable camera positions. No tripod, please. Shooting without a tripod means you need to find other surfaces for camera placement to get stable shots — benches, mailboxes, the sidewalk, the base of a statue, steps of a building, even the hood of a car, if it’s yours.

Size Matters

The mantra for shooting discreetly in public goes like this: the smaller the camera, the less likely it is that people will notice you going about your business. Depending on the content you’re trying to capture, there is a range of camera gear available to do the job — VIDEOMAKER >>> MA y 2015

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shooting

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Permissions and releases the ground rules: You are permitted to shoot and digitally record in a public space as long as you are physically in that public space. You cannot trespass on private property to shoot. You can, however, record private property if you are in a public space when shooting as long as you are not using intrusive technologies such as telescopic lenses. the First amendment is protective of the rights of documentary makers and news shooters because, as it turns out, people’s privacy rights over what they do in public are not nearly as well protected as in private. however, there are right of publicity laws that protect people from having their images exploited and misappropriated for commercial use as opposed to other uses. Commercial use of a person’s likeness almost always requires that the filmmaker have the subject sign a release form.

THE OM-D E-M5 Mark II For example, if you use footage you shot of shoppers and vendors at the market in a news item or a documentary, you’re in the clear, but if you want to use some of those shots in a commercial or corporate video promoting the vendor’s business and wares, you’ll have to hunt down those customers and have them sign releases.

One technique for remaining unnoticed is to ignore the camera once it’s rolling and simply look casual. Or, look like you’re shooting something else; pretend you’re a tourist and shooting something off in the distance. The idea is to get your shot quick and get out. No fiddling with the gear. Have your focus, exposure and white balance set before you place your camera. Framing up your shot can be tricky. You don’t want to attract attention to yourself by moving the camera around until you’ve finally found the perfect angle and composition. If you’ve scouted the location, you can take out the guess work of how and where to set up. Make sure you’re zoomed out to a wide angle to ensure stability and depth of focus. Act natural. Of course, if you can live with some instability in the shot, shooting off the hip can produce intimate, close results as you move through or near the action. Be sure to turn off your record light. Don’t huddle over the camera to monitor and ride audio levels. Set one of the channels to automatic. This ensures that your audio won’t be ruined by loud, unexpected sounds such as construction machinery and sirens.

Dare to dream.

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Covert shooting techniques and appropriate gear don’t mean a thing if you haven’t got the confidence for candid videography. Most of us are self-conscious when pointing a video

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camera at total strangers in public places. How do you get over that?

Short answer: Practice. Just do it.

Longer answer: Consider why you’re doing it. You’re doing it for art — to bring authenticity to your story. You’re not shooting to exploit anybody or to invade people’s privacy. You’re not shooting on private property. You’re not doing anything wrong. If somebody catches you shooting and challenges you, you could read them the First Amendment, which protects your rights as a filmmaker when shooting in public places. However, it’s much better policy to just simply smile, be nice and engage them. Have a wee chat about what you’re doing and why. Transparency is the best policy. Or, you can simply ask for permission. A colorful market scene is busy with shoppers and vendors interacting. Before turning the camera on, catch the vendor’s or the shopper’s eye and confirm that they’re good with you setting up and shooting. Most people will be okay with that. Asking for permission is a good way to start out as a shooter of candid video. It breaks down your self-consciousness and develops the confidence you need to carry out this kind of slice-oflife shooting.

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Peter Biesterfeld is a seasoned script-to-screen television and video producer and trainer specializing in documentary. You can comment on this article by going online: www.videomaker.com/article/17815

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Directing

Rehearsing Rehearsing with with Actors Actors

by by W.H. W.H. Bourne Bourne

How do you extract the best performance from your actors? Rehearsal

can be the key. As the director, your job is to steer your actors toward emotionally rich performances.

want to offer at the table read, or you may want to save this information for a private discussion with the actor. Immediately after the table read, an intimate social such as a BBQ or wine and cheese party can be a great opportunity to let your team’s creative juices flow. Besides being the perfect opportunity to let cast and crew become better acquainted, it’s also a great time for individuals to have access to the entire team to ask questions or seek clarifications.

The Value of the Director as an Acting Coach The pre-production process is important for your entire production team. Once actors are cast, they are often overlooked until it’s time to shoot — with the exception of an occasional costume fitting or two. While it’s difficult for a director to juggle so many tasks, particularly on low budget productions, the time you spend with your actors in pre-production can save you both time and money during production and post.

