dt yjdt

Everything you need to know about video editing page 34

®

YOUR GUIDE TO CREATING AND PUBLISHING GREAT VIDEO

JULY - AUGUST 2021

Honest thoughts on the

RED

KOMODO

Also reviewed:

URSA

Mini Pro 12K page 10

Stay up-to-date on the video production industry with The Videomaker Podcast.

To view episodes and clips, go to www.videomaker.com/podcast

Review on page 6

GET NEWS OF FUTURE GPU ANNOUNCEMENTS The advanced linework and visually rich imagery you see in your professional software is only possible because of the GPU you are using to display it. For today’s resource heavy software, a modern GPU can mean increased performance and processing power. At AMD we are accelerating this further, and we can’t wait to show you what we have been working on.

Register now for news of the newest AMD gradhics cards as they’re announced: amd.com/ProGPUsignud

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Contents JULY - AUGUST 2021 Volume 36 • Number 01

www.videomaker.com

Features 16 Best cinema cameras

26

22 The best lights for video production Lighting needs run the gamut, from huge budget productions to small, DIY vloggers, and there’s something for every niche. This article will explain what to think about before buying lights and provide a list of the best video lights currently on the market.

30

The best video monitors We rely on our video monitors to show us an accurate representation of our images throughout the production process.

Here are some of the best video monitors currently on the market.

The digital cinema camera is the modern-day iteration of the traditional film production camera.

These are the best cinema cameras on the market today.

30

Best microphone for video production Whether you’re recording audio for a commercial, a wedding or your next feature film, you need the best microphone possible.

34

Everything you need to know about video editing When it comes to creating a film or any other kind of video project, much of the magic you see on screen comes from great editing.

by Luis Maymi Lopez

34

56

48

6

Columns On the Cover

2

Viewfinder

40

Editing What are visual effects?

by Scott Niswander

44

48

Departments • How to make money on YouTube • The best cinema cameras on the market • All the gear you need to livestream • Panasonic LUMIX BGH 1 reviewed

On Sale: August, 17 2021

4 5 64

54

What’s On New Gear Take 5 5 tips for creating social media video

by Haley LaPlant

VIDE OMAK ER >>> JU LY - AU GU ST 2021

Technology What you need to know about RTMP and livestreaming protocols

by Tiffany Harness

56

Audio General microphone placement for good audio

by Blag Ivanov

Lighting Lighting techniques for film and video

by Nicole LaJeunesse

Profit Making How to start your own videography business

by Bill Baraona

Shooting 3 streaming setups to amp up your livestreaming game

by Stephen Mandel Joseph

Next Issue

52

It’s time to say ‘I do’

by Matthew York

RED Komodo

60

Directing Women’s History Month: Celebrating women in film

by Jo Mayer

Reviews

by Chris Monlux

6 RED Komodo Cinema camera

10 Blackmagic URSA Mini Pro 12K Cinema camera

1

VIEWFINDER b y Ma t t h ew Yo r k

It’s time to say ‘I do’ Restrictions on gatherings are being lifted all over and many industries are coming back. One industry that seems to be roaring back to life is the wedding industry and, of course, wedding videos. Before the pandemic, it was estimated that the US spent more than $50 Billion a year on everything from flowers to fashion for a couple’s special day. 2020 changed many wedding plans and certainly canceled large weddings. In some cases, people opted for a small, private ceremony with plans for a big event now that restrictions are lifted.

This may be a perfect time and a perfect way to jump-start your video production business, or at least sharpen your skills. We’re not talking about Uncle Joe with his camcorder, or a couple of people with iPhones.

Today’s wedding videos are often multicam production with dollies, jibs and even drones. A recent trend is to have a more cinematic look with a sharply edited final product. The demand is definitely there, and producers can earn thousands on a single event.

The country’s largest dress company, David’s Bridal has a new YouTube channel to give you some ideas.

If you’re already in the industry, your big question might be, “Can I (or should I) charge more now that the demand is high?” That is a consideration, but you can price yourself out of the wedding video market. It’s best to check out other websites or even talk to other people in your area. Find out what the going rate is for various services. What are the additional costs for multicam or fully edited productions? Who knows, you might find that a local video producer is turning people away and might be glad to give you a referral.

With that in mind, maybe you’re not ready to take on the entire project.

Carrying the weight of someone’s “once in a lifetime” event might be a little daunting. I mean you can’t

2

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 Matthew York associate publisher Patrice York director of content web developer managing editor multimedia editor art director/photographer

Mike Wilhelm Katz Rosal Haley LaPlant Chris Monlux Susan Schmierer

contributing editors Sean Berry Peter Biesterfeld Kyle Cassidy Luis Maymi Lopez Blag Ivanov Mark Levy director of sales Terra York telephone (530) 809-4514 account executive Josh Callahan

yell, “Cut! Let’s start everything from the beginning!” You might want to freelance your specific skill. Companies may be looking to hire another camera operator or editor to help with the increased load. We say that any time you’re behind the camera, you’re developing new skills.

One lesson 2020 taught us is that video is more important than ever.

Specifically, live streaming video has become routine, and the wedding industry is no exception. It’s almost mandatory today to stream your ceremony so out-of-town guests or people who can’t make it can be part of the celebration. Fortunately, the tools to stream are less expensive and a producer can charge extra for the streaming service. In fact, streaming services can be a separate service entirely.

Is it time for you to say “I do” to working in the wedding video industry? There are certainly lots of reasons to give it some thought. If you are looking for more ideas, we have great resources at Videomaker.com.

Matthew York is Videomaker's Publisher/Editor.

You can comment on this article by going online: www.videomaker.com/?p=72076709

VIDE OMAK E R >>> JU LY - AU GU ST 2021

marketing specialist Sam Rios director of finance Stephen Awe accountanting manager Kelli Malinowski fulfillment assistant Jo Mayer

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Videomaker (ISSN 0889-4973) is published bi-monthly by Videomaker, Inc., 645 Mangrove Avenue, Chico, CA 95926. ©2021 Videomaker, Inc. All rights reserved. Reproduction of this publication in whole or in part without written consent of the publisher is prohibited. The Videomaker name is a registered trademark, property of Videomaker, Inc. Editorial solicitations welcomed; publisher assumes no responsibility for return of unsolicited material.

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July - August 2021

What’s on Videomaker.com Advice Wanted

Are you subscribed to the Videomaker Podcast?

Question: Space Racer: Are there any other techniques I can try to get smoother pans?

Reply: JackWolcott: Panning with a moving figure, for example, allowing adequate space in front of the figure as you pan, requires lots of practice. Many weekend videographers expect this to come naturally; it doesn’t. A good exercise is to set up your camera on the tripod and pan with anything moving. You don’t need to record. Just go with the flow.

As far as adjustment is concerned, I find that the head should be loose enough that there is absolutely no “stick” when moved. If you have to overcome tension on the head, you’ll get a jerky start.

A trick I was shown many years ago is to position your feet and body facing where the pan will end, then twist your torso to where the shot will start. You’re starting with the toughest position and ending with the least stressful, kind of like a spring winding down. This will smooth out your pans quite a bit.

Make sure the pan head is properly adjusted, then practice, practice, practice. www.videomaker.com/forum/topic/ worst-panner-in-the-world-give-metips-please

....

The quality of light Light is essential in cinema. How much light you use and how you choose to deliver it sets the mood and feel of a scene. In this video, we’ll talk about what makes up the quality of light. https://www.videomaker. com/how-to/lighting/the-quality-of-light/

How to create a stunning timelapse — even in changing light Even a few years ago, consumer video equipment was relatively limited — but that’s all changing. One thing that’s built into most cameras today but not often used is the time-lapse function. www.videomaker.com/article/c02/19307-how-to-createa-stunning-time-lapse-even-in-changing-light

The Videomaker Podcast is for anyone who wants to make better video or be a better filmmaker. We believe freedom of expression is essential for human progress and that free societies are better off when more people can effectively express themselves with video.

Check it out and subscribe at videomaker.com/podcast

Learn from the experts with Videomaker Virtual Events Our virtual events are free to attend, and drill down into specific topics like cinematography, post-production, livestreaming and online video. Each event contains presentations from featured speakers, product demonstrations, access to exclusive content and more. To check out the 2021 schedule, go to www.videomakerevents.com/ upcoming-events.

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Love Videomaker? Tell the world! Share your videos, find extra content, talk to us! We want to know who you are.

4

VIDE OMAK E R >>> JU LY - AU GU ST 2021

NEW GEAR

by Sean Berry

This AI-powered drone, webcam can fly, record and stream PowerVision’s PowerEgg X is one of the most versatile camera systems out on the market. Not only is it a drone capable of recording 4K 60p it’s also a stabilized handheld camcorder and an AI-powered live streaming webcam.

What differentiates the PowerEgg X from the previous iteration is its weather-proofing. Now, the system withstands harsh weather conditions, like rain. In drone mode, the drone captures 4K 60p, aeriel video while navigating a 170° field of view. It also can stream 1080p

shot. Additionally, it tracks subjects within its 170° field

video from up to 3.7 miles away. All the system’s modes

of view and uses AI technolog to keep subject in the

support a 3-axis gimbal stabilizer, so even in drone

center of the frame. On a full battery, in its AI mode or

mode, the system stabilizes shots.

its handheld mode, it lasts up to 3.5 hours.

Like other leading drone lines, the PowerEgg X fea-

As a webcam, the system streams either 720P and

tures automatic obstacle avoidance. Using its front and

1080P video. It’s compatible with YouTube and TikTok

bottom sensors, the drone can detect obstacles up to

for live streaming and Zoom, Skype, DingTalk, and Ten-

60’ away. It’s also able to land on water.

cent Meeting for video conferencing.

When the PowerEgg X’s up as a stationary camera, it implements multi-angle facial recognition to frame the

Learn more at www.powervision.me/en/product/powereggx

ROKINON reveals new compact 12mm F2.0 wide-angle lens ROKINON grows its line of auto-focus prime lenses with the reveal of its new 12mm F2.0 AF Compact Ultra Wide Angle lens for APS-C Sony E mount cameras.

The 12mm F2.0 is a compact and light lens with autofocus capability. ROKINON positions it as a great choice for landscape and night sky shooting Its bright F2.0 aperture supports astrophotographers who shoot in low light conditions. Also, it provides a 99.1°angle of view and close focusing to 7.48”.

The 12mm F2.0 lens consists of twelve elements in ten groups and features a new Ultra Multi Coating (UMC). While the new UMC minimizes flare and ghost-

resulting in faster and quieter focusing for both stills and video recording.

For protection against the elements, the 12mm F2.0 is

ing, ROKINON claims it maximizes light transmission,

weather sealed. It features a metal housing and a micro

contrast and color accuracy. Additionally, it features

pattern rubber focusing ring. The 12mm F2.0 weighs

five specialized lens elements: one aspherical, three

just 7.51 ounces and is 2.33 inches in length.

extra-low dispersion and one hybrid-aspherical. These elements minimize aberrations and distortions.

The ROKINON 12mm F2.0 lens utilizes a new Linear Stepping Motor to improve the auto-focus performance. The motor only moves one focusing group,

The ROKINON 12mm F2.0 AF lens for Sony E releases this June for $499. It comes with a removable petalshaped hood, lens caps and a carry case.

Learn more at https://www.rokinon.com/lenses/digitalphoto-lenses/12mm-f20

VIDE OMAK E R >>> JU LY - AU GU ST 2021

5

REVIEW

RED Digital Cinema KOMODO 6K

by Chris Monlux

Our honest thoughts RED red.com

STRENGTHS • Amazing smartphone connectivity • Redcode RAW • Large range of resolutions and framerates • Global shutter WEAKNESSES • It requires additional rigging to be completely functional • It only has a 3.5mm audio input • The dynamic range is lower than the manufacturer claims SUMMARY The RED Digital Cinema KOMODO 6K blew us away with its amazing image and connectivity.

The bottom line You wouldn’t expect a cinema camera to have industry-leading smartphone connectivity, but the KOMODO does and it’s a great competitive edge. At under $6K, the RED Digital Cinema KOMODO 6K is the cheapest camera RED out on the market. It’s small, compact and captures 16-BIT REDCODE RAW to a CFast 2.0 card.

Also, it has a small preview touchscreen and a battery mount. All you need is a lens, the body, media and RF mount with EL and PL lens compatibility

RECOMMENDED USES • Narrative filmmaking • Cinematic projects that require extensive planning • Corporate and event videography • Situations where ease of use and reliability are more important than the film look • Marketing video production • Short-form video production

$6,000

6

VIDE OMAK E R >>> JU LY - AU GU ST 2021

battery. Yet, its boxy form factor is not a very ergonomic design. The screen is quite small, so rigging it out is a must. As for the image, it’s great and controllable with a smartphone.

