SLIDER TEST WHICH ONE WILL MAKE YOU A SMOOTH OPERATOR?
Taking videography to the next level Spring 2014
WWW.DSLRMOVIE.CO.UK
The case for 4K Don’t upgrade until you’ve read this feature!
FROM THE PUBLISHERS OF
How much kit do you need?
Three moviemakers reveal the bits of gear they simply can’t live without
PLUS Keeping it simple How one director used a GH2 & EOS 5D MkII to make a movie HDSLRSPRING14_01 (COVER)subbed.indd 1
Continuous lighting Light up your life (and subjects) with one of these seven portable solutions 23/01/2014 15:00
PHOTO YOUR IPAD WAS MADE FOR THIS… A B S O L U T E
• OVER 30 MINUTES OF VIDEO AND AUDIO • • TOTALLY INTERACTIVE GEAR REVIEWS • • BEAUTIFUL INTUITIVE DESIGN • INTERACTIVE TECHNIQUES• • UNMISSABLE FEATURES •
Experience the incredible Absolute Photo magazine for yourself
HOUSEAD.indd 1
23/01/2014 14:35
NEWS ROUND-UP
CONTENTS
The Advance of 4K
4 News The latest launches & announcements.
Technology never stands still, and the more astute filmmakers are already looking at what the world of 4K can offer
10 Gangland style Why director Peter Stylianou chose to shoot a feature on the Panasonic GH2.
WKHP DFWXDOO\ IRU WKH YHU\ áUVW WLPH :KDW VKH WHOOV is a fascinating story, and it shows how those who are brave enough to take a few risks are inevitably the YHU\ VDPH SHRSOH ZKR UHDS WKH EHQHáWV RI OHDGLQJ WKH ZD\ EHLQJ WKH áUVW WR RIIHU IUHVK VHUYLFHV For Victoria the advantages were clear: she needed to come away from the session with Ben with VWLOOV DV ZHOO DV áOP DQG WKH XVH RI . PHDQW VKH ZDV able to have prints made from individual frames of the video footage. She was also able to crop within the video footage to give herself more choice at the áOP HGLWLQJ VWDJH HYHQ PDQDJLQJ WR FUHDWH VOLGLQJ WUDFNLQJ VKRWV ZKHUH QRQH KDG EHHQ VSHFLáFDOO\ VHW XS 7KH DGGHG øH[LELOLW\ LV REYLRXV So, are we seeing the start of a new format that wiOO VZHHS WKURXJK WKH ZRUOG RI YLGHR OLNH D EXVK áUH" My guess is it will be a slower process than that, but RQFH . 79 VFUHHQV VWDUW WR DSSHDU LQ SHRSOHÚV KRPHV on a more regular basis then the momentum will be LUUHVLVWLEOH DQG áOPPDNHUV ZLOO QHHG WR WDNH D ORRN Of course, when that time arrives Victoria will already be experienced in the use of this technology and will be able to state loudly on her CV that she LV ZHOO YHUVHG LQ . áOPPDNLQJ ,WÚV RQH RI WKH NH\ DGYDQWDJHV RI EHLQJ DQ ÙHDUO\ DGRSWHUÚ DQG VKH GHVHUYHV WKH DGYDQWDJH IRU WKH FRXUDJH VKHÚV VKRZQ 0DNH VXUH \RX GRQÚW PLVV WKH VWRU\ VKH KDV WR WHOO and I hope you enjoy the latest issue of the magazine which, as always, is packed from cover to cover with IHDWXUHV UHøHFWLQJ HYHU\ DUHD RI WKH EXVLQHVV
Terry Hope Terry Hope Editor Photo Professional
16 The case for 4K Victoria Grech answers the big question: do you really need 4K? 22 Making music Photographer Nick Layton describes his pop promo shoot. 29 What’s in the kitbag? Three photographers who’ve made the move to video tell us which bits of gear have contributed to their success. 36 Software reviews Two new editing packages on test: PowerDirector 12 & Pinnacle Studio 17 44 Essential accessories .LW '6/5 áOPPDNHUV FDQÚW GR ZLWKRXW 56 Group test: sliders Which slider will smooth your path to a successful shoot? 66 Buyers’ guide: continuous lighting Don’t splash out till you’ve read this.
Editorial Team Editor Terry Hope Editorial Contributor Jamie Ewbank Sub Editors Lisa Clatworthy, Hannah Bealey, Siobhan Godwood Advertising Team Commercial Director Dave Stone 01223 499462 davestone@bright-publishing.com Sales Director Matt Snow 01223 499453 mattsnow@bright-publishing.com Key Accounts Maria Francis 01223 499457 mariafrancis@bright-publishing.com Design Team Design Director Dean Usher Design & Production Manager Grant Gillard Publishing Team Publishing Directors Andy Brogden & Matt Pluck HDSLR Moviemaker Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridgeshire CB22 3HJ
Cover image: Dan Dunkley
The one thing that anyone working in the world of media realises very early on is that technology absolutely never stands still for a moment. No sooner have you got your head around one innovation than WKLQJV KDYH PRYHG RQ DQG \RX áQG WKDW \RXÚYH JRW WR deal with the next big thing. This constant upheaval contributes to the buzz that surrounds this area, and LWÚV SDUW RI WKH PL[ WKDW DWWUDFWV VR PDQ\ WR ZRUN KHUH EXW \RX KDYH WR WDNH FDUH \RX GRQÚW JR ZDVWLQJ \RXU time and money dashing up a blind alley. One of those things that a few people are inclined to be sceptical about at the moment is 4K which, IRU WKH XQLQLWLDWHG DQG ,ÚP JXHVVLQJ WKHUH SUREDEO\ DUHQÚW WRR PDQ\ RI \RX RXW WKHUH RIIHUV IRXU WLPHV the resolution of conventional HD. In short the quality is stunning, but there are some downsides, including the fact that very few people have the capability right now to watch 4K footage, while the áOH VL]HV FUHDWHG DUH QDWXUDOO\ PDVVLYH ZLWK DOO WKH attendant issues that creates. The thing is, however, there is kit available right now that can shoot in this format, including the EOS1D C DSLR from Canon, and just as we were going WR SUHVV 6RQ\ DOVR DQQRXQFHG D QHZ ÙDIIRUGDEOHÚ LH OHVV WKDQ e . FDPFRUGHU WKDW EULQJV WKH HQWU\ OHYHO WR WKLV DUHD GRZQ VWLOO IXUWKHU 6R LWÚV QRW going to go away, and the smart money is on 4K and resolutions that are higher still becoming the future of videography. One of those who makes sure she stays up to speed with advancing technology is Victoria Grech. She has written a feature for this issue describing a shoot she did recently with celebrity chef Ben Spalding, where she worked with the 1D C (two of