Casting

It’s impossible to discuss the rehearsal process without briefly touching on the casting process. It’s difficult for an actor to deliver a great performance if he’s struggling to learn his lines. How can you tell if an actor will be able to quickly learn lines? Directors have a great opportunity during the casting process to discern this valuable piece of information. Give your potential actors one or two days to prepare for the audition by

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providing the sides (short excerpt of the script) in advance. If an actor doesn’t know his lines, he can’t act; he’s simply reading the sides. Many Hollywood directors will not consider casting an actor if they do not know their sides by audition time. If you don’t provide the sides to your potential actors in advance, you’re really missing out on an invaluable piece of casting information.

The Table Read

Typically at a table read, both cast and key crew will gather for an informal read-through of the script. Depending on the size and scope of your produc-

Workshopping scripts with actors, either individually or during group table reads, allows you to collaborate on character development and identify potential weak points in the story and dialogue.

VIDEOMAKER >>> MA y 2015

may 2015

tion, tion, you you may may consider consider more more than than one one table table read: read: aa creative creative read read for for the the actors actors and and aa technical technical read read for for the the crew. crew. Stress Stress to to both both cast cast and and crew crew that that the the read-through read-through is is workshop workshop time time to to explore explore the the script; script; it’s it’s not not about about perperformance. formance. Additionally, Additionally, you you may may find find itit beneficial to record the process. beneficial to record the process. Your Your writer writer should should be be present present for for the the read-through read-through with with the the cast. cast. Any Any dialogue dialogue that that does does not not sound sound natural natural should be changed now. should be changed now. In In general, general, this this is is the the time time to to isolate isolate any any final final problems problems with with the the script script and and get get aa re-write. re-write. Often Often times, times, your your actors actors can can offer offer great great suggestions suggestions for for problem problem areas areas of of the the script, script, including including dialogue dialogue replacement, replacement, particularly particularly ifif dealing dealing with with accents accents and and ethnic ethnic references. references. Film is a collaborative Film is a collaborative process, process, and and it’s it’s imperative imperative not not to to consider consider the the script script an an iron-clad iron-clad document. document. While While itit is is important important to to be be respectful respectful of of the the source material, the script will morph source material, the script will morph over over time, time, changing changing with with interpreinterpretations tations by by the the director, director, actors actors and, and, finally, finally, the the editor. editor. Don’t Don’t be be afraid afraid to to stop stop the the table table read read to to allow allow your your actors actors to to ask ask quesquestions: tions: What What is is the the character’s character’s motivamotivation? tion? What What is is the the character’s character’s back back story? These are answers story? These are answers you you may may

Did you know that many A-list Hollywood actors have acting coaches? While your cast may not have access to or be able to afford an acting coach — particularly if you’re not paying them — that doesn’t mean that you can’t be that coach for them. An acting coach will usually help the actor break down the script. While it’s difficult as a busy director to spend that much time individually with each actor, you can still provide the same

homework assignments that an acting coach would. Remember, the goal isn’t to have your actors doing busy work. Make it meaningful and interactive. Your feedback will speak volumes. First, have your actor map out his character arc throughout the script. Where is his character when the story begins and ends? What are the major turning points for that character? If neither the writer or the script has provided a backstory for your actor’s character, ask your actor to write up a brief biography for the character. It’s important that you work with the actor on this assignment to ensure that this backstory does not conflict with the script. This is also a great opportunity for you to share with your actor your thoughts on the character’s motivations and backstory. Again, this is a collaboration. There are no right or wrong answers. You want to support your actor and allow him to own this character. Have your actor take a step out of the character’s mind and look at the character’s physicality. Is the character anxious all the time? How

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Directing

may 2015

would the actor physically manifest this? Maybe your character served in the war and now has a pronounced limp. Maybe a character has low self-esteem, and the actor interprets this by slouching. If you encourage your actors to explore a character with more than just their facial expressions by incorporating their entire body, they’ll achieve a better performance. Consider the character’s voice. Read a scene with your actor. Ask your actor to deliver three different takes on that scene. Listen to the actor’s

RememBeR ThAT The ACTInG PRoCeSS TenDS To leAve An InDIvIDuAl FeelInG oPen AnD vulneRABle. voice. Is the delivery too soft, too hard, too edgy, not edgy enough, etc.? This is a great time to experiment — the stakes are low, and you’re not paying a crew to stand by and idly watch. Next, have your actor analyze each scene that she’s in. For each scene, she should notate the overall purpose of the scene; how does the scene move the story forward? She should also understand her character’s goal for that scene; what is her character trying to achieve in that specific scene that moves her toward her final goal or arc? Remember that the acting process tends to leave an individual feeling open and vulnerable. It’s important that your actors trust you and feel safe. You’ll get better results as a “coach” than as a “director.” Try not to criticize your actors. A

great approach to redirect your actor is to say, “That was great; now let’s try it a different way.” By doing this, you build confidence in your actor. It may be hard to be calm and supportive when the clock is ticking and crew are waiting, but screaming criticisms at your actors will tend to stifle their performances. By using a coaching approach in pre-production, you’re one step closer to ensuring a calm, encouraging demeanor when things get stressful on the set.