All the details The RED KOMODO shoots up to 6K at 50 frames per second (fps) and up to 120fps in 2K in REDCODE RAW. It also captures up to 4K 60fps in ProRes 422 or 120fps in 2K. Its

REVIEW

RED Digital Cinema KOMODO 6K

TECH SPECS

Sensor type: KOMODO® 19.9 MP

Acquisition formats:

with SMA connection, genlock,

Super 35mm global shutter CMOS

• 6k 17:9 (6144 x 3240), 2.4:1 and 16:9

timecode-in, GPIO and ctrl (rs232)

Effective pixels: 6144 x 3240 Sensor size: 27.03 mm x 14.26

• 5k 17:9 (5120 x 2700)

via the integrated 9-pin ext port

• 4k 17:9 (4096 x 2160)

Wired control: KOMODO link

mm (diagonal: 30.56mm)

• 2k 17:9 (2048 x 1080)

adaptor, using usb-c or gigabit

Mount type: Canon RF mount Max data rates: up to 280 mb/s

Apple ProRes:

ethernet (compatible usb-c to eth-

• 4k (4096 × 2160) at ProRes 422 HQ

ernet adapter1 required) allowing

on cfast 2.0 media cards

and ProRes 422 up to 60 fps

camera control and live mjpeg pre-

REDCODE® RAW max frame rates:

• 2k (2048 × 1080) at ProRes 422 HQ

view video feed

• 40 fps at 6k 17:9 (6144 x 3240)

and ProRes 422 up to 120 fps

Monitor outputs:

• 50 fps at 6k 2.4:1 (6144 x 2592)

12G-SDI with 6G-SDI, 3G-SDI and

• 48 fps at 5k 17:9 (5120 x 2700)

Construction: aluminum alloy Weight: 2.10 lbs (without body cap

• 60 fps at 4k 17:9 (4096 x 2160)

and cfast card)

12G-SDI: up to 4096 x 2160 4:2:2

• 120 fps at 2k 17:9 (2048 x 1080)

Battery type: two slots for bp-9xx

for 60p

Playback frame rates (project time base): 23.98, 24, 25, 29.97,

series batteries

6G-SDI: up to 4096 x 2160 4:2:2 for

Dc power input: +7 to +17 v dc via

30p

30, 50, 59.94, 60 fps, all resolu-

the integrated 2-pin dc-in port

3G-SDI: up to 2048 x 1080 4:2:2 for

tions

Color management: image process-

60p

Best available REDCODE® settings:

ing pipeline 2 (ipp2)

1.5G-SDI: up to 2048 x 1080 4:2:2

Audio: integrated dual channel

for 30p, 24p

• REDCODE HQ, MQ and LQ at 6k

digital mono microphones, uncom-

SMPTE timecode, HANC metadata,

• 17:9 (6144 x 3240) up to 40 fps

pressed, 24-bit 48 khz

24-bit 48 khz audio

• REDCODE HQ, MQ and LQ at 4k

Additional dual channel: integrated

Monitor options: integrated 2.9″

• 17:9 (4096 x 2160) up to 60 fps

3.5mm audio jack, uncompressed,

1440×1440 touchscreen lcd with

• REDCODE HQ, MQ and LQ at 2k

24-bit 48 khz

preview and camera control

• 17:9 (2048 x 1080) up to 120 fps

Remote control: wifi for camera

Wireless live preview video feed:

• REDCODE® RAW

control via interchangeable antenna

2.4ghz/5ghz wifi for framing

mount is Canon’s full-frame mirrorless RF lens mount. Additionally, it has a single Cfast 2.0 media card slot, has autofocus support and uses two Canon BP-9 series batteries. At 2.1 pounds (lbs), the 4 inch by 4-inch square is a bit smaller in size and weight than the RED DSMC2 brain.

The RED KOMODO offers a global shutter on its Super35 CMOS sensor. Also it has integrated Wi-Fi for industry-leading smartphone functionality — livestream from the camera through cell phone connectivity or existing network infrastructure.

1.5G-SDI modes

KOMODO 19.9 MP Super 35mm global shutter CMOS

VIDE OMAK E R >>> JU LY - AU GU ST 2021

7

REVIEW

RED Digital Cinema KOMODO 6K

Image quality The last RED camera we reviewed was the RED RAVEN, their first attempt at a somewhat affordable camera. The RED RAVEN offers REDCODE RAW, but the image was not as impressive as you’d expect from RED. So when we picked up the KOMODO, we expected the feature set but didn’t know if we’d like the image. On our maiden voyage with the camera, we took it out to see what we could capture.

We found a nice set of flowers to shoot and were very pleased with the image. We then transferred the footage to our computer and did a quick grade. Using the same LUT in camera as we did in post brought the footage to life. When shooting our subject indoors, the camera looked great too.

When shooting under high-key lighting, the skin tones and color replication look great.

It’s important to know when noise enters the image. Noise in the KOMODO begins at ISO1600 and is acceptable up to ISO3200. Above that, the noise begins to color shift and becomes more prominent. The RED

KOMODO performs at its best when light is abundant.

When it comes to dynamic range, RED states 16+ stops of dynamic range. Our tests didn’t show that.

Instead, they showed 13+ stops. Our

KOMODO’S SMARTPHONE CONNECTIVITY IS THE BEST WE’VE EVER EXPERIENCED. test with the DSC XYLA 21 dynamic range chart shows only 13 stops. Any information outside of 13 stops of light is unlikely to have any information or detail.

Whenever a camera company uses the word RAW, they sell it to you like it’s REDCODE RAW, but no RAW is as good as REDCODE RAW. First off, it’s 16-bit. Second, its compression is very efficient. REDCODE offers three compression types — all approved for Netflix production. Of all the types, HQ (high quality) is the type that delivers the best com-

Accepts either Canon BP955 or BP975 batteries

pression quality. In HQ, you’ll get 30 minutes on a 512 Gigabyte (GB) CFast 2.0 card. RED qualifies HQ for VFX work where you need extreme detail or when you need to pull stills from motion. Next is MQ — or medium quality. Non-VFX cinema and high-end TV productions typically use MQ. In MQ, a 512GB card can capture up to 48 minutes. Last up is LQ — or low quality. In LQ, it records 77 minutes on a 512GB card. RED says its intended use is for TV, online content, documentary, interviews, and long takes.

Camera control and rigging Phone connectivity KOMODO’s smartphone connectivity is the best we’ve ever experienced.

It’s clear RED gained a lot of knowledge from their ill-fated smartphone — the RED Hydrogen One — and applied it to the KOMODO. The connectivity comes from the RED Control app. We used an iPhone Xs Max, but the app is also available for Android.

The app gives you full menu control. In the app, you can change the resolution and format, preview shots or adjust exposure controls. You can also pull focus, monitor audio or format your media using the app.

Shoot assists are available too. Even more, multiple users can connect to it from separate devices. Every user gets the ability to customize and control different aspects of the camera. Because of its Wifi connection, you can connect to it from your phone called Ad Hoc mode. In this mode, you can use your phone to access the internet and stream from it. Better yet, for better stability, the camera connects to a Wifi network.

Once connected to the internet, access to the camera is obtained via an IP address.

Rigging The RED KOMODO is a square box.

All you need is a lens, media and a battery, but who would shoot like

8

VIDE OMAK E R >>> JU LY - AU GU ST 2021

REVIEW

RED Digital Cinema KOMODO 6K

2.9" 1440 x 1440 touchscreen

Share Your Vision

that? It needs rigging to make it work best in its chosen workflow. We tested the camera with the Wooden Camera Pro (V-Mount) KOMODO kit. It worked very well and made the RED KOMODO much more usable. The kit was flexible and we liked that. One big benefit is being able to quickly remove the camera from place to place using the rigging. The movement of the battery helped balance the rig when using different lenses. The battery adjusts to keep the best center of gravity. We didn’t have the Canon batteries the camera used natively, so we needed a mount for a V-mount battery.

Although the camera has a monitor and it’s nice, it’s small. Monitoring is done with a SmallHD Indie 7 because it is powered using D-tap from the v-mount battery and its SDI input. It was a great combination. If you are

thinking about buying this camera, make sure to set aside 25-35% of your budget for accessories like these.

Final thoughts The image from the KOMODO is fantastic. With REDCODE RAW and amazing phone connectivity, the camera blew us away. The camera needs a handle, rails and a monitor.

Beware of hidden costs outside of the camera. The KOMODO makes for a great “A” camera or a crash cam when paired alongside a more expensive RED camera. The RED KOMODO impressed us a lot.

Chris Monlux Videomaker’s Multimedia Editor You can comment on this article by going online: www.videomaker.com/article/72075093

Live Streaming Cameras and Accessories

•SDI, USB, HDMI, IP and NDI® Outputs •MAC, PC, Android, & iOS Apps •12X, 20X, 30X Zoom •Broadcast Frame Rates VIDE OMAK E R >>> JU LY - AU GU ST 2021

484 593 2247 www.ptzoptics.com partners@ptzoptics.com

9

REVIEW

Blackmagic URSA Mini Pro 12K

by Chris Monlux

Do you really need 12K? Blackmagic blackmagicdesign.com

STRENGTHS • 12K video • Loads of media format choices • 15+ stops of dynamic range WEAKNESSES • Camera only captures in Blackmagic RAW • Not all media captures high bit-rate or framrate • 16-bit Poor low light performance SUMMARY With many media format choices and superb image quality, the Blackmagic URSA Mini Pro 12K is a fantastic cinema camera for video production.

RECOMMENDED USERS • Narrative filmmaking • Marketing video production • Short-form video production • Cinematic projects that require extensive planning

$10,000

10

T

he Blackmagic URSA Mini Pro 12K has the longest name for a camera ever, however it’s fantastic. It’s $10,000… yeah, that takes the breath away. While you recover from the sticker shock, let us tell you that it has no resolution competition, not even at double the cost. We really liked this camera. Its image looks great, it has all the functions you need, but 12K… do you need 12K?

All the details The URSA Mini Pro 12K features internal captured 12-bit RAW with a bit rate up to 578 MB/s. It shoots up to 240 frames per second (fps) in 4K, but has an additional crop to super 16.

Without a crop to the super 35 sensor, it captures up to 120fps in 8K and 60fps in 12K.

Most notable features 12K is nuts Let’s face it, the 12K video is awesome.

Even if you don’t need all of the resolutions, it functions in many different ways. When you downscale the image, it looks even sharper, any noise minimizes. 12K is 4 times larger than 4K, which means you can do a 4x punchin when finishing in 4K. That’s enough to give you a medium-wide shot, medium shot and close up all in one.

VIDE OMAK E R >>> JU LY - AU GU ST 2021

Blackmagic RAW A drawback to the innovation from this camera is it only captures in Blackmagic BRAW for all resolutions and framerates. However, because of this, the files are 12K in 12-bit RAW. With the release of Davinci Resolve 17 and Blackmagic RAW viewer, we opened and manipulated the footage in Premiere as well. We wanted to see a lower bit-depth option in the form of ProRes or H.264. As nice as it is to have all the data when you have the time to grade the footage, it’s not always needed. This would also give a working proxy for those that need to edit dailies without adding the time to grade.

Media format choices The camera also shoots to SD, CFast 2.0 or to SSD. When it comes to SSD, it works with an external USB drive or the Blackmagic URSA Mini Recorder.

Also, the Mini Recorder connects via USB. The Mini Recorder lets you use 2.5" SSD cards. This — by the way — is the most cost-effective and best-performing option at $400. Additionally, not all media captures high bit-rate and or framerate. Because media proves costly when shooting at high data rates — like what’s possible with the URSA Mini Pro 12K — make

REVIEW

Blackmagic URSA Mini Pro 12K

sure you have the right media. Blackmagic has a list of supported media for the camera.

Ergonomics Weight and size The body of the URSA Mini Pro 12K is no larger in dimensions than the URSA Mini Pro 4.6k G2 or the one before that. It is, however, slightly heavier at 5.62lbs. That is nothing compared to the original URSA at a whopping 16lbs, but it’s heavier than most. It’s not too awkward when adorned with the optional shoulder kit and EVF, but it gets the job done.

Button location The camera has all of the controls you want right at your fingertips. From audio control to ISO, Shutter speed and white balance. This is no different than the URSA Mini Pro G2 that came before it. It’s nice having all of the key controls ready when you need them instead of digging into a menu to find them. The switches, knobs and dials

ONE OF THE BEST FEATURES IS THE HEADS UP DISPLAY OVERLAY OPTIONS. feel hefty and function well. We found the ND control to be the most used and functions as you’d expect.