3
Printed in the UK by The Magazine Printing Company using only paper from FSC/PEFC suppliers www.magprint.co.uk
:KHQ \RX KDYH áQLVKHG ZLWK this magazine, please recycle it • HDSLR Moviemaker is published 12 times a year by Bright Publishing Ltd, Bright House, 82 High Street, Sawston, Cambridge CB22 3HJ. • No part of this magazine can be used without prior written permission of Bright Publishing Ltd. • ISSN number: 2045-3892 • HDSLR Moviemaker is a registered trademark of Bright Publishing Ltd. • The advertisements published in HDSLR Moviemaker that have been written, designed or produced by employees of Bright Publishing Ltd UHPDLQ WKH FRS\ULJKW RI %ULJKW 3XEOLVKLQJ /WG DQG PD\ QRW EH UHSURGXFHG ZLWKRXW WKH ZULWWHQ FRQVHQW RI WKH SXEOLVKHU å 7KH FRQWHQW RI WKLV SXEOLFDWLRQ GRHV QRW QHFHVVDULO\ UHøHFW WKH YLHZV RI WKH SXEOLVKHU
www.dslrmovie.co.uk
HDSLRSPRING14_03 (WELCOME)ljc.indd 3
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:07
10 TECHNIQUE BEHIND THE SHOOT
Gangland Style Weโ ve come across numerous cases of DSLRs and CSCs being used for professional assignments, but to shoot an entire feature film? Director Peter Stylianou tell us why he chose to work with the Panasonic GH2 WORDS JAMIE EWBANK
RADITIONALLY, THERE are two genres that are particularly well suited for young directors making WKHLU รทUVW IHDWXUH JDQJVWHU RU horror. The cult followings for both genres mean there are plenty of GHGLFDWHG รทOP IHVWLYDOV LQ ZKLFK WR get a screening, thereโ s little demand IRU H[RWLF RU H[SHQVLYH ORFDWLRQV DQG the effects required tend to be of the YDULHW\ WKDW FDQ EH PDQXIDFWXUHG DW home with smoke and mirrors rather than requiring a suite of dedicated CGI chicanery. On top of all that, the XVXDOO\ YLVFHUDO VXEMHFW PDWWHU RI ERWK genres is ideal if you want to make a real impact. No surprise then, that Peter Stylianou and his production
T
HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_10-14 (FEATURE FILM)SGljc.indd 10
IMAGES The choice of camera and the chapter structure RI WKH รทOP ERWK owe something to WKH PLFUREXGJHW RI the shoot.
company, Red Guerilla Films, chose WR PDNH D JDQJVWHU รทOP IRU KLV รทUVW IXOO OHQJWK IHDWXUH +DYLQJ ZULWWHQ produced and directed two shorts (Lunar and Sleeper), Who Needs Enemies LV D %ULWLVK JDQJVWHU รธLFN WKDW ZHDUV D IHZ RI LWV LQรธXHQFHV DIIHFWLRQDWHO\ RQ LWV VOHHYH WKH editing and speed effects will remind you of one notable genre director, the musical choices of another) whilst DOVR EULQJLQJ VHYHUDO QHZ WULFNV WR WKH party, notably a chapter-by-chapter VWUXFWXUH WKDW GULYHV WKH รทOP DORQJ DQG VRPH LQWHUHVWLQJ MX[WDSRVLWLRQV 7KH YLROHQFH LV HQRXJK WR PDNH you squirm, but Stylianou shows commendable restraint when skirting subtly around the edges of the SDHGRSKLOLD WKDW LV WKH SORWร V GULYHU www.dslrmovie.co.uk
23/01/2014 15:11
TECHNIQUE
What is a genuine surprise is Stylianou’s choice of camera. We’ve grown rather used recently WR VHHLQJ IHDWXUH áOPV WKDW KDYH included some DSLR footage, but in most cases they’re the sort of high-end, professional-only cameras that still seem a million miles away from the kind of kit a consumer might own. Who Needs Enemies, on the other hand, was shot primarily on a Panasonic Lumix DMC-GH2. It’s a great camera, one that’s won plenty of best buy awards, but it’s still something of a shock to watch a IHDWXUH áOP DQG WR UHDOLVH LWĂšV EHHQ shot on a sub-ÂŁ900 model. Shooting on a budget Both the choice of camera and the FKDSWHU VWUXFWXUH RI WKH áOP RZH something to Who Needs Enemies’ microbudget. “It was actually made for just over ÂŁ10k,â€? reveals Peter. “The LGHD VWDUWHG DV D VKRUW áOP Ă— 7ony And The Dead Man, which has now become a chapter in the full length áOP Ă— WKDW SURGXFHU 7RQ\ &XUULHU DQG myself put together. When I did the maths, I realised I could shoot that short for around ÂŁ200, not including equipment. From there we thought about cooking up more related short stories that could be shot on the same EXGJHW DQG FDOO LW D IHDWXUH áOP :H originally budgeted the whole project for around ÂŁ5k and Tony, my brother 1LN DQG P\VHOI VHOI áQDQFHG WKH project. In the end we went over this a little, but we’re not complaining.â€? Budget was a factor in Peter’s camera choice as well, albeit not the only one. Most modern cameras quickly end up with a set of shareable, user-created presets for particular FRORXU HIIHFWV EXW WKH RQOLQH áOP community often goes further than these manufacturer-sanctioned tweaks, and it was a more technical www.dslrmovie.co.uk
HDSLRSPRING14_10-14 (FEATURE FILM)SGljc.indd 11
11
“Who Needs Enemies was shot primarily on a Panasonic Lumix DMC-GH2. It’s a great camera, but it’s still something of a shock to watch a feature film shot on a sub-ÂŁ900 modelâ€?