Rehearsal

There is a fine line between rehearsing enough and rehearsing too much. Because of this, there are some directors who will rehearse with cameras rolling. They might claim it’s to get a novice cast accustomed to the cameras or help a novice DP and crew prepare for actual shooting, but in many cases it’s to capture a unique performance by the actor — a performance that happens only when the material is fresh. With this in mind, some directors will rehearse parts of the script with the entire cast but save emotionally charged scenes for one-on-one work with the individual actor. For scenes that involve anger, rage, laughing or crying, utilize sense memory techniques with your actors. Ask them to recall an incident that evoked the emotion you’re trying to bring to a scene. Once they’re in that emotional space, rehearse the scene. Try to repeat this exercise with the actors until the emotion naturally occurs in the scene. If you have access to the set during rehearsals, you probably want to work on blocking. Different directors have different approaches for this. Some think that requiring the actor to hit specific

marks is distracting from the acting process. Actors trained for the stage typically appreciate blocking direction; cinematographers also like to know how the actors will be moving during a scene. Remember that movement is important. If you have a film where the characters just sit around and talk, your audience will get bored rather quickly. During initial rehearsals, see how your actors naturally move throughout the scene. Encourage them to be active on the set, embodying their environment with physicality. Unlike a play, many scripts do not have specific blocking information such as, “Character X crosses to upstage left to answer the phone.” If your characters don’t intuitively achieve the blocking of a scene, you will need to block for them. Allowing your characters to rehearse in costume can also be beneficial, particularly if you’re doing

If you’re looking to take your production to the next level, you should consider hiring professional actors. With tax incentives for film and television popping up in almost every state, it’s now fairly easy to find professional actors in many major metropolitan areas who belong to either the Screen Actors Guild (SAG) or the American Federation of Television or Radio Artists (AFTRA). Working with a professional cast can usually speed up your production by requiring less prep time and fewer rehearsals and by nailing a scene with fewer takes. Also, if an actor has managed to make it into the union, they are accustomed to showing up on time for early morning calls. Besides the

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contracts and paperwork, the biggest drawback to working with SAG-AFTRA actors is having to be mindful of meal breaks and turn around times, which can result in costly financial penalties. Dealing with any union can be challenging and SAGAFTRA is no exception; however, there are many very talented actors who belong to the union who will work for very reasonable rates, particularly if you are producing digital content for the web or low budget independent film. It’s definitely worth exploring the options at www.sagindie.org.

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Blocking out character movements in advance can be useful for both actor and cinematographer. Make simple place markers using gaffer’s tape to make sure movements remain consistent from one take to the next.

a sci-fi, fantasy or period piece. The costume and accessories can help the actor transform into character. Practicing in modern costumes can also be beneficial to actors, allowing the novelty of the wardrobe to wear off in rehearsal.

Rehearsal time isn’t just about practicing lines; it’s about establishing characters’ relationships with the other actors. If your characters are supposed to be members of a football team, get them to workout together and play football as a team. Particularly when

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Directing

Editing

may 2015

by W. H. Bourne

arder

Try h

was That

! great

Director’s Phrasing Guide DON’T

Be (happier/sadder/angrier).

Try thinking of a situation that made you feel incredibly (happy/ sad/angry), then we’ll try to channel that emotion.

You need more energy.

That last take felt very relaxed. Let’s try taking it up a notch.

I don’t think you’re trying hard enough.

Maybe we’re all feeling a bit worn out. Let’s take a break and come back to this more refreshed.

You’re misinterpreting the script.

Let’s make sure we’re on the same page regarding the direction we’re taking this scene.

Don’t talk so (fast/slow).

Let’s try that line again, this time with different pacing.

Can’t you get this right?

I think we need to try a different approach.

You’re too intense.

Wow! That was great energy. On the next take, let’s try a more understated approach.

I’m not happy with your performance.

I think I see some potential areas of growth here. Let’s talk about them on the next break.

Play that character like this.

Let’s talk through this character’s motivations.

You need to do it again.