Use of screen The articulation of the screen is limited — the monitor is not fully articulating. It has no less or more articulation than the previous URSA Mini. With that said, however, we wish it rotated to flip the monitor for the subject to see themselves, or to be tucked back to its resting place but with the monitor facing outward. Like the rest of the camera, the monitor is stout and has a very satisfying click when closing.

Articulating LCD touchscreen Brightness of screen Because this camera shoots HDR, its monitor is 1000nit bright for real HDR preview.

1000nit is the entry brightness for HDR. When shooting with the sun at our back the brightness helped. If it wasn’t that bright, the limited articulation The image (sensor stuff) of the monitor leaves you wanting.

The image from this camera is breathWhen that is the issue, use an extertaking. More than just resolution, it nal monitor. produces a fantastic image. Its Super 35 image sensor is nearly 80 megapixMenu els (MP), which is insane. The amount Blackmagic offers the best menu of detail in a 4K finish is significant. function of all cameras. It has the Because 12K is 4 times the resolusame format as every other Blacktion of 4K, if the final product is 4K, magic camera. It’s easy to use. It’s not any noise reduces in size by 4 times. complex, yet still has all the conThis benefits when shooting chroma trols needed. All of the functions are keying or anything else where the adtouch-activated. The organization of ditional detail would benefit. the menu is intuitive. One of the best features is the heads up display overSensor crop lay options. If you want peeking on, The crop factor of a super 35 image it’s on one page with all of the other sensor is 1.5x, double that to 3x for shoot assists. super 16. That means that in super 16, the image sensor area used is smaller Shoot assists than micro four thirds. Because the There is no shortage of shoot assists sensor is so high resolution, this isn’t with the URSA Mini Pro 12K. More much of a big deal, outside of needing than just the assists you need, you can route them to the monitor, EVF or to consider it for lens selection. For example, a 3x crop to a 50mm makes out the SDI, be it the one in the rear it an effective 150mm. or front of the camera. Want clean output to the rear 12-G SDI but need Blackmagic RAW guides or something else in the front The camera only shoots in Blackmagic SDI port? It’s no problem, easy to do RAW. This allows for 12-bit RAW and not hard to find on the menu. and it’s quite efficient. Although still Of course, the camera offers focus a staggering amount of data, when peaking, zebras, audio meters and shooting at the highest data rate the histogram. On top of that, it also has camera shoots 578 megabytes per false color, a safe area grid or just a second (MB/s). The camera captures grid for composition.

VIDE OMAK E R >>> JU LY - AU GU ST 2021

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REVIEW

Blackmagic URSA Mini Pro 12K

TECH SPECS

Image sensor size: 27.03 x 14.25

Raw recording:

Audio Recording: 2-Channel 24-Bit

mm (Super35)

• 12288 x 6480 at 23.98/24/25/29.97/

48 kHz

Image sensor type: CMOS Resolution: Effective: 79.6 Mega-

30/50/59.94/60 fps (72 to 578 MB/s)

Video Connectors:

• 11520 x 648 at 23.98/24/25/29.97/3

1 x BNC (12G-SDI) Input

pixel (12,288 x 6480)

0/50/59.94/60 fps

1 x BNC (12G-SDI) Output

Native ISO: ISO 800 Advertised dynamic range: 14 stops Lens Mount: PL Mount included.

• 12288 x 5112 at 23.98/24/25/29.97/

1 x BNC (3G-SDI) Monitor Output

30/50/59.94/60 fps

Audio connectors:

• 7680 x 6408 at 23.98/24/25/29.97/3

2 x 3-Pin XLR Mic/Line Level and

0/50/59.94/60 fps

AES audio(+48 V Phantom Power)

Interchangeable with optional EF

• 8192 x 4320 at 23.98/24/25/29.97/3

Output

and F lens mounts

0/50/59.94/60 fps (32 to 258 MB/s)

1 x 3.5mm headphone jack, sup-

Built-in ND filter: Mechanical Filter

• 7680 x 4320 at 23.98/24/25/29.97/3

ports iPhone microphone for talk-

Wheel with Clear, 2 Stop (1/4), 4

0/50/59.94/60/120 fps

back

Stop (1/16), 6 Stop (1/64) ND Filters

• 8192 x 3408 at 23.98/24/25/29.97/3

Other I/O:

Built-in microphone type: Stereo Media/Memory card slot:

0/50/59.94/60/120 fps

1 x USB Type-C USB 3.1 Gen 2

• 5120 x 4272 at 23.98/24/25/29.97/3

1 x USB Type-C Data Input

2 x CFast 2.0 card slots, 2 x SD UHS-

0/50/59.94/60/120 fps

Display Type: Articulating Touch-

II card slots, 1 x USB-C 3.1 Gen 2

• 6144 x 3240 at 23.98/24/25/29.97/30

screen LCD

expansion port with power delivery

/50/59.94/60/120 fps (18 to 145 MB/s)

for recording to external media

• 4096 x 2160 at 23.98/24/25/29.97/3

Frame rates:

0/50/59.94/60 fps (8 to 65 MB/s)

Size: 4.0″ Power Connectors: 1 x 4-Pin XLR Input

• 12K: Up to 60 fps

• 4096 x 2160 at 23.98/24/25/29.97/3

1 x 12-Pin Molex Input/Output

• 12K Anamorphic: Up to 60 fps

0/50/59.94/60 fps

1 x 4-Pin XLR (12 VDC) Output

• 8K: Up to 120 fps

• 3840 x 2160 at 23.98/24/25/29.97/3

Accessory Mount:

• DCI 4K: Up to 120 fps

0/50/59.94/60 fps

4 x 1/4″-20 Female

• 8K Anamorphic: Up to 120 fps

• 4096 x 1704 at

1 x ARRI/Hirth Rosette

• 4K Anamorphic: Up to 120 fps

23.98/24/25/29.97/30/59.94/60 fps

Dimensions: 9.2 x 5.92 x 5.87″ /

• 6K (Windowed): Up to 120 fps

• 2560 x 2136 at 23.98/24/25/29.97/3

23.37 x 15.04 x 14.91 cm

• DCI 4K (Windowed): Up to 240 fps

0/50/59.94/60 fps

Weight: 5.62 lb / 2.55 kg

PL, EF and F lens mounts are supported

either a constant bitrate or constant quality. The camera captures in 5:1, 8:1, 12:1 and 18:1 Blackmagic RAW with constant bitrate. This gives each ratio more or less compression. The other type of BRAW compression is Constant Quality. It offers a variable bitrate with minimum to moderate quantization to make sure the quality is constant, hence the name.

Gamma curve There are three gamma choices to choose from, just like Blackmagic cameras in the past, it has Film, Extended

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VIDE OMAK E R >>> JU LY - AU GU ST 2021

REVIEW

Blackmagic URSA Mini Pro 12K

Video and Video. Film offers the most dynamic range giving the most work needed to the image in post-production.

Extended Video gets closer to being ready right out of the camera, but keeps some of the benefits from the Film

BLACKMAGIC ADVERTISES 14 STOPS OF DYNAMIC RANGE WITH THE URSA MINI. curve. Lastly, Video is ready right out of the camera and will allow for only minor corrections needed during post.

ISO noise and low-light performance The camera‘s ISO range is not great at ISO 200 to ISO 3200. Although this

is nothing when pitting it against the rest of the camera world, it’s more than some other Blackmagic cameras.

ISO 200, 400 and 800 are noise-free, we would not hesitate to bounce between the three. Blackmagic lists 800 as the native ISO for this camera.

By ISO 1600 noise enters the image, but not enough that we wouldn’t use ISO 1600. However, it is enough that we wouldn’t shoot any higher than 800 with 1600 there for edge cases.

Although the camera offers ISO 3200 we would not use it. The noise chroma shifts at this point and the image are significantly impacted by it.

Supports 12G-SDI out, LANC and USB-C

Dynamic range Blackmagic advertises 14 stops of dynamic range with the URSA Mini Pro 12K. To test this, we shot the DSC Labs Xyla 21 dynamic range

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13

REVIEW

Blackmagic URSA Mini Pro 12K

chart. Each light in the chart is one stop of dynamic range excluding the first one as its set at 100 ire. We were impressed because we saw 15+ stops of dynamic range, and appreciate the surprise over the disappointment of less.

Rolling shutter The camera has a rolling shutter, so it has some adverse effects. The big question is, how adverse is this effect?

The rolling shutter is not the worst we have seen, but you see it in horizontal lines when panning the camera or when filming a fast-moving object.

less money, however is not a cinema camera. What it does have going for it is high resolution. Its 45MP Full-frame sensor can capture up to 8K RAW. Z CAM E2-F8 Full-Frame 8K Cinema Camera Secondly, we have the Z CAM E2-F8 Full-Frame 8K Cinema Camera. The

THE IMAGE IS STUNNING AND ITS MEDIA OFFERINGS ARE PLENTIFUL.

Other considerations As of right now, the URSA Mini Pro 12K currently has no rivals. 12K is only available with this camera. With that said, there are other Cinema cameras that one might consider either for similar features or nearly as high resolution. We compared the similarities and differences between this camera and the Canon EOS R5, Z CAM E2-F8 Full-Frame 8K Cinema Camera, RED KOMODO and the Sony FX9.

Canon EOS R5 The first camera we considered is the furthest from the URSA Mini Pro 12K, the Canon EOS R5. at $3,900 it’s much

E2-F8 is a full-frame camera that captures 8K 12-bit ZRAW internally to Cfast 2.0 media. Though the design of the E2-F8 is for cinema, it’s a modular camera. With a modular camera, you add on what you need for your specific need. So there are no built-in ND, the buttons and form factor make it awkward at best without some serious investment in rigging. The E2-F8 also offers external capture out of its USB port.

RED Digital Cinema KOMODO 6K The RED Digital Cinema KOMODO 6K is up next. With a price of $6K, the

Button layout

KOMODO is a fraction of the price of the rest of RED’s cameras. At half the resolution of the URSA Mini Pro 12K, the KOMODO is like the E2-F8 and is modular. As to a modular design, you need additional investment to get the camera fully functional and with proper rigging. The KOMODOhas a super35 image sensor and offers RedCode RAW (R3D), the pinnacle of RAW available. With R3D ISO and white balance are just metadata that change without any degradation of the image. The KOMODO also offers a global shutter and more advertised stops of dynamic range.

Sony FX9 Lastly, we have the camera that offers the best comparison in function, the Sony FX9. It has all of the exterior controls and inputs to be ready to shoot out of the box, just like the URSA Mini Pro 12K. The Sony doesn’t capture internal RAW at all, but outputs it up to 16-bit, only in 4K. There is no way to capture that yet with what is in the external recorders market.

Final thoughts In conclusion, Blackmagic created a truly innovative camera, as its almost 80MP sensor captures the image to the Blackmagic RAW captures. The camera offers all of the bells and whistles you need on a camera. The image is stunning and its media offerings are plentiful. Was the world clambering for a 12K camera from Blackmagic? Maybe? Maybe not.

However, if high-resolution video is what you need, then it’s your only option — but it’s a good one at that.

The camera should be considered a specialty cinema camera, but Blackmagic didn’t disappoint. With a solid build, innovative capture and specs, the Blackmagic URSA Mini Pro 12K is a beast.

Chris Monlux Videomaker’s Multimedia Editor You can comment on this article by going online: www.videomaker.com/article/72071101

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VIDE OMAK E R >>> JU LY - AU GU ST 2021

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Get hooked on making stellar video at: videomaker.com/8tips

Best

cinema cameras 2021 These are the best cinema cameras on the market today.

T

he digital cinema camera is the modern-day iteration of the traditional film production camera. These cameras aim to reproduce the latitude and tonal qualities of celluloid while eliminating huge portions of the typical film workflow. Determining the best cinema cameras on the market today can be complicated.

Now, in addition to these workflow advantages, the image quality produced by today’s cinema cameras often meets or exceeds what is possible when shooting on film. And that’s not to mention the increase in creative control you get from shooting in a digital format.

At the end of this article, we’ll go over some of the special considerations unique to this form factor. But first, here’s our list of the best cinema cameras on the market today.

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VIDE OMAK E R >>> JU LY - AU GU ST 2021

Best Cinema Cameras - 2021

VIDE OMAK E R >>> JU LY - AU GU ST 2021

17

BEST CINEMA CAMERAS — 2021

Best all-around cinema camera Sony FX3 The Sony FX3 is a feature-packed well-rounded camera. It’s user-friend because it’s easy to use. If you’ve shot videos with any kind of dedicated camera before, mirrorless or DSLR, you’ll feel right at home using the FX3.