hack that eventually helped Peter pick a camera to use. “I knew that using a DSLR was really the way to go, not only for its affordability but for the quality it offers,â€? says Peter. “To decide which camera to use I started some heavy research into DSLR video. The &DQRQV ZHUH P\ áUVW FKRLFH EXW DIWHU a few months of research on the tech forums the Panasonic GH1 seemed to be a frontrunner. The ability to hack LWV áUPZDUH DQG UDLVH WKH ELW UDWH really piqued my interest. I knew that 1080p on big screen was stretching it to begin with, pun intended, so
ABOVE By the time Peter had made his camera choice, the Panasonic GH1, the GH2 was coming out, so he decided to look at what the new model could offer
anything that could give the image more detail was the way to go. I also really liked the look of Panasonic *+ IRRWDJH WRR Ă— WKH FRORXULQJ DQG the motion out of camera was very impressive. What really sold it for me though was the Voigtlander Nokton 25mm lens. I could watch footage IURP WKDW OHQV DOO GD\ Ă— , ORYHG LW “Anyway, by the time I’d made my choice the GH2 was coming out, as was the Nokton 17.5mm. I like the 35mm look so I went for this combo. The GH2 wasn’t hacked yet, but I knew it was only a matter of time before it was. There were some great SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:12
16 TECHNIQUE
HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_16-20 (4K)ljcSG.indd 16
www.dslrmovie.co.uk
23/01/2014 15:13
TECHNIQUE
17
IS 4K THE FUTURE?
The Case for 4K The buzzword in the world of video is 4K, but what exactly does this technology offer, and why could it be so groundbreaking? Victoria Grech has just completed a shoot using 4K and she explains the benefits WORDS 9,&725,$ *5(&+ PICTURES 9,&725,$ *5(&+ 7,0 &2167$%/(
S SOON AS photographers got their heads around the fact that they could shoot HD video using their DSLRs, along came the Canon C300 offering 2K resolution. Now the hype is all around 4K, while Sony brought out a video camera last year that was capable of shooting video at 8K. It’s clear that this drive for higher and better resolution is never going to stop, so it’s probably time we all got used to it and worked out how we, as photographers, might take advantage. +DUG QRVHG TXHVWLRQ áUVW KRZHYHU does the average photographer venturing into the video market or considering offering fusion packages need to worry overmuch about 4K, either now or in the immediate future? We have so much on our plates already, trying to run successful photographic businesses, looking after shoots, editing, sales, marketing and accounts, do we really have time to care about a format that most of XV KDYH KDG QR áUVW KDQG H[SHULHQFH of to date? Well, actually 4K just might affect you more than you think somewhere down the line, so it’s at least worth knowing what it’s all about. Let’s take a closer look. Firstly, what is 4K? Basically it’s a generic term for display devices or content that offers resolution in the order RI SL[HOV LH IRXU WLPHV JUHDWHU than conventional full HD. What does this mean to a photographer? Well, until 4K was introduced video never really offered resolution that was great enough for us to consider pulling individual frames out to turn into serviceable prints. Even the 2K resolution offered by my C300 is not really good enough for that, but when you start to talk about something that’s a full four times the resolution of full HD then you’re starting to get there. In theory a still from a 4K video should be capable of being printed out at up to A3 and still look reasonable.
A
www.dslrmovie.co.uk
HDSLRSPRING14_16-20 (4K)ljcSG.indd 17
I can hear the sceptics hollering from here. ‘Why do I need it? I’m using a camera that shoots great still images, and I’m also shooting full HD footage from my DSLR and it’s áQH IRU P\ FOLHQWV Ăš :HOO KROG WKDW thought and let’s look at the pros and cons of shooting 4K to see if it has the potential to offer something for you now, in the future or maybe not at all. Looking at 4K in action Let’s start by looking at a commission I had last year to photograph celebrity chef Ben Spalding and shoot a promo áOP IRU KLP 7KLV ZDV SUREDEO\ WKH biggest, most stressful production I’d ever had to put together, and I felt like I was pushing not only my but also my team’s boundaries, along with the technological constraints we’d been used to up until then. Why did I choose 4K? Ultimately it was all to do with timing and budgets‌ 7KH VKRRW KDG WR FRPH WRJHWKHU over a single day, which was a little ambitious to say the least considering the content that we planned to get through. I also had limited time to spend on pre-production and editing
LEFT For this SURPR áOP DQG VWLOOV FRPPLVVLRQ ZLWK FKHI %HQ 6SDOGLQJ 9LFWRULD Grech chose to XVH WKH . FDSDEOH &DQRQ (26 ' & %(/2: %HQÚV desire for VSRQWDQHLW\ HQVXUHG WKDW HYHQ his fellow cooks GLGQÚW NQRZ TXLWH ZKDW WR H[SHFW
and, furthermore, this also was WKH áUVW WLPH , KDG ZRUNHG ZLWK D dedicated sound engineer, lighting WHFKQLFLDQV DQG D ',7 GLJLWDO LPDJLQJ WHFKQLFLDQ RQ VHW *LYHQ WKLV NLQG RI background I wanted to be able to FRQFHQWUDWH RQ áOPLQJ DQG LGHDOO\ PDQDJLQJ WKH WDOHQW RQ WKH GD\ Ben is an amazingly talented chef and we had previously worked together on photography shoots. Consequently we both had a good idea of what this shoot would be like DOWKRXJK EHFDXVH RI WKH DGGHG áOPLQJ element this time, I did try to prepare Ben for the fact that this would take longer than our past shoots. Not knowing what dishes Ben was planning to cook or even the types of plate he would serve them up on PDGH LW GLIáFXOW IRU PH WR SUHSDUH as much as I would normally do XSIURQW 7KLV LV D PDQ ZKR WKULYHV RQ VSRQWDQHLW\ , ORYH KLV FUHDWLYLW\ however, and it’s one of the reasons we work so well together. I knew my lighting set-up needed to be adaptable and easy to move quickly to different locations, for H[DPSOH IRU D IDFH WR IDFH LQWHUYLHZ
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:14
22 TECHNIQUE CASE STUDY
Making music An evolving world is creating all kinds of fresh and exciting assignments for photographers looking to get involved in video. For Nick Layton it was the chance to shoot a pop promo for a London band WORDS & PICTURES NICK LAYTON