That was great; now let’s try it a different way.

working with child actors, it’s important to facilitate a natural bond that characters would share such as a mother and daughter, father and son or siblings. Perhaps the actors might go together to a baseball game or a theme park in character. The more inexperienced your actors, the more time they should spend in character-focused bonding activities. Improvisation is also a wonderful opportunity to allow your actors to own their characters. Create a scenario for the characters outside of the script, and allow them to play out the scene. Perhaps you want the characters to play out the day before the script begins or moments before two characters meet. Improv can also be a great teaching opportunity; swap roles with your actors allowing them to step into the shoes of other characters in the script and gain perspective into the relationships as well as how each character fits into the unique world represented in the script. Get involved in the improv games by acting out characters in the script so they can see how you would embody that character without you directly saying, “Play that character like this.” Finally, prepare your actors for non-linear shooting during rehearsals. The novice ac-

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tor and the child actor can have difficulties shooting scenes out of sequence. Remember to rehearse scenes non-linearly with your actors so they will be prepared if you decide to shoot the last scene first.

Before Cameras Roll

Try to give your actors at least a few days off before you start production. This will not only ensure that they are well rested, but hopefully provide a freshness to their performance when they return to set. While reminding them of set expectations are important, remember to send them off on break with a positive mindset by praising them for their hard work during rehearsals. While rehearsals are important for the actor, they’re also an important opportunity for the director to practice saying, “That was great, now let’s try that a different way.” W. H. Bourne is an award-winning director; her most recent film played at more than 40 film festivals including international screenings. You can comment on this article by going online: www.videomaker.com/article/17817

VIDEOMAKER >>> MA y 2015

Software: Rent it or Buy it? With high-end editing software now available through affordable subscription services, many editors are debating their software choices and licensing options. We’ll examine the pros and cons of renting versus buying in the digital software arena. In the beginning, purchasing software on a floppy disc or dongle was the only option. The software was very expensive, but you owned it. You may have either purchased a computer or built one yourself, tailored to the specifications of that software, including the purchase of a specific operating system. The computer and software also worked great with your camera until you decided to upgrade that camera; now the software may not recognize the codec for the camera. Fortunately for you, the software manufacturer may have posted

WitH tHE daWn of digital doWnloadS, SoftWarE coStS WErE SuPPoSEd to dEcrEaSE. updates online. Additionally, owning a physical copy of the software provided the benefit of being able to re-install the software when you made repairs or upgrades to your computer. Until recently, this was the model of licensing software with which we all were familiar. With the dawn of the digital download, software costs were supposed to decrease, but in most cases, the only real noticeable difference was the immediacy of obtaining the soft-

ware. This was great if you needed a new piece of software to complete a project ASAP, but if you had any issues with your laptop or PC and needed to reload that software, you were on the phone with a help desk for hours. Digital downloads have now evolved into a subscription-based model. Adobe was a pioneer in the model and has now completely eliminated outright purchases of most of their software titles. While people are scooping up existing copies of older Adobe titles, Adobe has proclaimed that they will only provide updates for

their cloud-based subscription software. If updates and customer support aren’t important to you, then you may want to join the ranks of those searching for Adobe CS6 on disc. Depending on the software title, your only choice may be a subscription service; however, if you want to outright purchase, this may be a great time to try a new, alternative title.

Subscription Service

While software manufacturers have tried to extoll the virtues of cloudbased subscription services, many

SuitE for a SWEEt PricE Bundling software at a value is not a new concept — Microsoft office is a great example. companies tend to bundle software that complement each other; case and point is adobe creative collection. at first glance you might think, “Well, i only really need Premiere and maybe after Effects.” Purchasing these two subscriptions separately would cost almost the price of the full suite. for a little bit more, you can license some other wonderful software included in the suite that can be handy tools for your production toolbox, such as audition for more efficient audio cleanup, dreamweaver to create your website or Photoshop to create an advertisement. if you buy a bundle, be sure to check out the extra software titles included; there’s probably an unknown gem that can really increase your productivity or creative abilities.

V I D E O M AKE R > > > M Ay 2 0 1 5

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editing

May 2015

advertising index

May 2015

AJA Video Systems Inc. ___________ 15 Audio Technica ____________________ 7

When choosing whether to rent or buy a post-production software suite, make sure to weigh all your options. Consider long term cost and platform preference as you make your decision.