While the FX3 only captures up to UHD 4K, it still offers 10-bit 4:2:2 internal capture or up to 16-bit RAW externally. The camera features a top frame rate of 240 frames per second in HD and delivers fantastic 120fps in 4K. Also, the camera’s dual card slots are another great feature. It has dual media slots for either SD/SDHC/SDXC cards or the CFexpress Type A. Additionally, the Sony FX3 full-size XLR inputs.

When camera manufacturers offer mini XLR inputs, it’s always a letdown.

Videographer workflows become more complex when cameras offer only mini XLR inputs. Thankfully, the FX3 offers full-size XLR inputs, making this a more dynamic camera compared to mini-XLR input cameras. The camera also has an ISO range of 80 to 406,600, 5 axis in-body image stabilization, and 14+ stops of dynamic range. While Sony claims the camera has 15+, our testing didn’t confirm this claim. However, this isn’t important because the image quality difference between 15+ and 14+ is very minimal.

Sony FX3

18

The FX3 is 640 grams and 3.06 inches x 5.11 inches x 3.33 inches.

It’s slightly heavier than the a7S III by 26 grams. Overall though, their sizes are similar. However, the FX3’s handle feels great to hold. With the handle, low-angle handheld shots are much easier to do. Its rear screen is a 3 inch 1,440,000-dot LCD and supports touch functions, like navigating through the menu and touch autofocus.

The Sony FX3 is a well-rounded camera offering something for everyone. It’s easy to pick-up and shoots pro-quality video.

Best budget cinema camera Blackmagic Design Pocket Cinema 4K The Blackmagic Design Pocket Cinema 4K a uses a Micro Four Thirds sensor to capture DCI 4K video with up to 13 stops of dynamic range. It’s also the first camera from Blackmagic Design to feature dual native ISO. This should help improve the historically limited low-light performance in Blackmagic cameras.

The camera can record DCI 4K, UHD 4K and full HD video at standard frame rates, with off-speed frame rates of up to 60 frames per second (fps) in DCI 4K and 120 fps in windowed HD mode. Supported co-

decs include 10-bit ProRes and 12-bit CinemaDNG RAW. With the addition of dual native ISO, the Pocket Cinema Camera 4K can shoot at ISOs up to 25600, a significant improvement over its predecessor. Blackmagic Design also promises a reduced crop factor with a 4/3 sensor specifically designed to match MFT lenses.

Best run-and-gun cinema camera Sony FX6 Offering both a compact form and cine-style imaging, the Sony FX6 delivers on so many fronts. It’s able to capture up to 15+ stops of dynamic range, uses the Sony S-Cinetone gamma, and up to 10-bit, 4:2:2 XAVC-I recording. This camera uses a 4K fullframe Exmor R sensor paired alongside a BIONX XR Exmor R sensor with a BIONX XR engine. It uses a base ISO of 800 and features an ISO 12800 high-sensitivity mode aiding greatly in low light conditions.

The FX6 body is highly portable, weighing under 2 lb, allowing you to hold the camera with ease through your shoots. Additionally, the body measures 6 x 4.6, allowing for simple transportation. It also has features like phase-detection autofocus with both Face Detection and real-time Eye autofocus. The camera offers both auto

Blackmagic Design Pocket Cinema 4K

VIDE OMAK E R >>> JU LY - AU GU ST 2021

and manual ND filter settings and a 3.5" LD monitor.

The Sony FX6 is a highly capable camera that’s easy to use throughout an entire shoot.

points. This helps reduce reliance on full camera rigs or cages. Cinema cameras usually also have XLR inputs as well as HDMI and/or SDI out for sending a clean video signal to an external recorder.

Special considerations for cinema cameras

Dynamic range

Not all cinema cameras are created equal. Let’s go over some of the most important features to look for as you shop.

Form factor Cinema cameras are designed to be true video-first cameras. They come complete with the external controls and input/output options you’d commonly find on a professional camcorder. The most obvious difference from the outside is the cinema camera’s interchangeable lens. But even though cinema cameras look a lot like camcorders, they produce an image that looks more like actual film.

Larger than a DSLR or mirrorless camera, cinema cameras also have space for more accessory mounting

One of the main advantages of using a cinema camera is the expanded dynamic range these cameras typically offer. A larger dynamic range means the camera captures deeper shadows and brighter highlights in the same shot without losing detail.

Cinema cameras are designed to capture video with a dynamic range that, at least, matches that of film: around 13 stops. Modern cinema cameras can reproduce 14 or more stops of dynamic range. This gives you a more cinematic image and incredible flexibility during the color grading process.

Sensor size and dynamic range One way camera makers achieve this is through the use of larger sensors with

larger pixels. This allows the sensor to gather more light at once, which increases low-light performance and reduces noise. It also allows each pixel to accept more light before beginning to clip from overexposure. That means you get more information in both the shadows and the highlights.

ISO and dynamic range ISO is a factor here as well. Cameras capture the least noise at their native ISO. Therefore, this is also the point at which they capture the greatest dynamic range. At the native ISO, cameras can capture deeper shadows before noise is introduced. Some cinema cameras now feature dual native ISO. This feature originated in topend, Hollywood level cinema cameras and is now trickling down into more accessible camera models.

Recording formats Cinema cameras will typically offer a number of high-quality codecs to fit various workflows. ProRes and DNxHD codecs are especially common, and some kind of raw recording is now all but standard.

As you shop, look for recording formats that give you enough information to freely grade and composite in post-production. Just make sure they don’t bog down your workflow.

RAW recording Raw recording captures unaltered information directly from the sensor to provide maximum flexibility for color grading and compositing in post-production. It preserves all of the dynamic range and color information captured by the sensor. Raw footage does require post-processing, however, and takes up a lot more space on a storage drive. Most times, you’ll need an external recorder to capture raw video.

Log picture profiles Sony FX6

VIDE OMAK E R >>> JU LY - AU GU ST 2021

Logarithmic picture profiles, commonly referred to as log, offer a more

19

BEST CINEMA CAMERAS — 2021

practical alternative to shooting raw. Log picture profiles assign exposure values along a logarithmic curve rather than a linear curve. This process produces a flat image that preserves more color information and detail in the shadows and highlights. In post-production, colorists apply a LUT to transform this extra-flat footage to a more natural looking color space.

Bit-depth and color reproduction Connected to this are color science and bit-depth. Each camera manufacturer has developed a particular way of capturing and recording color information. That’s why Sony cameras produce an image that looks different from one out of a Canon camera, even if all the settings match.

However, what’s more important is the amount of color information a camera can record. Typical consumer cameras and most DSLR and mirrorless cameras are limited to recording at a bit depth of 8 bits. Cinema cameras, however, often capture 10-, 12- or even 14-bit video when shooting in a high-quality codec or raw format. Again, it’s all about flexibility. The more color information your camera can deliver, the more latitude you will have in post-production. This, in turn, means you’ll be better able to craft a unique look for your finished video.

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Additional cinema camera controls and settings Since cinema cameras aim to give the DP ultimate creative control, they often include some handy bonus features. Higher maximum frame rates allow for slow motion recording, and anamorphic de-squeezing helps when working with anamorphic lenses. Global shutter is another feature that allows cinema camera to behave more like traditional film cameras. This also eliminates rolling shutter issues that cause straight lines to bend during quick pans. In general, these extras are there to make it easier to capture the desired image.

Final thoughts While these features help distinguish cinema cameras from other camera types, it’s still important to consider universal features like sensor size, resolution, and connectivity. You’ll also need to think about how the camera will fit into your existing kit and production workflow. For an overview of the most important features, read Videomaker's How to buy a camera.

Once you know what you need, you can pick out an awesome camera perfect for your next production.

You can comment on this article by going online: www.videomaker.com/article/72007499

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video production

The best lights for 22

Lighting needs run the gamut, from huge budget productions to small, DIY vloggers, and there’s something for every niche. This article will explain what to think about before buying lights and provide a list of the best video lights currently on the market.

VIDE OMAK E R >>> JU LY - AU GU ST 2021

THE BEST LIGHTS FOR VIDEO PRODUCTION — 2021

T

here are several variables to consider in choosing the best lights to use for your next project. Color temperature, color rating, lighting type and power options are all important regardless of how the light will be used. Light quality, versatility and price point will need to be considered, as well.

First, we’ll highlight our favorite lights for a variety of applications. Then, we’ll take a closer look at the key aspects for a better understanding of how to choose a light or light kit for your next production.

Best Fresnel

The light panel includes AC power supply and can also be powered by a 14.4V camera battery through an attached plate.

Best Multi-purpose Light Litepanels Gemini 1×1 RGBWW LED Panel The Litepanels Gemini 1×1 is a LED soft panel.

It features multiple lighting modes including CCT, Hue, Saturation, Gel presets and an effects mode.

CCT has six factory presets ranging from 2700K to 10,000K. HSI mode allows you to adjust hue, saturation and intensity. THe gel mode gives you a variety of filters to choose from. The light is dimmable from 100 to 0.1% without flicker.

Litepanels Sola 6+ The Sola 6+ is a daylight-balanced 6 inch LED Fresnel and costs $2,000 dollars. It has a beam control of 16 to 67 degrees. It’s supposedly over 50 percent brighter than the Sola 6. It includes 8-way barndoors and also dims from 0 to 100 percent. It also offers the same LED lifespan, heat-free output and includes its 120-240 VAC, 50/60 Hz Power Supply.

Best Panel Zylight Go-Panel Bi-Color LED Light This Zylight LED Panel features +/- green and magenta, USB port for firmware updates and DMX controls. It features Zylight’s patented Active Diffusion, where you can electronically adjust diffusion with the turn of a knob. This allows for easier adjustments of diffusion. It also features a 26-degree beam. Color temperatures range from 3100K to 6200K.

Best Kit Dracast S-Series LED500 Plus Bi-Color LED 3-Light Kit with NP-F Battery Plates This kit comes with three daylight LED light panels with pre-installed battery plates, as well as stands, barndoors, diffusion filters and soft cases for each light in addition to a hard case for the kit. The lights are rated at CRI 95 and offer 10-100% dimming. They also feature Dracast IRR, which allows for control of multiple lights through a single fixture.

Best Budget Light Nanlite LitoLite 5C RGBWW Mini LED Panel The Nanlite LitoLite 5C RGBWW Mini LED Panel is a portable, bright light that’s small enough to fit right into your pocket. It features an internal Li-Ion battery and charges through USB-C. As for its color temperature range, its adjustable

Best Fresnel Litepanels Sola 6+

VIDE OMAK E R >>> JU LY - AU GU ST 2021

Best Panel Zylight Go-Panel Bi-Color LED Light

23

THE BEST LIGHTS FOR VIDEO PRODUCTION — 2021

from 7500-2700K with green to magenta shift.

Additionally, you can utilize the light’s 360° hue control with 100 levels of color saturation adjustment and 15 pre-programmed adjustable lighting effects.

The Nanlite LitoLite 5C RGBWW Mini LED Panel provides great, portable lighting, and is ready to use at any time anywhere.

Features We Considered The following features are not all weighted equally for each category. However, when you’re looking for the best lights for video production, you must consider all of them, along with the price, before making a purchasing decision.

Color Temperature Color temperature is a measure of the color quality of a light measured in degrees Kelvin. It’s an important factor, especially when working with multiple different light sources. If we were shooting inside a house lit by Tungsten lights rated at 3,200 kelvin and we balance accordingly, the light inside will appear white, while the daylight beaming through the windows will appear blue.

Inversely, if we were to white balance inside that room for the light coming in through the window, those Tungsten light sources would appear orange. Most of the time, the goal is to unify the color temperature of all of your light sources, either through the use of gels or simply by choosing light sources that all output at the same color temperature.

As you shop, consider what color temperature will best suit the type of work you do. Will you need lights that are balanced for indoors 3200K, outdoors (5600K) or maybe ones that offer variable control and can provide a wide range of color temperatures? The answer will

Best Multi-purpose Light Litepanels Gemini 1×1 RGBWW LED Panel

24

depend on where you will spend the most time shooting and what other lights you may already have in your kit.

Color Rating Color rating is a measurement of how well the light system will accurately reproduce color. The Color Rating Index (CRI), developed in the 1960s, measures how well the light will reproduce the full range of colors in a subject, compared to a standardized source. 100 is perfect color rendition score; a CRI 95 or above is preferred.