LTHOUGH I’VE BEEN involved in video production since the mid y ’80s, it’s only comparatively recently that DSLRs have started to deliver the kind of footage quality g that makes them suitable for shooting g professional productions. Comparing what we have available at our áQJHUWLSV QRZ LV H[WUDRUGLQDU\ ZKHQ I look back at what I started out with.. R (YHU\WKLQJ DERXW P\ áUVW MRE LQ YLGHR IXOO\ GHVHUYHV WKH ÙDZIXOÚ DGMHFWLYH d The equipment was cumbersome and H OR á WKH IDFLOLW\ ZDV SULPLWLYH DQG WKH ideas were frankly embarrassing. In those days, you needed a three-machine edit suite to perform
A
HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_22-26 (CASE STUDY)ljchb.indd 22
an invisible ‘edit’, and if you left it for over a day the time base corrector had either shifted the SLFWXUH VLGHZD\V RU DGMXVWHG WKH W FKURPD ZKLFK ZDV XOWUD áGGO\ WR SXW right. So although we were making programmes with less money than the average Blue Peter prop cost and the boss had managed to beat DQ\ FRQáGHQFH RXW RI PH WKDW DUW e college had fostered, it felt good to be creating moving images. These days I shoot with both the Nikon D800 and the Canon EOS 5D Mark II, and the quality is well up to what’s required for most of the MREV WKDW FRPH P\ ZD\ DOWKRXJK DW WLPHV , áQG WKH DYHUDJH 0% SHU
second data rate of a DSLR wanting. However, until my clients start looking as critically at the pictures as I do, I will wait before upgrading and I’ll keep shooting 90 per cent of my material with prime lenses to let in lots of light. If I were to upgrade, the obvious path is the Blackmagic 4K, which looks very attractive on paper. I saw its lower-spec brother and even that blew me away.
Shooting a pop promo One of the real pleasures of working in video production these days is the sheer variety of assignments that come my way. Although much of the work I do is corporate based and
www.dslrmovie.co.uk
23/01/2014 16:34
TECHNIQUE
www.dslrmovie.co.uk
HDSLRSPRING14_22-26 (CASE STUDY)ljchb.indd 23
23
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 16:34
FREE HDSLR APP! THE ONLY DEDICATED WORLDWIDE RESOURCE FOR ASPIRING & PROFESSIONAL HDSLR VIDEOGRAPHERS
ISSUE 7 OUT NOW EXCLUSIVE & EXTENDED VIDEO CONTENT NEWS, GEAR & TECHNIQUE
NEW FREE MONTHLY APP 100% HDSLR DEDICATED
DOWNLOAD ON iTUNES NOW HDSLR PAGE.indd 1
23/01/2014 14:34
GEAR
29
What’s in the kitbag? When a photographer looks at the world of video, the first question is what extra gear they need to buy. We ask those who have made the journey what’s required
HE INTRODUCTION of an HD video facility on DSLRs a few years back seemed suddenly to open all sorts of new doors, but the reality was, all that was being presented was potential. Simply switching to video mode didn’t make you a moviemaker, but it did throw up some very interesting opportunities. Over time many professional still photographers have explored further and managed to make a very successful transition into the world of moving imagery. So, what exactly do you need over
T
www.dslrmovie.co.uk
HDSLRSPRING14_29-34 (KITBAG)SGljc.indd 29
and above the kit you already have to set up a successful video side to your business? More importantly perhaps, how much will it cost? And how can you avoid making costly mistakes investing in the wrong kit? Who better to answer those searching questions than photographers who have already made the move? We talk to three EXVLQHVVHV ÷UPO\ HVWDEOLVKHG LQ ERWK camps and ask them to throw open their kitbag, to show us what’s in there. Read on to discover how you too might make the right choices when looking at this compelling new area of the business.
DAN DUNKLEY
WORDS TERRY HOPE IMAGES VARIOUS
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:16
36 GEAR SOFTWARE REVIEW
Editing on a budget Two new video-editing software packages from Corel and Cyberlink have recently hit the market, both ostensibly aimed at the mid-market audience. Jamie Ewbank takes a look to see what they have to offer WORDS JAMIE EWBANK DITING is one of those words that can strike fear into the heart of any professional photographer ORRNLQJ DW GLSSLQJ D รทUVW WLPH WRH LQWR WKH YLGHR PDUNHW )RU WKRVH ZKR IHHO WKH\ร YH รทQDOO\ JRW WR JULSV ZLWK Photoshop it threatens to be a whole new learning curve, and potentially WKLV FDQ EH RQH RI WKH PRVW WLPH
E
FRQVXPLQJ SDUWV RI WKH HQWLUH YLGHR SURGXFWLRQ SURFHVV However, for those who arenโ t necessarily looking to produce highly LQYROYHG SURGXFWLRQV IURP WKH RII LW is possible to start with slightly less KLJKO\ VSHFLรทHG VRIWZDUH WKDW PLJKW give you a gentler introduction to the SURFHVV 7\SLFDO RI WKHVH PLG UDQJH products are the packages offered
by Corel (Pinnacle) and Cyberlink, and both have recently brought new YHUVLRQV WR PDUNHW We decided to take a closer look at what both of these keenly priced VRIWZDUHV KDG WR RIIHU WKH รทUVW WLPH videographer and to ask whether they could indeed do a job for those just VWDUWLQJ WR ORRN PRUH VHULRXVO\ DW WKH PDUNHW IRU SURIHVVLRQDO YLGHRJUDSK\
CYBERLINK POWERDIRECTOR 12 FROM ยฃ59
PowerDirector has always been D VWUDQJHO\ DPELWLRXV SURJUDP 5HPDUNDEO\ HDV\ WR XVH DQ XQLQWLPLGDWLQJ ER[ FRQWDLQV D SURJUDP with a straightforward interface, and Cyberlink has always been at pains to style the package to look like a SURJUDP IRU DEVROXWH EHJLQQHUV Despite appearances, however, PowerDirector constantly appears to be putting new versions out, each one DGGLQJ H[WUD FXWWLQJ HGJH RU IXWXUH proof features; hardly the behaviour RI D SURJUDP FRQWHQW WR EH HQWU\ OHYHO 7KH ELW 3RZHU'LUHFWRU DYDLODEOH LQ WKUHH รธDYRXUV UDQJLQJ
IURP e WR e LV QR H[FHSWLRQ So, is anyone out there seriously FRQVLGHULQJ VKRRWLQJ LQ . DQG SODQQLQJ WR HGLW XVLQJ D VXE e 1/( SURJUDP" ,W PLJKW VRXQG OLNH PRFNHU\ but in truth PowerDirector has FRQVLVWHQWO\ EHHQ D SURJUDP ZKHUH \RX JHW \RXU รทUVW SOD\ ZLWK WKH WRROV DQG WHFK WKDW ZLOO XOWLPDWHO\ JR RQ WR EHFRPH D XVHIXO HYHU\GD\ SDUW RI \RXU ZRUNรธRZ ABOVE Looking at the basic PowerDirector interface, with the tried and tested bin-monitor-timeline layout, you can see the attraction for an entrylevel consumer.
HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_36-40 (SOFTWARE REVIEW)hbSG.indd 36
www.dslrmovie.co.uk
23/01/2014 15:18
GEAR
Installation Installation was comparatively smooth and speedy, taking less than 15 minutes. We say comparatively as the installer tripped itself up a few times, WU\LQJ WR áUH XS VHYHUDO SURFHVVHV DW once and logjamming behind several dialogues. However, any installation in which the worst thing you have to deal with is clicking a few ‘cancel’ boxes is an easy one in my book. Interface Start-up gives you options for three FRQáJXUDWLRQV GHSHQGLQJ RQ \RXU task: there’s a full interface, an easy editing mode or a slide show maker. Nothing is accessible from one but not from the others; however, it just makes things super simple if you’re only doing super-simple jobs. The full interface is the tried and tested bin-monitor-timeline layout. It’s a simple choice of using bolder fonts, larger icons, and tucking tool panels away behind clearly labelled buttons. In terms of ease of use, there’s not much between the two programs tested, but ask a beginner which they think looks easier to use, and we’d be surprised if they didn’t pick PowerDirector. Editing PowerDirector did provide an instant surprise, however. As always, we started by throwing several clips at the timeline in order to have something to work with. PowerDirector’s default
timeline has three video, three audio, FX, Title, Narration and Soundtrack tracks. You can add or subtract them, but as a starting point it provides everything you need to layer clips and throw together a basic cutaway edit. Strangely, however, PowerDirector’s assumption is that video clips on adjacent tracks should be played simultaneously with a transparency effect, rather than something you might cut to from lowest to uppermost timeline track and back again. You can still do cutaways manually, and it’s not as if transparency effects don’t have their place in video, it’s merely a small worry that something you expect to work one way works another. PowerDirector likes to make it abundantly clear what it can do: where Pinnacle Studio’s interface is discreet and uncluttered, PowerDirector’s is neat, but draws your eye to its capabilities. Where Studio has an all-purpose bin for effects, PowerDirector has separate ones for particle effects and transparency mattes. Where Studio tucks a lot of its capabilities away in menus, PowerDirector’s timeline is topped with buttons that bring up øRDWLQJ WRROVHWV IRU FRORXU FRUUHFWLQJ keyframing, trimming and the like. Cleverly, the toolsets that appear are context sensitive. This means that if you’ve clicked on a part of your timeline composed of stills you’ll get PhotoDirector tools, while if it’s a video clip up pops ColorDirector.
Export The presentational differences between PowerDirector and Pinnacle Studio are apparent again in the export settings. They both present you with an array of customisable presets based around export to web, local device or disc, and both let you tweak the relevant settings, but PowerDirector goes for a bold, simple interface that is instantly legible and cleanly laid out. It also scores points for having a few legacy options not found in Studio (DV Tape? Very last century, but surprisingly useful.)
ABOVE The layout is simple to use, with large icons, bolder fonts and clear labelling. ABOVE RIGHT There are so many different editing options that are HDV\ WR áQG DQG utilise.
Conclusion PowerDirector’s greatest strength is its array of options, ranging from the amusingly gimmicky but still useful ones (2D-3D conversion), through to the genuinely useful (colour correction, legacy export). It can’t match the clean, sophisticated (dare we say more professional) looks of Pinnacle Studio, but it provides an astonishing array of tools at an unarguably great price.
BOTTOM LEFT (QKDQFH DQG á[ video using simple options.
More information www.cyberlink.com
VERDICT FEATURES .................................................................................6 PERFORMANCE ....................................................................7 HANDLING ...............................................................................8 VALUE FOR MONEY ............................................................9
RATING www.dslrmovie.co.uk
HDSLRSPRING14_36-40 (SOFTWARE REVIEW)hbSG.indd 37
37
7.5 SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:18
44 GEAR SIMPLE SOUND
Make the most of mics Audio is all too often the forgotten part of video. In an attempt to rectify this situation, Jamie Ewbank looks at some Azden microphones to banish soft soundtracks WORDS JAMIE EWBANK The golden rule of audio recording is simple. Always place the microphone as close as possible to the source of the sound. Don’t think for a second, however, that adhering to this rule absolves you of the responsibility to use a good microphone. You’ll still get a better soundtrack from a decent mic designed for the job than you will from that old plastic ZDQG WKDW FDPH ZLWK \RXU áUVW KL á Azden has been making microphones for other manufacturers for many years, as well as having its own range of mics and mixers to cover everything from basic shoots to more complicated productions. We took GHOLYHU\ RI D øLJKW FDVH IXOO RI $]GHQ JRRGLHV DQG SLFNHG RYHU WKHP WR EULQJ you a selection of the most useful, including some old favourites as well as UHFHQW DGGLWLRQV WR WKH UDQJH GHVLJQHG VSHFLáFDOO\ ZLWK '6/5 YLGHRPDNHUV in mind.