Perpetual License

believe the real reason for the shift is piracy, including using disc-based single-user software on multiple machines. With that said, for many, a subscription fee is more affordable than a large outright purchase — particularly on high-end software such as the Adobe Creative Collection, Avid Media Composer or Autodesk Entertainment Creation Suite. Updates are automatic, which does save a considerable amount of time and troubleshooting, particularly when your software no longer works because of a new codec. Many subscription services require a minimum 12 month subscription, but if you only need the software for a specific project, a one year subscription may still be cheaper than an outright purchase. Some companies, such as Adobe, offer a higher priced monthly fee for a subscription without any monthly minimum contracts. The most important thing you should be asking yourself when considering a limitedtime subscription is, “Will there be a need to be able to alter this project in the future?” In the past, some editors would use their older systems for archival purposes. Typically, they would buy software, build a system to run it on and then in a few years, replace the whole computer and get new software because it was easier than trying to upgrade the old computer. The old computer and software still worked, so they’d keep it around as a backup system or to do simple tasks on it to free up their newer systems. They could also access or update project files on that older system. You can’t do that with subscriptionbased software; older computers will be stripped of their software when the new ones arrive. There are some potential downsides to subscription-based services that many have not experienced yet. For instance, what happens when the software company decides you need

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to upgrade to newer minimum hardware specs or a new operating system and you’re not ready to make that purchase? Will you be able to access and alter older projects once the software has upgraded, particularly if you’ve had to upgrade your OS or computer hardware? There are many unanswered questions regarding subscription-based software that will only be clarified with time. Subscription services are part of a new landscape that utilizes the cloud to host software and encourages users to also save content there. As we saw recently with the Sony hack, online files can be compromised. How sensitive are your files and projects? How vulnerable is your computer online? How effective is your virus protection and your firewall? Even though you may only have to go online once a month to update your software, for many editors having a computer online is a foreign and scary concept.

Know before you buy.

Most software offers anywhere from a seven-day to a 30-day free trial. Some watermark your project or offer a limited tool set while others let you experience the complete package for free. If you can’t decide during a free trial period if a piece of software meets your needs, a subscription might be a good option for you. Pay attention to the minimum subscription time to ensure that the trial is really cost effective.

Don’t forget the free software.

If the dilemma of whether to purchase or rent is confusing, there is an abundance of free software to cover everything from screenwriting to editing to visual effects and color correction. Now if there was only a free camera! Celtx, Lightworks and Blackmagic Design’s Fusion 7 and DaVinci Resolve 11 Lite are great options if you can’t af-

VIDEOMAKER >>> M Ay 2015

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If you’re locked into a particular editing platform, you may not have much choice regarding whether to rent or to buy. Having flexibility when it comes to software brand can greatly increase your licensing options.

ford a subscription, although many award winning editors and VFX artist also love these titles — and they can afford to pay more!

Do the math.

In the end, it may come down to mathematics and economics. You should always evaluate the outright purchase price for the software as opposed to renting it. How many months of renting would equal or exceed the purchase price? If you’re a small production company that selects software to support the cameras you shoot with and purchases a computer to run that software, you may want to look at how often you upgrade your cameras to decide if a subscription or outright purchase is more cost effective for you. What’s important to note is that an outright purchase could be a better option because, as long as you’re using the same cameras, your editing software should provide everything you need without

updates, allowing you to use the same computer and editing software for as long as you use those cameras. However, if you want the latest bells and whistles from a VFX program that’s in the same software suite, you’re looking at frequent upgrades, in which case renting may be a better option. For high-end software, if working on a particular platform is essential to you getting a job, a subscription may be the answer for you. Finally, it’s important to note that a few software manufacturers are providing a monthly installment plan toward a purchase; for example after 12 months of a fixed payment, you own the software outright. This truly seems to be the best of both worlds and perhaps more manufacturers will consider this option. W. H. Bourne is an award-winning director; her most recent film played at more than 40 film festivals, including international screenings. You can comment on this article by going online: www.videomaker.com/article/17813

Glidecam Industries Inc. ___________ 47 G-Technology Inc. ________________ 17 JVC Professional Products _________ C4 Kino Flo _________________________ 27 Libec Sales Of America ___________ C3 Marshall Electronics. ______________ 53 NewTek _________________________ 19 Other World Computing ___________ 41 SanDisk __________________________ 5 Showcase Photo & Video __________ 51 Sony Professional Solutions Americas _ 13 VideoGuys _______________________ 55 Videssence ______________________ 43 Videomaker - Subscription Alert ____ 45

V I D E O M AKE R > > > MAy 2 0 1 5

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Audio Audio

audio

mAy 2015

byBlag Blagivanov ivanov by

Event and Concert Audio Both technical and practical knowledge is required to make high quality audio recordings, especially when confronting the unique challenge of concert and event settings. Recording audio in any setting is a task that can be easily overlooked or over-complicated. This article will provide a feasible and sane middle ground by illustrating three common usage cases with their specified resources and approaches explained in the second half of the article. The following cases illustrate common event audio recording settings.