Television Lighting Consistency Index (TLCI) is a similar but more modern measurement. Instead of relying on a human observer to measure color variance, TLCI measures color changes that can be detected by a video camera. A TLCI score above 90 is acceptable.

Light Quality You’ll also need to consider whether you want to light your scene using hard or soft light. Hard lighting is direct, creating lots of contrast with hard shadows; it feels very dramatic and accentuates textures and detail. Hard light is specular, collimated and highly directional. Most of the time, hard lighting will come Fresnel lights, which use a special lens to focus a beam of light to suit your needs.

Soft lighting is diffused and seems to wrap around a subject. It leaves shadows with gradual, soft edges between light and dark. Soft lighting is

Best Kit Dracast S-Series LED500 Plus Bi-Color LED 3-Light Kit with NP-F Battery Plates

VIDE OMAK E R >>> JU LY - AU GU ST 2021

often thought to be more flattering to subjects, making people appear more youthful and reducing wrinkles. Soft lighting adds a sense of depth to a subject. In general, if you need soft light, you’ll be looking at panels and lights with soft boxes.

Hard and soft light each create a specific feeling in viewers. Knowing how lighting will affect an audience allows video producers to create a specific tone, and ultimately, tell stories more effectively.

Power Next, you’ll have to consider how the light will be powered: AC, battery or both? Someone who works primarily in a studio will have very different needs than a run-and-gun documentary crew. Along with power options, you’ll also want to know the lights draw and output. How much energy does the light use, and how much light does it produce? Output can be measured in terms of wattage (w), lumens, candela, lux or foot-candles (fc).

Lighting types Finally, let’s look at the four main types of light used in video production. Each has its advantages and disadvantages, and some types are more affordable than others.

HMI

HMI lights use mercury vapor and metal halide to create a high output of light with decent energy efficiency. The light provided from HMI’s is very similar to that of natural sunlight (6000K), making them daylight balanced. These lights cost a lot up front but can save on power costs in the long run. On the downside, they require bulky ballasts and are not fully dimmable.

You’re not likely to encounter one of these large, expensive lights unless you’re working on a professional film set. We don’t recommend HMI lighting for the average video producer.

Tungsten

Tungsten lights are like super-powerful versions of the old incandescent household light bulb. At 3200K, Tungsten is the standard color temperature for indoor lighting. Other color temperatures will require gels. Tungsten lights are lower-cost and have good color rendition. On the downside, they get hot, they require lots of power and the bulbs require sensitive care. Always handle tungsten lamps with gloves, even when cool, since oil from your fingers can cause the lamp to explode.

For decades, Tungsten lighting dominated on set, but with new technology, fluorescent and now LED lighting is becoming more prevalent. This is thanks to relatively low power draws and cooler handling temperatures.

Fluorescents

Fluorescent lights use gas to create a glow, which is amplified by a layer of phosphor coating. These lights are very energy efficient and can have a range of color temperatures from 2700K to 6500K. Fluorescent lighting is compact and generates little heat. Regular-use fluorescent lighting can create problems with ‘flicker’ and color rendition, but fluorescent lighting made specifically for video doesn’t usually suffer from the same issues. Professional fluorescent lights have special ways to negate the flicker and poor color quality inherent in home-use fluorescents, but they are considerably more expensive.

LED

Light emitting diode (LED) units are energy efficient but are known to produce limited output.

LEDs can provide variable light across the RGB spectrum and often feature bi-color functionality to allow easy switching between daylight and Tungsten color temperatures. They are a fastgrowing part of the landscape and are increasingly being used in Fresnel light fixtures as well as panels. LEDs have an extremely long lifespan, allow for full dimming and are very rugged and safe units compared to the other bulbs. They can be more expensive, but prices are coming down every year as this technology becomes more widespread and economical.

Conclusion Knowing your needs and how they fit into the current marketplace makes it easier to get the right tools. Becoming familiar with the range of lights available will help you choose the right tool for the jobs ahead.

Best Budget Light Nanlite LitoLite 5C RGBWW Mini LED Panel

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video monitors - 2021

The best 26

We rely on our video monitors to show us an accurate representation of our images throughout the production process. Here are some of the best video monitors currently on the market.

BY JEFF CHAVES AND THE VIDEOMAKER EDITORIAL STAFF

VIDE OMAK E R >>> JU LY - AU GU ST 2021

The best video monitors - 2021

A

video reference monitor, in some cases, is a really nice thing to add to your production kit. In fact, it might be an absolute essential.

Not all video monitors are created equal. Each will have positives and negatives, depending on your situation.

So, we’ll explain some of the important terms so that you can understand how to compare units and decide which features are right for you at the end of this article. But first, let’s take a look at the best video monitors available today across several categories.

Best everyday monitor BenQ 27 Inch IPS Monitor Strengths: • Patented Eye Care: proprietary brightness Intelligence Adaptive Technology for comfortable viewing • Lightweight, ultra-slim bezel • 1000:1 Contrast Ratio Weaknesses: • Speaker quality

For a basic desktop monitor, the BenQ GW2780 is a great pick. It features an edge to edge slim bezel design with built-in speakers and a resolution of 1920 x 1080 at 60Hz. Its brightness is rated at 250 cd/m² with a 20,000,000:1 dynamic contrast ratio. BenQ promises this ISP monitor provides TUV Flicker-free viewing and a wide 178-degree viewing angle. It also offers BenQ Eye-care and adaptive brightness. Connection options include D-Sub, HDMI, DisplayPort.

Best Wide-aspect Monitor HP Z38c Strengths: • Anti-glare coating • 21:9 aspect ratio Weaknesses: • Not full UHD resolution tall

The HP Z38c is a monitor with a 2300mm radius curved screen incorporating a 37.5 inch In-Plane Switching Panel (IPS) with a 3840 by 1600 at 60 Hz native resolution. The Z38c offers 111 pixels per inch and a 21:9 aspect ratio. Plus, it has a brightness of 300 nit with a 1000:1 static contrast ratio. It supports up to 1.07 billion colors in 10-bit, with the use of FRC technology (8+2). With a 178 degree viewing angle, Z38c has 98 percent

sRGB color gamut coverage and an effective anti-glare matte screen.

If you are looking for a monitor that is both impressive to look at and to use, the HP Z38c is for you. The large 21:9 aspect ratio is perfect for video editing and its 37.5 inch wide-curved screen is big without being too big. With a great price, the Z38c is sure to impress. It’s a beast of a monitor and makes for a great work area for a video editor.

Best Color-critical Monitor HP DreamColor Z27x G2 Studio Display Strengths: • Highly accurate colors • Built-in colorimeter for calibration • Adjustable stand Weaknesses: • Not a full 4K display

The HP DreamColor Z27xG2 Studio Display is a 27-inch diagonal Quad HD display that has HP DreamColor Technology, an expansive color gamut, built-in colorimeter, and workflow management tools. The 10-bit QHD monitor incorporates onscreen markers, remote management and “the world’s first” integrated keyboardbased input switching KVM to jump back and forth between devices.

The HP DreamColor Z27xG2 incorporates self-calibration with a pop-up sensor that calibrates on-demand or on a user-defined schedule to ensure that the monitor maintains accurate colors.

The color spectrum of the HP DreamColor Z27xG2 offers over one billion colors with 99% DCI P3 coverage for smooth transitions, 98 percent Adobe RGB and a 1500:1 contrast ratio.

The build quality of the HP DreamColor Z27xG2 is excellent and it is a monitor built to last. The stand is mostly made of metal and offers the option to move the monitor and down as well as tilt and swivel to ensure the best viewing position.

Best Field Monitor Atomos Shinobi Strengths: • Bright display • Comprehensive range of monitoring assistants Headphone socket

The 5-inch Atomos Shinobi aims to be a great tool for vloggers and VIDE OMAK E R >>> JU LY - AU GU ST 2021

producers working on a budget who don’t need recording functionality.

The Shinobi sports a 5.2-inch 1000 nit anti-reflection uni-touch IPS panel allows you to see your images clearly, even in daylight. While it doesn’t support HDMI out, it can receive a 4K signal and display it in full HD through the HDMI input. The Atomos Shinobi has a headphone jack to allow for audio monitoring which is a useful feature when used with cameras that don’t have a built-in socket.

Additionally, the monitor shares the Atomos Ninja V’s HDR 1920 x 1080 display and color processing. Included are monitoring tools for focus, framing and exposure. The Shinobi screen displays over 10 stops of dynamic range in realtime from Log/PQ/HLG signals has unique HDR monitoring features There’s also support for 3D and 1D LUTs and options for anamorphic desqueeze monitoring.

Best HDR Monitor Dell Ultrasharp 32 HDR PremierColor Monitor Strengths: • 2,000 mini-LED backlight • Calman-powered colorimeter Weaknesses: • Lackluster refresh rate of 60Hz

This Dell Ultrasharp HDR monitor packs a punch and competes with similar monitors from Apple and ASUS for a cheaper price. This particular monitor stands out against the rest as Dell packed 2,000 mini-LEDs into the backlight. This is a great feature for editors, as it offers more dynamic contrast. This monitor also features a built-in Calman-powered colorimeter, which allows for better calibration.

The HDR features on this monitor do not disappoint either.

How to shop Your camera, environment, project and even eyesight may warrant adding another screen to your toolset. The rest of the article will help you ask the right questions so you can make the best choice possible.

Who needs to see it?

Most importantly, your first question is going to determine what type and size of monitor you’ll need. Does the cam-

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The best video monitors - 2021 era operator alone need to get a better view? Does a director or producer need to view what’s being shot? Are you a colorist who will be referencing the monitor in the edit bay?

• One viewer

If the monitor is just going to be viewed by a single person located close to the camera, a smaller camera-mounted unit would be the first choice. In short, these are generally the least expensive models and many have impressive functions. It’s important to find out what type of hardware will be needed to connect it to your specific camera. Often, monitor mounts will lock into the shoe mount located on the top of the camera. If it’s not being used by the operator, look for hardware that will swivel into the right position.

• Many viewers

However, the more people you’ll have viewing the monitor, the larger the screen size needs to be. Think about trying to watch a video on your smartphone with a crowd of people.

Larger monitors, referred to as studio monitors, can be placed on a stand or even on a table. They can be located with the camera or at a distance in what’s referred to as a video village, where various crew members can gather to get a view of the shot. In some cases, you will see one large screen and a group of smaller screens labeled with each camera. If you need this type of setup, look for “loop through” connections on the monitor.

This allows you to connect one monitor to another.

BenQ 27 Inch IPS Monitor

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• In the edit suite

You’ll likely also want a larger screen for previewing your working in postproduction, but there are almost certainly other factors, such as resolution and color accuracy, that will influence your purchasing decision more drastically in that scenario.

How will it connect?

After deciding on size and form, the next question is about the connections needed. What kind of connections does your camera or workstation have? If only a single camera needs to be connected to a single monitor, the connection question is pretty straightforward. If you need multiple cameras with different connections, things can get tricky. Can you or should you mix connection types? Would a special adaptor be used?

As with cameras, monitors have specific inputs. Most commonly, you will find HDMI or SDI inputs on field monitors. Some studio monitors and color-critical reference monitors used by colorists and other postproduction specialists include inputs like HDMI, DisplayPort, DVI and now, Thunderbolt 3. Some monitors give you the ability to connect multiple inputs. You can then switch back and forth between the sources.

HDMI has different connection types, like standard and mini. Plus, there are different configurations of SDI. Depending on the resolution, you may find monitors with 12G-SDI or 3G-SDI. Make sure you have the right cables with the right connections.

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Adapters are available, but image quality can be reduced at each exchange.

• Ditch the wires

A relatively new feature is the wirelessly connected monitor. Some are small, like a camera mounted unit.

Also, some have handles so you can view images without your fingers blocking the screen. The biggest advantage is that you don’t need to be directly tethered to the camera. A small attachment is connected to the camera itself. Like all wireless devices, there is always a chance of interference and a loss of signal.

Where will it be viewed?

Next, you need to know what environment the monitor will used in. Is it for indoor out outdoor use? Will weather be a factor? How much light is going to fall on the screen? These questions will help you determine how rugged the unit needs to be, as well as how bright the screen need to be.

• In the elements

As a rule, smaller camera mounted solutions are more rugged than the studio monitors. Similarly, if you need the size of a studio screen and you’re going to be outdoors, you might consider a tent to protect the device. You can get weather and shock resistant cases or consider a more rugged — and more expensive — solution.

• Brightness

As far as brightness goes, manufacturers talk about lumens and nits, but those terms mean two different things. You will see video projectors

Atomos Shinobi

compared by lumens and that is a good comparison.