Azden SMX-20 www.intro2020.co.uk £169.99 6KRUW DQG VWXEE\ WKH 60; LV D KLJKO\ GLUHFWLRQDO VWHUHR microphone with a wide frequency response – in other words, it’s HYHU\WKLQJ PRVW RQ ERDUG '6/5 PLFURSKRQHV SUHWHQG WR EH EXW DUHQÚW DQG PDNHV D JUHDW áUVW VWHS LQ LPSURYLQJ \RXU DXGLR TXDOLW\
VERDICT Ideal for a beginner but likely to come in handy for just about anyone.
RATING
8 Azden CAM-3 www.intro2020.co.uk ÂŁ69.99 $OPRVW DV VRRQ DV \RX VWDUW UHFRUGLQJ GXDO V\VWHP VRXQG WKH QH[W VWHS LV WR UHFRUG DXGLR IURP PXOWLSOH PLFURSKRQHV 7KH &DP attaches to your belt or camera and has one stereo and two mono inputs, and a single output, allowing you to level off your seperate sources and output them all to your camera or audio recorder.
VERDICT An inexpensive way to do a job that will VLJQLáFDQWO\ LPSURYH \RXU ZRUN
RATING
HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_44-52 (ACCESSORIES TEST)SGljc.indd 44
8 www.dslrmovie.co.uk
23/01/2014 15:22
GEAR
45
Azden SGM-990 www.intro2020.co.uk £99.99 Switchable between supercardioid and omnidirectional polar response patterns, the SGM-990 will add some versatility to your kitbag, and will be useful for both room tone, voice or distance ZRUN WKDQNV WR LWV IRRW UDQJH 7KH DOXPLQLXP ERG\ DQG øH[LEOH shockmount will provide protection from unwanted operator noise, making it as reliable as it is versatile.
VERDICT Finding a single tool that’s useful for many jobs is always a treat.
RATING
9 Azden SMX-10 www.intro2020.co.uk ÂŁ99.99 Looking like some sort of stunted shotgun, this stereo microphone KDV LWV RZQ ZLQGVKLHOG DQG OLNH HYHU\ PLF LQ WKLV WHVW D øH[LEOH metal-and-rubber shock mount that should provide plenty of isolation compared to direct mountings. If that weren’t enough VDIHW\ SURRáQJ WKH 60; DOVR KDV D ORZ FXW áOWHU WKDW ZLOO KHOS UHGXFH GLVWDQW UXPEOHV IURP ZLQG RU WUDIáF DQG VPRRWKV RXW WKH unwanted ‘bass boost’ of close-up voice recording.
VERDICT An affordable mic with tools to make it handy both on location and in the studio.
RATING
8
Azden SGM-DSLR www.intro2020.co.uk £209.99 One of those delightful clue-is-in-the-name products, the SGMDSLR is a recent addition to the Azden range that capitalises on the boom in DSLR video. It’s a long-barrelled, highly directional super cardioid microphone with a removeable/replaceable cable that should prolong its lifespan. The all-metal construction will provide greater insulation from button, operator and motor noise, making it a good all-rounder but particularly useful when shooting handheld.
VERDICT Quality construction, thoughtful design and good performance in one package.
RATING
www.dslrmovie.co.uk
HDSLRSPRING14_44-52 (ACCESSORIES TEST)SGljc.indd 45
9 SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:22
56 GEAR GROUP TEST
A little bit on the slide Sliders are one of the most useful accessories a videographer can buy, offering smooth tracking, unconventional angles and a creative look to everything from macro shots to dramatic walkouts WORDS JAMIE EWBANK Tracking shots and push-ins have traditionally been accomplished with the help of a dolly, but for the majority of shoots that’s actually equipment overkill. While a dolly is great for a lengthy tracking shot, it’s actually very rare that you’ll be shooting more than a quick pass over some relevant part of the scene, or following someone as they walk through a door. For these shots, tracks and wheels are excessive, which is where sliders come in.
Rails, a mounting plate and maybe a crank handle are all you need for the most commonplace tracking shots, those where the camera moves perhaps two to four feet, maybe fractionally more. In addition to saving you the hassle of setting up tracks for a two-foot move, sliders have other advantages as well. Mounted on a tripod head they can be angled, for example, and if you add a second head you can position the camera independently of the track position.
However you use them, there are a few basic rules to adhere to: dust, dirt and dents can ruin the smooth motion of the unit, so you need to keep it clean and safe. Be wary of models with many (or any) joins in the track that may become warped or misaligned, and be sure to lock the moving plate if you’re going to cant the track at all. The full weight of an unsecured camera roller-coasting down a slider will almost certainly end in disaster!