Case 1 - Bands

The first example involves a touring band that is filming a tour video. The video producer is also tasked with capturing the audio at each show. When possible, try to call or email ahead to find out the specifics of each venue’s sound and stage setups in order to give yourself time to plan your approach and inventory.

Case 3 - Interviews

The third case requires roaming interviews with guests at an event. As the sound operator, you will be working alongside a camera operator. The most professional option will be to use a higher-end camera that supports external inputs where you can attach a camera mounted wireless microphone system. Such systems can support both handheld and lavalier microphones. The camera will be doubling as the audio recorder in this case.

Drums

Paired Stereo Mics

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Multi-channel Audio Recorder

Auxillary Outputs

Guitars

House Mixing Board Main Inputs

Vocals

Vocals Guitars Drums

If possible, capture audio from the house mixing board using the auxiliary outputs when in a live concert setting. A pair of stereo microphones can also provide a natural mix of stage and crowd, if properly positioned.

more control at the pre and postproduction stages. Alternatively you can use a stereo pair of cardioid microphones located near the stage to capture a natural blend of stage and Front of House sound. Experiment with their placement until you are satisfied. Be careful to keep the microphones out of the way of the audience and band. This setup can be used in conjunction with a board mix. Separately, these techniques will require a minimum of a two-channel recorder or interface. It is recommended that you have at least a fourchannel recorder.

A recorder such as the Zoom H6 will offer a flexible combination of external inputs and interchangeable microphone modules. This offers a solid standalone option in the event that the techniques listed above are not feasible. It can be easily used in handheld, shotgun or stereo microphone configurations. A camera with an attached shotgun microphone can be used in certain situations, but will require the camera operator to consciously track the sound source. As a last resort, you can use a console’s Tape Out to send a basic twochannel line mix to a recorder.

forward method of recording. Locate the auxiliary outputs that you can use as your mix source. The auxiliaries are commonly located by the mixing console’s output section alongside the main, buss and sub group outputs. Aux groups are great since you can independently dial in levels for each contributing channel and build a flexible mix. You can also use multiple auxiliary outputs to create a more detailed mix in which you assign the channel strips to multiple auxiliaries for more control. For example drums (aux 1-2), guitars (aux 3-4) and vocals (aux 5-6). This can work with any variety of audio sources. If there are no spare auxiliary outputs, you can use subgroup/ buss outputs or the Tape Out. These alternative outputs afford less control since their levels are not independent from those of the channel strips.

Case 2 - Speakers

Recording Techniques

Stereo Microphone Recording

Backups The connection types you’re likely to encounter will include a mix of TRS (Tip Ring Sleeve) and XLR connections, depending on the mixing board’s outputs and the inputs of your recording equipment. Try using the mixing console’s auxiliary or subgroup outputs to record several groups of audio: vocals, guitars and drums. This can be done using three channels (mono) or six channels (stereo). A multi-group recording allows

Case 1 Band on Stage

Choose the microphone that best fits the situation in which you’re recording. If your subject moves while talking, consider a wireless lavalier setup. For more static presenters, it’s safe to rely on a stationary mic.

The simplest and most practical approach is to record a two-channel feed from the mixing console. The signal can be from the auxiliary or Main LR outputs in this case.

VIDEOMAKER >>> MA y 2015

The second case involves a set of lectures and presentations that feature multiple speakers. You are tasked with capturing the audio. Your toolset will make use of fixed podium microphones, hand-helds and lavaliers. Choose your microphones to best suit the needs of the lecturer. Do they stand still or walk around? Wireless hand-held microphones and lavaliers are suitable for mobile presenters, whereas stationary microphones work well for podium presenters.

These are the most common approaches to recording audio at a live event and are easily scaled to suit the event type. It cannot be stressed enough the importance of selecting a suitable point of intercepting the audio signal. This selection will determine the degree of control you will have of the mix during recording and post-production.

Two-Channel and Group Recording This is the most practical and straight-

There is an art to picking a static listening position that provides the best natural blend of stage and frontof-house sound. A basic approach is to use two matched cardioid microphones in a X-Y pattern using a stereo bar. Stereo microphone techniques do require some research and practice.

Recording Mediums

When working with digital audio for video, always double-check your file V I D E O M AKE R > > > M Ay 2 0 1 5

format, sample rates and frame rates. Common audio settings for video include WAVE audio, 48KHz 24bit at 29.97d fps. Recording audio on a separate system is referred to as Dual System Audio.

Portable Recorder My current choice is the Zoom H6 because it offers six channels of input and interchangeable microphone modules. These features allow the H6 to functionally compete with some multi-input interface and DAW (Digital Audio Workstation) setups. Higher end cameras offer auxiliary XLR inputs and so can also function as audio recorders.