In short, a lumen is the amount of light that is projected from a screen onto another surface. Generally speaking, a nit is a measurement of how much light a screen delivers to the eye. The two measurements are calculated differently. For reference, 500 nits is roughly 1713 lumens. A standard laptop screen is about 200300 nits. This is not a measurement of screen quality, just of brightness.

You want a very bright screen if it is to be viewed in direct sunlight. A screen that is considered daylight viewable will come in at around 1000 nits.

• Resolution

Additionally, to better evaluate image quality, look at the pixels. The greater the number of pixels, the better the image quality. This is expressed in pixel density or pixels per inch (PPI). Another comparison is screen resolution. Ideally, you want a resolution that is the same as your camera’s highest resolution, especially for post-production work.

For field monitors, resolution is less important. If color reproduction is also a factor, look for monitors that coverage a wider color gamut or offer a higher bit-depth.

• Panel type

The choice between LCD and OLED will also have an impact on the quality and brightness of your monitor.

LCD stands for liquid crystal display, and it’s the most common type of display when it comes to video monitors.

LCD monitors are fine for most situations, but some shooting scenarios

may call for a brighter screen or richer colors than LCD technology can offer.

This is when you might look at OLED displays instead.

OLED stands for Organic Light Emitting Diode. OLED displays are considered superior in both quality and illumination. With OLED technology, each pixel is a unique light source.

OLED means a brighter screen but the technology comes with a higher price tag.

Why do they need to view it?

We have the questions of form, size, connections and brightness answered.

Now we need to get to the question of function. What is the purpose in having that additional screen? Is it simply so that an additional person can view the shot? Do you need any additional reference tools on the screen? How important is accurate color? Is there a need for an additional recording?

• Shot assist tools

Most video production monitors come with a host of reference tools built-in.

Some of the most common are frame and action safe guides. You may also find guides that cut the frame into thirds or even smaller grids. This is to help with framing things properly and to keep continuity from shot to shot.

Plus, most field monitors also offer features that allow you to zoom in on a particular area of the screen. This is great for checking focus or looking at tiny details that you might normally miss. You may also find tools like focus peaking–another way to make sure your image is in focus.

Some monitors go even deeper with tools to make sure your color is correct

or the exposure is properly set. One of these tools is zebra striping. This is a helpful function that highlights areas of the shot that are overly bright with a striping effect. Other features you may find include waveform, histogram or vectorscope monitoring tools.

These help with monitoring exposure and give you much more information about your image, allowing you to make better creative choices.

• Color rendition

Bit-depth, contrast ratio and HDR compatibility will also factor in if you’re looking for the best and most accurate image quality — especially if your camera captures at those higher bitdepths or in an HDR format. Likewise, LUT previewing capabilities will come in handy when you’re shooting in log formats. Being able to see what an image will look like once graded helps tame the impulse to continue adjusting a flat log image after exposure has been set.

Additionally, when using a reference monitor in the edit bay, color accuracy is likely to be even more important. As you shop, you’ll see color accuracy expressed as the percentage of the gamuts covered or number of colors reproduced. Moreover, professional colorists may need a calibrated monitor, or one that features calibration tools.

• Double duty

Finally, there are some monitors that also serve as recorders. These will often come with a higher price tag, but can greatly expand the capabilities of your camera.

Making the Choice Answering the above questions will help you navigate through the selection process. While you shop, consider where and how the monitor will be used, why you need one and what extra tools will come in handy on set or in the edit suite. Armed with that knowledge, you’ll be ready to find the perfect monitor to add to your production toolkit.

Contributors to this article include Jeff Chaves and the Videomaker Editorial staff.

You can comment on this article by going online: www.videomaker.com/article/97648

Dell Ultrasharp 32 HDR PremierColor Monitor VIDE OMAK E R >>> JU LY - AU GU ST 2021

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Best

microphone for video production 2021 Whether you’re recording audio for a commercial, a wedding or your next feature film, the way you acquire that sound can make all the difference in the world. There are many considerations when you record audio, ranging from the placement of your microphone to the microphone itself.

So, what kind of microphone should you buy?

E

ver watch a low-budget movie and wonder, “How did this film make the cut?” The cinematography may have been average, the story derivative but — the sound! The quality of the sound design may be the reason the film made it onto the screen. Surprisingly, many film festival programmers rate sound quality as the element they weight most heavily when looking at entries. In fact, sound in cinema can be very deceptive. Having the best microphone possible is an important element in achieving good sound.

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Techniques that many films use — such as audio editing, ADR (automated dialog replacement, also known as dubbing or looping), remixing and sound sweetening — occur in postproduction and can be very time-consuming as well as expensive.

Because sound plays such an important role in audience perception, it’s important to get the audio right. That means you need the right microphone for the job. Here are our picks for the best microphones for video production in several categories.

At the end of the list, we’ll go over the most important factors to consider as you shop for your next mic.

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Best microphone for video production — 2021

Best lavalier microphone

Best handheld microphone

Sennheiser evolution wireless 100-p G4

Shure SM58

STRENGTHS: • Broadcast quality sound • Build quality Industry-standard WEAKNESSES: • Price

• STRENGTHS: • Rugged construction • Great sound quality • Built-in pop filter WEAKNESSES: • Optimized for vocal recording

The Sennheiser evolution wireless 100-p G4A series is a rugged all-in-one wireless system with high flexibility for broadcast quality sound.

The system has a transmission range of up to 330 feet and 8 hours of operation time.

An update to the industry-standard evolution wireless mic system series, Sennheiser claims that the user interface of the 4th-gen ew 100-p series will allow for faster set-up and better control thanks to 12 compatible frequencies. Additionally, the ew 100-p output power goes up to 30 mW. The lighter aluminum housing of the SKM 100 G4 allows for easier use.

Included in the latest ew 100-p series offerings are a 135-p G4 Portable Handheld Set and two Portable Lavalier Sets, an ew 112-p G4 (omni), an ew 122-p G4 (cardioid). Also available is the ew 100 G4 ENG Combo Set, which offers both plug-on and bodypack transmitters with an omnidirectional ME 2-II clip-on microphone. The new systems are compatible with all previous evolution wireless systems.

Recently celebrating its 50th anniversary, the SM58 wired handheld mic has long been known as one of the world’s most rugged and affordable professional dynamic microphones. The SM58 is a cardioid mic with a frequency response of 50Hz to 15kHz tailored to deliver warm and clear vocal reproduction.

Even in extreme conditions, the SM58 is designed to target the main sound source while minimizing background noise. The Shure SM58 has a built-in spherical filter to minimize wind and breath “pop” noise. It also has an internal pneumatic shock-mount system which is designed to help reduce handling noise.

Shure SM58

Sennheiser evolution wireless 100-p G4

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Best microphone for video production — 2021

Best shotgun microphone

Best camera-top microphone

Sennheiser MKH-416

Røde VideoMic NTG

STRENGTHS: • Industry-standard sound quality • Built to last • Suitable for adverse environmental conditions WEAKNESSES: • Expensive

STRENGTHS: • Safety channel • Long battery life • Rechargeable battery WEAKNESSES: • Larger than previous models

While not a small investment, the Sennheiser MKH-416 Short Shotgun Interference Tube microphone is an industry-standard that can be spotted on Hollywood sets and professional independent productions alike. The mic is responsive to frequencies between 40 and 20,000 Hz and has a hypercardioid pickup pattern that begins to narrow into a lobar pattern above 2 kHz. This particular microphone has extremely powerful directivity meaning you will always get an incredibly tight and focused recording, no matter where you’re recording.

When your work takes you outdoors, you’re bound to encounter humidity and condensation, which can cause many mics to fail. The MKH 416-P48U3’s RF condenser design makes it highly immune to moisture, allowing you to reliably capture high-quality audio in normal and adverse environmental conditions. The MKH 416-P48U3 also has a foam windscreen to reduce unwanted wind noise.

Designed specifically for film, radio and television work, the MKH-416 has a durable all-metal body ready for hard use on set or on location. It’s expensive but the MKH-416 is a quality product that you can rely on.

Røde’s NTG shotgun microphones are typically known for being lightweight, on-the-go microphones capable of delivering broadcastquality audio. The VideoMic NTG offers everything that we’ve become accustomed to in the NTG series, combined with features from the VideoMic lineup.

The VideoMic NTG can be used in many different setups: on-camera with DSLRs or smartphone rigs, on a boom pole or as a USB mic for recording voiceovers, podcasts or live streaming.

This mic has a highly directional super-cardioid polar pattern and infinitely variable gain control. Users are able to adjust the mic’s output from mic level to line level to headphone level.

There is also an Auto-sensing 3.5mm output that automatically switches between TRS and TRRS. It would work for both cameras (TRS) and mobile devices (TRRS). No need for adaptor cables.

The VideoMic NTG has a high-pass filter (75Hz or 150Hz), – 20dB pad, high-frequency boost, and safety channel. Additionally, the switchable safety channel records an additional channel at -20dB if the main channel just so happens to clip.

The microphone uses the Rycote Lyre shock mounting system with cable management. Also, it works with a sliding rail mount.

Røde VideoMic NTG

Sennheiser MKH-416

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VIDE OMAK E R >>> JU LY - AU GU ST 2021

Best budget microphone

Factors we considered

Audio-Technica AT8015

The best microphone is the right one for your shooting situation. To get a better idea of how to choose the right mic, let’s take a look at some key specs.

STRENGTHS: • Roll-off positions switch • Solid construction • Battery or phantom powered WEAKNESSES: • Extra-long form factor

The Audio-Technica AT8015 Shotgun has proven to us it is currently the best budget microphone, offering the most features for the lowest price.

To give you an overview of this mic, the Audio-Technica AT8015 Shotgun is a line gradient condenser, phantom or battery-powered, shotgun mic. Its primary focus is to capture over long distances. It is positioned to do that thanks to its sound rejection design, rejecting sound coming from the sides and the rear. With its ability to capture sound from long distances, it can be used in a number of situations. Those working in TV broadcasts can use it to capture audio of a news reporter or interviewee. Also, those working on professional or personal video projects should be able to use this mic to capture audio clearly without having to get the mic in the shot. Its versatility at a low price is one of the reasons it is the best budget microphone out there right now.

Additionally, the AT8015 Shotgun features a roll-off position switch. What does this switch do? It reduces the pickup of low-frequency ambient noise. So, for instance, the mic will cancel out anything like traffic, room reverberation and mechanically coupled vibrations.

Form factor The first thing you’ll need to consider is form factor. There are several basic types of microphones you can use in production.

Handheld microphones Whether wired or wireless, handheld microphones are held by an interviewer or talent.

They’re great for getting run-and-gun interviews in noisy environments where you don’t have the time for a lavalier. Handheld mics can also be used on a stand to pick-up audio from a subject who will not be moving around. Handheld mics can deliver a very rich full sound. However, if you don’t want your microphone in your shot, a lav or shotgun mic would be a better option.

Lavalier This tiny microphone clips to a lapel or shirt, or it can be completely concealed under the talents’ clothing. Lav mics come in both wired and wireless forms. Lav mics can be helpful at times in blocking outside noise because of their close placement to the sound source; however, the noise created by your subject’s clothing moving around while wearing a lav can make the audio captured by the microphone unusable. Lavalier mics typically don’t produce as rich of a sound as handheld or shotgun mics. If it’s possible, use a shotgun mic instead of or in addition to the lav.

Shotgun mic This long, thin type of microphone mounts to a stand, boom pole or your camera rig. Shotgun mics can be placed much further away from your subject than lavs or handheld mics, while still doing a good job at rejecting outside noise. Shotgun mics are sensitive to handling noise, however, which can make using one mounted to a camera rig, or even on a boom pole, challenging.

Microphones in post-production

Audio-Technica AT8015

Microphones used for ADR or narration vary from handheld mics to large condenser mics.

While many have XLR outs to connect with pro audio gear, many are now being built to connect directly to computers via USB. Foley — the background sounds in film and TV productions — is often recorded with a large variety of mics depending on many variables, including

VIDE OMAK E R >>> JU LY - AU GU ST 2021

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Best microphone for video production — 2021

whether the recording is in a studio or outside and what the desired sound is.

Need-to-know tech specs This is a quick and dirty breakdown.

It’s important to note that audio recording is an art unto itself, similar to cinematography. Many chapters of many books have been written about types of microphones, construction of mics and their pickup patterns.

Condenser vs. dynamic mics The design of a microphone element or capsule will affect how the mic performs. There are many types of microphone elements; however, due to cost, durability and function, there are only two that should be considered for production and post: condenser and dynamic.