Edelkrone SliderPlus V2 Edelkrone’s SliderPlus V2 scores instant points straight from the box for its simplicity. There’s practically no assembly required, with the minor exception of placing the camera and tripod mounting screws into the unit, a task that can be accomplished in minutes. The V2 even comes supplied with a pair of Allen keys to do the job, so there’s no rooting around in your toolbox. teresting design. The V2 itself is an interesting Like most sliders it runss on rails, but d 15mm round instead of standardised rails these are squared off, with a central groove. The reason for this is that the V2’s camera plate doesn’t sn’t just shuttle along the rails; rather, itt has a pulley belt that attaches to a separate rate countersliding base unit that moves in the opposite direction. When en used simply as a tabletop slider thiss counterweight seems to add smoothness ess to the V2’s motion and, thanks to the lock tab on the camera part of the unit, t, can also be used to limit the distance of the slide since the counterweight won’t pass ass through the ocked the latter. camera plate if you’ve locked The really ingenious part of the base unit, however, is that when locked down on a tripod it remains immobile but allows the bars to run their full length through it as the camera plate travels. This in turn allows a 21-inch unit to provide e VLJQL÷FDQWO\ PRUH WKDQ inches of camera movement, ment, meaning you can save a huge amount
HDSLR MOVIEMAKER WINTER 2013
HDSLRSPRING14_56-64 (SLIDERS TEST)ljcSG.indd 56
of space in your kitbag whilst still getting a lot of camera movement from the slider. The added advantage is that, when using the V2 to push in to a shot, the tracks themselves are receding back through the base unit, staying out of your picture. The motion of the slider itself is completely smooth and silent, and the thick aluminium rails feel like they could resist the dents and dings g that can eventually y ruin a slider’s motion. The SliderPlus V2 comes in three sizes, of which we tested the medium. It’s comparatively weighty for its size, but not VLJQL÷FDQWO\ PRUH than other sliders that don’t offer the same space-saving advantages
“The motion of the slider is completely smooth and silent”
VERDICT DETAILS www.proav.co.uk £474
FEATURES ..................................................9 PERFORMANCE .................................. 10 HANDLING ................................................9 VALUE FOR MONEY .............................9
RATING
9 www.dslrmovie.co.uk
23/01/2014 15:29
GEAR
57
Konova K5
DETAILS www.octica.tv ÂŁ255
Konova’s K5 series of sliders is slightly larger and sturdier than its K3 counterpart and, as such, adds a touch of versatility as it can handle more than just DSLRs, accommodating larger semi-pro and small professional cameras as well. It weighs in at 23kg, and that weight is evenly distributed. The K5 is supplied with a sturdy carrying bag with both handles and a shoulder strap, and the bag itself contains two smaller pouches for the removable legs, meaning that the whole thing is easily portable and won’t eat into the capacity of your kitbag. The K5 again eschews standardised rails in favour of a rectangular bar with a deep groove running the length of it, into which the camera plate sits and runs on two smooth rollers. The slider unit itself has numerous nice touches, including a full-length ruler and padded stoppers, so you can measure and lock off your travel distance. There’s also a spirit level built-in for making sure you have it perfectly positioned and a compass, in case‌ you’re a wildlife photographer and you’re lost in the woods? Seriously though, it’s one of those strange features that will probably make itself useful in some surprising way, but it doesn’t discernibly get in the way or bump up the cost. The leg units detach from the main body of the slider via a simple handwheel, and feature multiple points of articulation. The leg joints can be pivoted through 360° and the legs themselves are threaded and can be screwed in or out to vary their length, making it easy to level the slider on an uneven surface or to deliberately cant shots. The slider’s motion is smooth and quiet, and slightly treacle-y, which will please those of a nervous and/or precise disposition who fear that overly easy travel might soon become loose travel. The K5 comes in 80, 100, 120 and 150cm versions, with prices ranging from £255 to e :H WHVWHG WKH FP YHUVLRQ DQG ZHUH FRQáGHQW in having it mounted on a single tripod, although larger PRGHOV ZRXOG SUREDEO\ EHQHáW IURP EHLQJ PRXQWHG across two tripods or stands. Unlike many of the sliders in this test, the camera plate itself doesn’t have a choice between a traditional Ÿ bush screw and a larger tripod mount, meaning that you will need to attach a separate tripod head.
VERDICT FEATURES ..................................................9 PERFORMANCE .....................................9 HANDLING ................................................9 VALUE FOR MONEY .............................9
“The slider unit itself has numerous nice touches, including a full-length ruler and padded stoppers� www.dslrmovie.co.uk
HDSLRSPRING14_56-64 (SLIDERS TEST)ljcSG.indd 57
RATING
9
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:29
66 GEAR BUYERSโ GUIDE
Continuous lighting As any filmmaker will know, getting great shots is all about great lighting. And if you want consistent and professional results whatever the weather, then that means investing in a continuous lighting kit WORDS *$9,1 672.(5 Whilst photographers PD\ IDYRXU รธDVK KHDGV over continuous lights when it FRPHV WR DUWLรทFLDO OLJKWLQJ WKH SUDFWLFDO GHPDQGV RI VKRRWLQJ YLGHR UHTXLUHV FRQVWDQW unchanging illumination from one frame to the next. That means eschewing the likes of รธDVK DQG RSWLQJ IRU VRPHWKLQJ that maintains a stable colour temperature too โ meaning that continuous lighting is the obvious choice. But which continuous lighting kit best VXLWV \RXU QHHGV" To give you a useful steer ZHร YH FKHFNHG RXW D VHOHFWLRQ RI WKH ODWHVW DQG JUHDWHVW YLGHR OLJKWLQJ SURGXFWV IURP D EURDG UDQJH RI PDQXIDFWXUHUV WR DKHP VKHG VRPH OLJKW RQ the subjectโ ฆ &RQVLGHULQJ UHVHDUFK FDUULHG RXW IRU WKLV IHDWXUH it appears that LEDs are a constant lighting solution thatโ s on the rise in terms of SRSXODULW\ /LJKWZHLJKW DQG SRUWDEOH DV ZHOO DV EHLQJ FRRO ZKHQ OLW DQG FDSDEOH RI EHLQJ SRZHUHG E\ SODLQ ROG $$ EDWWHULHV LWร V HDV\ WR VHH why these are becoming more ZLGHO\ XVHG ZKHQ FRPSDUHG WR WUDGLWLRQDO OLJKWV XVHG IRU PRYLHPDNLQJ VXFK DV +0,V All the manufacturersโ VXJJHVWHG SULFHV OLVWHG KHUH LQFOXGH 9$7 ZLWK WKH inevitable caveat that street prices will be cheaper still.