Audio Interface/Digital Mixer and Digital Audio Workstation While less portable, this method can be scaled to accommodate just about any number of channels and benefits from having a full DAW environment handling the recording. This will enable anything from a simple twochannel to large format multi-track recordings. Digital mixers are common with larger touring acts.

Microphone Selection

Choosing the right microphone for the job can make a night and day difference. Here are some options.

Dynamic and Condenser

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The important differences to be aware of are that dynamic micro-

audio

tivity, but require phantom power, which is most commonly +48 Volts DC and is available in all mixing consoles and the majority of portable recorders.

These patterns refer to a microphone’s directional sensitivity at different angles relative to the front of the microphone. Omni-directional microphones have a 360° sound field. Bi-directional microphones have a “figure eight” pattern and reject sound from 90° and 270°. Cardioid microphones are named so because of their inverted heart-shaped (cardio) pattern and offer good front and side sound field sensitivity and some rear rejection. Super and hyper cardioid microphone options offer increased direc-

CAble ConneCtions referenCe guide The large variety of connection choices can sometimes be challenging. Fortunately there is a method to the madness that makes a functional inventory and setup easy. AdApters adapters can add additional points of failure in a system and generally should be avoided when possible. If you absolutely must use them try to keep it simple with XLR to TRS, dual phono to single 1/8 and 1/4 to 1/8 adapters. AnAlog all recording and mixing consoles will feature a common set of analog outputs. Common analog connection formats are: • XLR (Microphone cable) – Balanced • 1/4 TRS (Tip Ring Sleeve) – Balanced • Can use XLR and TRS jacks at either end • 1/4 TS (Tip Sleeve) — Unbalanced • Composite/Phono – Unbalanced Industry best practices encourage the use of balanced connections since they offer much better insulation against interference, longer cable runs, and matched signal and impedance levels. What is important is that balanced connections carry cleaner and better sounding signal over much greater distances.

ontents

contents

digitAl Digital Connections are oriented toward large-scale events since they allow for high numbers of channels

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62 336 C4 Audio.indd 62 336 May 15 Digital Edition.indd 33

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may 2015

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Polar Patterns

The Zoom H6 and similar portable audio recorders offer flexible and convenient recording but are not as robust as larger mixers and digital audio workstation setups.

phones do not require phantom power and are generally less sensitive and more capable of dealing with higher sound levels. Condenser microphones offer increased sensi-

audio audio

may 2015

to be transmitted using very few cables. It is good to be aware of these connection types since you will inevitably encounter them. Common digital connection formats are: • AES3 Formats • XLR – 100 meters is the absolute transmission range limit • MADI (coaxial cable with BNC connector) • 56 channels FullPageAD_NEWTemplate.indd • Needs dedicated signal clock • Optical cable and Cat five cable variants • MADI-X (coaxial cable with BNC connectors) • 64 channels at 48KHz 24 bit, 32 channels at 96KHz 24bit • Needs dedicated signal clock • Optical cable and Cat five cable variants • S/PDIF (consumer/domestic derivative) • Coaxial/Composite cable – two channels (10 meter limit) • Optical cable – two channels • ADAT (optical cable) • Lightpipe – eight channels at 48KHz 24 bit • S/MUX – four channels at 96KHz at 24 bit, two channels at 192Khz at 24 bit

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tionality and sensitivity at the rear of the microphone.

Hand-held These microphones include both standard microphones and their broadcast-themed variants. Both types come in wired and wireless configurations. The common polar patterns are omnidirectional and cardioid. Hand-held microphones are used for both vocal and dialogue applications by singers and journalists alike.

Lavalier Also referred to as a lapel or clipon mic, these microphones usually feature wireless packs and are great discrete options for picking up speech and dialogue during interviews and presentations.

Shotgun

Optical connections are immune to electrical interference and ground loops. The most common of these is MADI since it allows for 56 or more channels to be sent large distances via a single cable, usually from an equipment rack somewhere backstage to the Front of House mixing station.

Shotguns are highly directional microphones that feature a narrow polar pattern that picks up sound directly in front. This makes it the preferred choice for on set, voice replacement and sound effect recordings. The operator must be careful to keep the microphone pointed toward the sound source. C

FullPageAD_NEWTemplate.indd 48

Pressure Zone Microphone

Also referred to as boundary microphones these are commonly used in stage productions and capture reflected sound from nearby sources. They are used for large stage groups in both dedicated and reinforcement roles.