In the most basic sense, condenser microphones use electrical current to power a series of plates that vibrate when sound waves hit them. The obvious con to this type of microphone is that it needs power at all times in order to work. Pro audio systems use phantom power to send power down the microphone cable to condenser mics without interfering with the audio signal. Otherwise, the mic will need a battery.

Condenser mics can be very sensitive, allowing them to pick up audio from a distance. A good example of this use is shotgun microphones.

This same sensitivity can result in a condenser mic picking up a lot of extra wind noise and background noise. That’s why a good windscreen is also a vital accessory for your shotgun mic. It’s also important to note that condenser mics can be a bit delicate.

Dynamic microphones use an electromagnetic coil and diaphragm.

While that may sound a lot more delicate than a condenser, it’s not.

Dynamic microphones are the most rugged mics available. They do have a limited sensitivity, which actually is not always a downside; however, dynamic microphones don’t usually have as tight of a polar pattern as many condenser mics have.

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Polar patterns

Wireless vs. wired

Polar patterns, also commonly known as pickup patterns, are the areas that a microphone will be sensitive to sound. The common polar patterns used in production recording mics are omnidirectional, cardioid, hypercardioid, supercardioid and line. Some microphones can even switch between polar patterns.

An omnidirectional mic has a polar pattern that is round in shape, while a cardioid polar pattern is heart shaped. The line polar pattern used for shotgun mics is almost completely in front of the mic and very directional. This helps explain the shotgun’s rejection of noise along the sides of the mic and its popularity for use on film shoots.

Lav and handheld mics commonly use cardioid and hypercardioid pat-

As a rule, wired microphones are more reliable than wireless; wireless always runs the risk of having radio frequency interference. There are new wireless systems that help eliminate many of those interference issues, making the difference more about money. Wireless systems are typically much more expensive.

THE RIGHT MIC FOR THE JOB MAY BE USING MORE THAN ONE MICROPHONE. terns. They offer a good balance between wide pick up and rejection of outside noise.

Frequency response Perhaps the most overlooked element when shopping for a new microphone is frequency response.

This is a measurement of the audio frequencies a microphone is most sensitive to. This is usually expressed in Hertz (Hz). Each model will have a different frequency response, so you’ll need to know how you plan to use it. For example, if you record only spoken word, you only need a microphone that has good reproduction down to around 75Hz. Most people’s voices when speaking are not any lower than that. On the other hand, many audio engineers feel that accurate reproduction of up to and in excess of 15,000Hz (15kHz) is important for good intelligibility and a feeling of clarity of the spoken word.

VIDE OMAK E R >>> JU LY - AU GU ST 2021

Adjusting to the situation The right mic for the job may be using more than one microphone. For instance, say you’re doing an interview on the sideline of a football game using a handheld mic. You can hear the subject holding the mic but not the crowd behind him. If you see the crowd making a lot of noise behind the subject of the interview but can’t hear the crowd making noise, it’s going to be rather awkward for viewers.

In this case, record from a pair of microphones. You can use the built-in mic on your camera to pick up the crowd while the handheld mic picks up your subject. This gives you the ambient sound of your location without overpowering the track from your subject in your mix.

The right mic is only half the job Once you’ve determined the right mic(s) for a job, you’ll need to focus on microphone placement. Sound experts have written entire books on microphone placement for recording. Taking the time to learn mic placement techniques will likely improve your audio more than better gear.

Final thoughts Many microphones require accessories such as a windscreen, pop filter, zeppelin, shock mount or even a boom pole. Purchase them with your mic so you don’t find yourself facing an overnight shipping situation.

Remember also that proper placement of your new microphone can make a huge difference.

You can comment on this article by going online: www.videomaker.com/article/295304

A lot of the magic you see on screen comes from great video editing. Every film or video project you see on-screen was pieced together by a video editor at one point. They start with a massive mess of stuff and piece everything together to create a coherent, compelling narrative.

EVERYTHING YOU NEED TO KNOW ABOUT

VIDEO EDITING

BY LUIS MAYMI LOPEZ

W

hen it comes to creating a film or any other kind of video project, much of the magic you see on screen comes from great editing. It is quite astounding what a video editor can create. They start with a monumental mess of stuff, then cut and trim the pieces together. The final result is a complete story in video format. Video editing truly is where the magic happens, so let us dive into the basics of what you need to know.

What is a video editor?

A video editor’s core function is to cut, trim and sequence separate video clips into a comprehensive narrative structure. This sequence eventually becomes the final release of a film or video. The video editor needs to understand aspects of the pre-production phase — such as the shot lists and storyboarding — and from the production phase — such as continuity and cinematography.

The video editor spends most, if not all, of their time in post-production. This is where they possess the majority of their skills. It is essential to learn a few key terms in the video, audio and color categories to grasp how to work on a project. Additionally, it is advantageous for the video editor to be familiar with motion

graphics and visual effects. There are a number of post-production terms you should be familiar with. Here are a few of the most important ones by each category:

Video terminology Frame rates – the frame rates are the number of still images or frames taken each second to create motion. If you want your video to look like a film shooting at 24 fps (frames per second) achieves such a look. For slow-motion footage, shooting more than 60 fps achieves a smoother and more precise image.

Video resolution – the video resolution determines the number of details in your video and measures by the number of pixels contained in each frame. Some common video resolutions are 720 (1280 x 720 pixels), 1080 (1920 x 1080 pixels), 2K (2560 x 1440 pixels), 4K (3840 x 2160 pixels) and 8K (7680 x 4320 pixels).

Aspect Ratio - The aspect ratio is the relation of the width to the height of an image or screen. Some common aspect ratios are 4:3, 16:9, and 2:35:1.

Video codecs – in more straightforward terms, video codecs compress a large video file for storage or sending, then decompress for playback or editing. Some standard video codecs are H.264, MPEG, and ProRes.

VIDE OMAK E R >>> JU LY - AU GU ST 2021

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File formats – file formats, or video formats, refers to the container and the codec used to make it. The container is the “wrapper” that holds the audio and video data together in a single file (with extension files like .mov, .avi, or .mp3), while the codec lays out data.

Safe Zone – if your video might end up viewing on a consumer television (instead of a computer or mobile), it is best to make sure your titles and actions fit comfortably in the safe areas (title safe and action safe areas).

Audio terminology Mono vs. Stereo – mono is single position audio that emanates from a single source (singlechannel recording). The Stereo consists of two discrete channels routed to separate left and right output channels and speakers.

Audio Levels – usually measured in decibels (abbreviated dB). 0 decibels (dB) is the maximum level, and quieter levels measure as negative numbers such as -10 dB. Sample Rates and Bit Depth – will determine the number of audio samples captured per second, the overall resolution, and the dynamic range. A standard sample rate for video is 48 kHz, and 24 bit is standard for production and mixdown environments.

Color terminology White balance – how warm or cool the colors look in your image (basically when white is not white).

Color grading – the process of altering the color qualities of an image. It includes contrast, sharpness, blankness depth, white balancing, color overlays, and saturation.

Color correction – the process of fixing color issues and making footage look as natural as possible (basically repairing the original color to make it look clean and real).

LUTs – ‘Look Up Tables’ preset or creative transformations applied to your footage. LUTs originate within software or are camera-specific.

Waveforms and Vectorscopes – waveforms and scopes are tools to accurately display precise color and luminance values. Since you can’t judge the quality of a video by how it appears on a single screen, waveform and vectorscopes monitors will allow you to deliver a consistent, high-quality video product across devices.

Video editing specific terminology The terminologies discussed before were technical aspects of what a video editor must know and be familiar with. By understanding those terms, you will be able to dive into the bells and whistles of video editing, such as: Montages – a montage is a sequence of various shots edited together to illustrate an idea.

Ideally, the video editor attempts to add more visual information while occupying less screen space and at the same time keeping the flow of information accessible to the audience.

Transitions – a video transition is a postproduction technique to connect one shot to

Color grading alters the color qualities of images, while color correction fixes color issues and makes images look as natural as possible.

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image courtesy: adobe.com

Animations programs like Adobe After Effects allow VFX artists to create realistic visual effects and incredible motion graphic animations.

another. The most used transition is the cut (instantly replacing one shot with the next), followed by dissolve (two clips overlap in time for a period of several frames), and fades (fade-out or fade-in, mainly used to show the passage of time). Video editing software comes with many transitions, but most of the time, you will be using the cut about 95 percent of the time. However, sometimes a carefully placed transition can add a stylistic visual effect to the production, so use them to your advantage.

Visual Effects – visual effects — or VFX — allow complementing a scene by adding missing elements or removing unwanted things to make the scene shine. By integrating live-action footage and generated images, you create realistic environments you can’t capture on film. An example of visual effects would be spaceship flying or CGI explosions.

Motion Graphics – motion graphics are animated visual elements intentionally moved on the screen. A video editor can generate and animate stylized clips, lower third text animations, and complex title sequences, or even 3D compositions. Animations programs such as Adobe After Effects allow the creation of incredible motion graphic animations.

Now that we have covered some of the terminologies let’s picked a video editing software that fits your needs.

Choosing a video editing software The software your pick for video editing depends on how you work. Whichever one you pick, you will most likely end up using it for years, so this is an important decision. We recommend checking out “Videomaker’s Best

Video Editing Software Guide.” This guide informs you on video editing software that covers your skills level, workflow and budget. No matter which software you pick as a video editor, the single most significant skill you need is the ability to organize your project’s assets.

An organized video editor is a requisite As a video editor, your project will inevitably have a lot of assets. You need to be able to find and organize all the footage and your edit with ease. A simple step-by-step plan that breaks the edit into manageable tasks will go a long way toward moving through the editing process with ease (a shooting script is a helpful tool). Before digging into the timeline, take some time to label and sort clips into bins and folders. Carefully organizing your clips makes it easier to identify and locate each piece of footage. Most importantly, it will save you time and money.

Now that you have your video editing software, understand the terminology, and know

A SIMPLE STEP-BY-STEP PLAN THAT BREAKS THE EDIT INTO MANAGEABLE TASKS WILL GO A LONG WAY TOWARD MOVING THROUGH THE EDITING PROCESS WITH EASE.

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how to make a plan, the next step is getting some practice and producing your own.

times in your career. It’s important to understand how it works.

Preparing yourself to become a video editor

A video editor workflow

The only way to become a video editor is to edit as many videos as possible. Although the editing process can be daunting, anyone can learn it. Here are three types of productions you can do to get started:

With those three production ideas to choose from, you will have enough footage to work with, so the next step as a video editor will be to follow a video editing workflow. You break down the post-production into smaller steps which are:

Produce a short documentary Producing a documentary is an excellent way to practice and add to your video reel. Try making a documentary about a family member. Give that one a try. If you need some help producing a more complex documentary, check out “Documentary Storytelling” and “How to make a documentary: everything you need to know.”

1) Sorting clips into bins or folders – check out “Organization tips to help any video editor” to encourage you to keep organized.

Make a short film Without a doubt making a short film is the best way to build your video production chops. It is a lot of fun to do, it is lower cost production, and you will learn much about filming. Check out “Short Filmmaking Course” and make sure you are the film editor of the film to get the experience.

Make a green screen video.

Using a green screen and special effects allows you to create realistic scenes that would be impossible otherwise. As a video editor, you will come across a green screen production a few

2) Rough cut – layout the basic structure and sequence of the edit.

3) Fine cut– after the rough cut is completed and approved, the fine cut precisely places and time out each shot and cut within the edit.

4) Picture Lock – the timing of the clips and edits within the sequence don’t change, nor is any footage added or subtracted from the edit.

Exporting your work Once you finished your product, you make a master file and export it or render it for specific devices. The settings you’ll need, such as codec, resolution, and format, will vary depending on the device. Although the way to export may look different across other video editing software, the result is the same. Look for your

Creating a short documentary about a family member or friend is a great way to build up your production chops and portfolio.

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software instruction on exporting your videos.

Publishing and sharing your video Your video is completed, and it is time to share it with your audience. You have so many options to share it, such as Facebook, Youtube, Vimeo, and even your website. Overall the viewing platform will depend on the video’s end purpose and the client you are producing.

Editing video on smartphones In the day and age of smartphones, you can create a production at any time, and the good thing is there are many video editing apps that you can download to edit the videos on the go. For example, Adobe Premiere Rush allows you to edit videos on your smartphone and upload your finished project directly to all your social media. You can also start the Adobe Rush project and later transfer it into Premiere Pro to do the heavy lifting. Although editing video on smartphones has many limitations is still a good skill to add to your video editing arsenal. Go ahead and download an app and give it a try.