Calumet Pro Series Light Panels From ยฃ399 โ ข www.calumetphoto.co.uk &DOXPHW FXUUHQWO\ PDUNHWV LWV RZQ EUDQG OLJKW SDQHOV DV ZHOO DV WKRVH IURP /LPHOLWH ร D %RZHQV EUDQG ร DQG 0DQIURWWR 7KH EHQHรทWV of LEDs over conventional tungsten lights DUH WKH OLJKW ZHLJKW RI WKH SURGXFWV ORQJ ODPS OLIH DQG ORZHU SRZHU UHTXLUHPHQWV 7KH รท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ร WKH 3UR 6HULHV 'D\OLJKW ร EXW WKLV WLPH RQH WKDW SURYLGHV H[WUD RRPSK LQ WKH EULJKWQHVV
GHSDUWPHQW FRXUWHV\ RI OLWWOH /('V IRU D UHWDLO SULFH RI e 2QFH DJDLQ WKHUH LV D VZLYHO EUDFNHW DQG GHWDFKDEOH YDULDEOH GLPPHU FRQWURO $JDLQ D PDLQV SRZHU FRUG LV SURYLGHG SOXV SURYLVLRQ LV PDGH IRU WKH DWWDFKPHQW RI DFFHVVRU\ รทOWHUV 7KH WKLUG RSWLRQ LV WKH 3UR 6HULHV %L &RORXU /(' 6WXGLR 3DQHO $JDLQ WKLV LV D OLJKWZHLJKW LQFK VTXDUH OLJKW ZLWK EULJKW /('V DQG LW IHDWXUHV D FRQWLQXRXVO\ YDULDEOH GXDO GLPPHU FRQWUROOHU WKDW FDQ DOVR EH WHWKHUHG YLD D P FRQQHFWLQJ FDEOH 7KH DGYDQWDJH RI WKH GXDO GLPPHU FODLPV &DOXPHW LV WKDW LW HQDEOHV WKH DFFXUDWH DGMXVWPHQW RI FRORXU WHPSHUDWXUHV ZKLOVW further tweaking comes courtesy of a UHPRYDEOH GLIIXVLRQ SDQHO SOXV WKH DELOLW\ WR DWWDFK DFFHVVRU\ รทOWHUV WR WKH XQLWร V IURQW ,Wร V e ZLWK DQ LQFOXGHG PDLQV DGDSWRU RU DQ Anton Bauer battery. Calumet further offers a selection of leasing options.
โ Lightweight and portable, itโ s easy to see why LEDs are becoming more widely usedโ HDSLR MOVIEMAKER SPRING 2014
HDSLRSPRING14_66-70 (BUYERS' GUIDE)hbSG.indd 66
www.dslrmovie.co.uk
23/01/2014 15:32
GEAR
67
Manfrotto Spectra LED range From £149.99 • www.manfrotto.co.uk Premium Italian brand Manfrotto’s Spectra range provides lightweight and portable options for the videographer. The Spectra 500S is the least expensive at a penny shy of £150. Providing a narrow beam angle of 30°, constant daylight colour temperature of 5600K and a brightness of more than 300 lux at a one-metre distance, the unit offers a power duration of 1.5 hours. Alternatively, users can operate the 500S via the mains by investing in an optional adaptor. The portable LED light can either be used on camera or attached to tripods, booms and clamps. Boasting what is claimed to be a slim and elegant yet robust design, next up is the Spectra 500F at £214.95. The beam angle this time around is 60°, and the colour temperature 500K, with a 550 lux brightness at one metre. Power again is courtesy of AA batteries or mains via an adaptor, with a battery gauge on the unit. As with the 500S model, light intensity can be regulated via a dimmer, and here a ball head with hotshoe attachment is included in the packaging.
The third model in the range, the Spectra 900S (£229.95) differs in offering a brightness of 900 lux at a metre’s distance and a narrow 30° beam angle. :LWK KLJK áGHOLW\ FRORXU rendition provided, skin tones are natural. Like the others, it can be used either on-camera or on-tripod, boom or clamp. If you need a wider beam angle le then the 50° beam of the Spectra ra 900F, our fourth recommendation, could uld make it the one to go for at £314.95. Average battery life is an hour, and once again it can be powered by standard AAs, or via the optional mains adaptor. This device is provided with a D-Tap input that allows use of additional power sources utilising D-Tap plugs. )LQDOO\ WKH áIWK /(' OLJKW RSWLRQ for demanding photographers is the Spectra 900FT, with a wide beam angle of 50°, a brightness of 540 lux at one metre and a constant daylight equivalent colour temperature of 5600K. The asking price is £399.95.
Rotolight Anova V2 Ecoflood kits £1399 • www.tetenaluk.com Manufactured at the famous Pinewood Studios, WKH $QRYD 9 (FRøRRG LV WKH QHZHVW SURGXFW IURP 5RWROLJKW DYDLODEOH YLD 7HWHQDO 8. 7KH EHQHáWV here are claimed to include a bicolour variable setting, for both daylight and tungsten lighting, whilst there is also the option of a standard 50° or ultra wide 110° beam angle. The new LEDs are additionally now said to be three and a half stops brighter than the previous model (or 350 per cent), with colour rendering ERDVWHG WR EH ÙEHVW LQ FODVVÚ :LWK D øLFNHU IUHH performance claimed to be tested up to 6000fps, DLGLQJ YLGHR ZRUN 5RWROLJKWÚV /(' øRRGOLJKW lays claim to being the world’s most advanced, delivering 1000 watts equivalent output whilst using 93 per cent less energy than a standard tungsten bulb. Basic unit weight is 2.5kg, rising to 4.98kg if adding a yoke and barn doors. What’s more the Anova can be controlled with the aid of Wi-Fi via a Magic Eye App for iOS. A Rotolight $QRYD /(' øRRGOLJKW SUR NLW LV DYDLODEOH YLD Tetenal that includes the Anova lighting unit, barn GRRUV DQG D SURWHFWLYH øLJKW FDVH × VXFK LQFOXGHG H[WUDV D EHQHáW RI JRLQJ YLD 7HWHQDO UDWKHU WKDQ Rotolight, claims the former. Their price, for a limited time only, is £1199, £200 cheaper than Rotolight’s recommended pricing, above.
www.dslrmovie.co.uk
HDSLRSPRING14_66-70 (BUYERS' GUIDE)hbSG.indd 67
SPRING 2014 HDSLR MOVIEMAKER
23/01/2014 15:33
SAVE 50%
ON THE NORMAL COVER PRICE WITH 4 EASY PAYMENTS Start 2014 with a bang – get 13 issues for only £29.20, that’s just £2.24 a copy. It’s never been easier or cheaper to subscribe to Photo Professional. So don’t delay, contact us today.
FREE QUARTERLY ISSUES OF HDSLR MOVIEMAKER
PHOTO PROFESSIONAL MAGAZINE PUBLISHED 13 TIMES A YEAR
Call 01371 851896
or subscribe securely online at www.brightsubs.com TERMS AND CONDITIONS: Please allow 28 days for delivery of your first issue. This offer is valid for UK addresses only and is for 13 issues of Photo Professional. For overseas subscription prices please call +00 44 1371 851896 or visit www.brightsubs.com. Lines open 9am–5.30pm Monday–Friday.
PP90_084 (SUBS).indd 84
23/01/2014 16:32