CMY

Ready to Record

As with any production, the best approach is to familiarize yourself with the relevant event details in advance. With planning, aiming for a quality recording does not have to come at the expense of practicality.

NEWZ

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Blag Ivanov has a B.a. in Recording arts from California State University Chico. He is a freelance media and web professional.

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63 3/20/2015 8:10:193/20/2015 AM 8:12:50 AM

Production tiPs by Russ Fairley

Video Production Nightmares:

How One Mistake (Almost) Ruined My Shoot The shoot was for a public service announcement helping bicyclists to operate around traffic on the road, and vice versa. An expert was to speak live on camera and interact with a cartoon version of himself, which I was filming, converting to cartoon form and adding in during post. I had done some similar projects in the past, and this one was shaping up to be really fun.

On Set

Though I had another body on set to assist with camera operation while I directed and fussed over the lights and talent, it was my job prior to shooting to prep every piece of gear and perform tests to ensure everything was working as it should. Having run a few minutes late, I tested everything. At least, I’m pretty sure I tested everything. I mean, it all looked right, so that’s good, right? Woozy from skipping breakfast and too much coffee, I put my head down and got to work.

Shooting Begins — The Morning

Starting outdoors, we enjoyed the benefits of a sunny day. That big 5D sensor gobbled up the sunlight and returned beautiful imagery. Even on the Canon’s tiny screen, it was easy to see that our footage was going to be perfect, and a quick playback of a clip proved our audio was indeed captured and was bright and clear. Between indoor and outdoor shoots, the crew, client and talent broke for lunch. Wanting to check some emails, double check lighting, and get off my feet, I opted to stay and prep for their return. I was hungry, but I would feel better knowing that the set was perfect for the afternoon.

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Shooting Continues — The Afternoon Moving indoors our talent was getting more comfortable on camera and we jumped right into capturing our green

screen shots. Refuelled from a good lunch, his delivery was crisp. We packed the bulk of the gear up, just leaving cameras on tripods off to the side while we did a bit of “just in case” work. With differing conditions inside and outside of the building, there was a bit of concern that audio wouldn’t match up very well. With a script of only about 20 lines of dialogue, it was decided to have the talent perform his lines for a separate audio recording. It was a precautionary measure, but heck, extra measures are always welcome when back at the editing desk, as I would soon find out. By dinner time we had wrapped everything. New audio was captured, our shot lists had been entirely checked off. The client and talent were enjoying that post-shoot euphoria that often occurs when they’re sure that we just nailed something.

Packing Up

Packing up the cameras and tripods I noticed something — the cable connecting the camera we used indoors to its Beachtek adapter was connected only to the camera. The other end of the coiled cable dangled lazily about an inch from where it should be connected. Hmm — that could be a problem. Having one hungry foot out the door, I figured that we probably partially tore down the camera when moving it to the side of the room following the shoot. Into the bag it went, and off I headed.

The Aftermath

As it turned out, the cable was never connected. My heart sank as I reviewed footage and heard only the distinct sound of the Canon’s internal microphone capturing the scenes. I could hear the camera operator breathing and fidgeting over the audio of the talent. The steady ticking of the camera writing the file to CF card was clearly audible. The din of a large room was completely obvious. VIDEOMAKER >>> MA y 2015

I was ruined. As I usually do, I started putting together the pieces I had. Compositing the keyed footage over the outdoor shots was a breeze. Planning and experience made putting the pieces together simple. Unfortunately, experience also told me I had real trouble on my hands with that terrible audio. Upon closer examination, the cartoon version of our actor had the right look, but part of that look was less definition in much of the fine features, and only the really big stuff — glasses, helmet, bike, etc. — stood out. This would play into my favor: Taking the audio we recorded at the end of the day as a precaution, I dubbed all of the cartoon actor’s lines over, save for the very last one, which we must have overlooked in our rush to get finished for the day. With the lack of clear definition, it was easy to sell the ADR audio as the cartoon voice. After delivering the video to the client, I awaited revisions and crossed my fingers. A short time later the client logged into the review and approval site and watched the video. 15 minutes passed. Then 30 minutes. It was agonizing. After an hour, a single annotation appeared over the video: “Looks great — fix the audio on the last clip.” So there it was. A tired, starved, and rushed post-long weekend shoot ended with an explanation about an unhooked audio adapter, a full day of audio tweaking to try to clean up the straight 5D audio on a three second clip, a promise to try harder the next time and a large glass of red wine. Lesson for myself? Eat meals, take breaks, don’t skip anything.

contents Russ Fairley is a writer, producer and musician. You can comment and rate this article by going online: www.videomaker.com/article/17828

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