What next for the video editor?

The greatest thing about video editing is that you will always be learning something new. You can increase your video editing skills by studying the Kuleshov Effect and taking the time to learn how to use proxies in your next edits. Additionally, if you use professional software like Premiere Pro, there will always be some new and fantastic features to learn that will make your editing workflow even better. Don’t be intimidated by video editing anymore. It is an enjoyable and rewarding process to make the magic happen.

S HOP C A NON C I NE MA

Advanced Audio Editing Create an immersive experience that will keep your viewer in the story

Luis Maymi is a video producer that enjoys writing and editing video. He an Adobe Certified Professional and, in his spare time, go on exhilarating outdoor adventures like hiking, rock climbing, and kayaking.

You can comment on this article by going online: www.videomaker.com/article/72070084

learn more at: videomaker.com/course/advanced-audio-editing

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EDITING

by Scott Niswander

What are visual effects?

Visual effects help filmmakers bring their visions to life. No matter how big an idea is, VFX makes it a reality. It’s an essential tool every filmmaker needs to have in their repertoires.

As giant blockbuster film franchises featuring fantastical worlds, powerful characters and thrilling adventures continue to dominate the box office, filmmakers rely on VFX more than ever to get viewers sucked into their stories. The promotional material for 1978’s “Superman: The Movie” had a tagline that focused less on the actual story and how entranced the audience would be by the film’s groundbreaking visual effects. “You will believe a man can fly.” They were right.

Visual effects have come a long way since the era of Christopher Reeve’s Superman. Whether it’s giving the Marvel Cinematic Universe superheroes their wondrous powers, creating epic space battles in “Star Wars,” or bringing fully CGI creatures to life like the upcoming “Godzilla vs. Kong,” visual effects are an indispensable filmmaking tool.

Visual effects versus special effects However, visual effects — or VFX for short — are often confused with another similar tool, special effects.

There’s a crucial difference between these two terms. Special effects refer to practical — usually physical — effects that are typically captured incamera. From atmospheric effects like artificial rain, wind and fog, to the use of miniatures, puppets and animatronics, pyrotechnics and beyond. Special effects are “real” effects captured on set.

Visual effects, in contrast, are all of the effects that you can’t capture practically on set. These effects are either

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too expensive, dangerous or simply impossible to create. Lightsabers (unfortunately) don’t exist, so they are created digitally using VFX. The Hulk is a result of VFX — no person is that big in real life. Explosions are often too dangerous, so VFX is a gamechanger. It’s safer for everyone that way.

It’s also important not to confuse VFX with motion graphics. These are animated text and graphic design.

Visual effects tend to combine liveaction footage with additional footage to create a final, seamless composited shot. Thus, they are an essential tool in a video editor’s arsenal.

In short, special effects come from the set. Visual effects come digitally in post-production. But “digitally” might not be the best word to use there. VFX have been around in film long before people started editing on computers.

The beginnings of VFX George Méliès The most notable pioneer of early visual effects was George Méliès, a French actor, director and film magician. Starting in 1896, he directed over 500 films full of cinematic spectacle through visual effects. Méliès would VIDE OMAK E R >>> JU LY - AU GU ST 2021

use a simple but brilliant technique to composite different shots into the same scene.

Essentially, he filmed a scene while a piece of glass — that had parts of it painted black — sat in front of the camera. This method ensured those black parts of the frame never exposed light to the camera’s film. Then he rewound the film and reshot the scene, but using a different piece of glass in front of the camera. This time, the parts that were initially black were transparent and vice versa. This technique allowed Méliès to combine multiple exposures into one final image.

The artist used this visual trickery to pull off whimsical effects. A perfect example is his 1901 film “The Man with the Rubber Head.” In this story, Méliès puts a disembodied but still living duplicate of his head on a table and uses bellows to inflate the head with air, causing it to double and triple in size.

Méliès accomplished this effect by combining multiple exposure compositing techniques with camera movement. By moving the camera forward and backward on a dolly track, the subject in the frame would appear

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to change size. The closer the camera moved toward the disembodied head, the bigger his head looked. Move the camera backward, and the subject would become smaller in the frame.

Méliès composited the moving camera shot on top of the static camera wide shot to bring the illusion to life.

The most famous image from Méliès’ film wizardry is the iconic shot from 1902’s “A Trip to the Moon.” A spacecraft launches towards the Moon, which has a human face. As the spaceship lands, it hits the Moon in the eye. This shot would become one of the most iconic images in cinema’s history, indicating just how prominent and vital visual effects have been since the dawn of the medium.

VFX over time The technique of compositing multiple shots together using black mattes

This iconic shot from 1902’s “A Trip to the Moon” is one of the most iconic VFX shots in cinema history because it indicated how vital visual effects are to the medium.

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EDITING

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was a less common color for costumes than blue, and digital camera sensors pick up more data from green light than red or blue.

CGI

developed further over the years to separate subjects from the background with increasingly fine detail. 1933’s “King Kong” used the Dunning Process technique to light the background in blue and the foreground subject in yellow.

Using special filters and dies to separate the blue and yellow light, filmmakers could create a much more accurate matte.

1940’s “The Theif of Bagdad” won an Academy Award for its pioneering VFX, which filmed the actors on a blue screen. Blue worked because it contrasted with human skin tones, providing the best contrast for the subject and background. Blue screen technology improved considerably with time and has cemented itself as a fantastic way to composite shots together.

Filmmakers still use this technique over 80 years later.

“The Lord of the Rings” trilogy production team captured Andy Serkis’ portrayal of Gollum/Smeagol using motion capture technology.

VFX nowadays

Image Courtesy: Screen Rant

Green screens are more widely used than blue screens because they’re cheaper and easier to light.

Also, bright green is an uncommon color for costumes.

Green Screen

As post-production in filmmaking became increasingly digital, green became the color of choice for compositing. Green screens are far more prevalent today for digital productions for many reasons. It’s cheaper and easier to light than a blue screen, the garish, vibrant green

Also with the rise of digital filmmaking came computer-generated imagery or CGI. From the liquid alien lifeforms of 1989’s “The Abyss” to the liquid metal T-1000 in 1991’s “Terminator 2: Judgment Day,” digital computer imagery was getting good at creating glossy, fluid subjects.

But 1993’s “Jurassic Park” took CGI technology to new heights. The initial plan for the dinosaurs was stop animation. However, Steven Spielberg wanted lifelike dinosaurs. Animators at Industrial Light and Magic created CGI replicas of the dinosaurs, and the results wowed everyone involved, including audiences upon the film’s debut.

Motion capture

Motion capture technology has also greatly improved the believability of CGI characters. An actor wears a specialized motion capture suit that records the performer’s movements to a computer. Animators take the data and apply that performance to a CGI character. A great example is Andy Serkis’ portrayal of Gollum/ Smeagol from “The Lord of the Rings” trilogy.

Another is Mark Ruffalo’s Hulk from the Marvel Studios film franchise. Marvel films serve as a shining testament to how far visual effects have come in the last century.

Too much VFX? There’s a mentality that films these days use too many v™¡isual effects. Many feel we should go back to a time of “real filmmaking” without reliance on these tools. But as we’ve seen, filmmakers have been using visual effects since the very start of cinema to push the medium and tell stories that captivate audiences with wonder and excitement. Thanks to the pioneers of VFX, film has fewer limits than ever to bring your imaginative creativity to life.

If you want to create VFX for your film or video project, programs like Adobe After Effects for compositing and Blender for 3D modeling and animation work great. Try it out yourself, and go make something truly spectacular.

Scott Niswander is a YouTuber with his own niche channel called NerdSync where he rants about superheroes. He also has a beard that people have said isn’t that bad.

You can comment on this article by going online: www.videomaker.com/?p=72070737

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E CE E FR OUR S E R

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SHOOTING

by Stephen Mandel Joseph

Setups to amp up your livestream If you want to start livestreaming, or you’re looking to step up your game, we have three livestreaming setups for you to try.

Unless you understand the basics of livestreaming, it might be overwhelming when you start. However, if you’re dead-set on creating and sharing videos in real-time with larger audiences, then the challenges of livestreaming will be well worth the efforts and pursuit. But first, you have to know what you need to start livestreaming. We’re here to cover 3 livestreaming setups and what you need to get the most effective livestream.

The basic livestreaming setup Before you get started with more advanced livestreaming setups, it’s important to understand the basics first.

Choose your platform The first step you need to take is deciding what streaming platform you want to use. There are plenty of content delivery networks (CDNs), such as the popular free platforms like Facebook Live, YouTube and Twitch.

If you want more control over your livestream, use paid platforms like Livestream Vimeo and StreamShark.

With these platforms, you to control your livestream and how the stream is turned into a revenue-generating cash flow. Whether free or paid, the basics of streaming your videos remain the same. You just have to decide which content delivery network suits your livestreaming objective.

Buy the right equipment Once you choose your CDN, the next step is buying equipment. The type of

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equipment you get is dependent on where you’re streaming.

If you want to use more than just your webcam or smartphone to stream video content, then you should know your ideal platform in advance. Knowing what kind of audience you want to reach also helps. For

THE TYPE OF EQUIPMENT YOU GET IS DEPENDENT ON WHERE YOU’RE STREAMING.

need mixer feeds and other sounds to be broadcast in the stream.

You will also need a video encoder that packages real-time video and sends it to the Internet. An encoder comes as computer software or a standalone device. You also need an excellent Internet connection so your stream doesn’t freeze up on you. Once you have the equipment for your basic setup, you’ll be ready to go live.

Single-camera setup Now that you have your basic setup, it’s time to step up your game.

Tools of the trade example, Twitch is ideal for streaming games. Facebook Live is ideal if you plan on broadcasting news or linking to your community.

So, before investing a penny into livestreaming, understanding basic streaming is essential.

First and foremost, you need a device to stream your content from. Devices can be a PC or Mac or a smartphone — which is not recommended by professional livestreamers. Then you need video and audio sources.

These include DSLR cameras, camcorders, phones or tablets. You’ll also VIDE OMAK E R >>> JU LY - AU GU ST 2021

You could use your smartphone or a tablet device, but it’s not recommended. A mobile phone can be an all-in-one video source that doesn’t require an expensive setup. However, live production resources from a mobile device are limited. They offer poor image quality when it comes to livestreaming.

The most common gear and tools beginners and professionals use to stream include single-camera sources, such as webcams and advanced cameras, such as DLSRs. The most common webcams recom-

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mended are the Logitech StreamCam and the Razer Kiyo.

A single-camera setup is ideal for broadcasting webcasts or webinars. Single-camera setups are ideal for streaming a spokesman at a conference or a best man toasting at a wedding. Singlecameras are great if you don’t require a lot of movement.

With a single-camera setup, you can stream your computer screen using Skype, Google Hangout or Zoom. Just keep in mind that screen sharing requires a bandwidth of 128 Kbps for MACs and at least 384Kbps for multi-person video chats. Studio 6 software offers the best bundle for screen sharing and it only costs $75 dollars. There are other screen-sharing software programs that you can use for free, but they have limited options.

A single-camera setup is pretty simple. You choose which computer works best for you and your budget—a Mac or a PC. Then choose your

A SINGLE-CAMERA SETUP IS IDEAL FOR BROADCASTING WEBCASTS OR WEBINARS.

video source for livestreaming, such as a DSLR camera, a camcorder, a computer screen, or a webcam. For livestreaming, you don’t need to have a storage card in your camera. However, you need a capture card.

Your audio sources can come from a lavalier microphone with a lapel clip, a USB microphone or from an audio file. You will also need your video encoder. One of the most popular encoders for livestreamers is Adobe’s Flash Media Live Encoder. All you have to do is select the applicable input, get the RTMP URL and Stream Key from the provider you wish to stream to.

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However, streaming with multiple cameras brings more indulgence to video content than single camera streaming. Could you imagine watching the news with a single camera framed on just one newscaster for a half-hour?

It wouldn’t be as engaging as capturing images from various angles. With a multi-camera setup, you can capture images from a wideangle, a medium shot or a close-up like on TV sitcoms.

Multi-camera livestreaming is ideal for more professional content, such as filming in studios or if you stream your own show on such platforms like YouTube or Twitch. Unlike a single camera setup, multi-camera streaming requires switching in real-time between different angles.

Gear for a multi-cam setup If you do plan on switching different views, WireCast is the existing industry standard.

Not only are USB microphones budget-friendly, they’re also easy to set up and highly portable.

The SlingStudio Cameralink keeps video quality consistent in singlecamera setups.

Multi-camera setup Livestreaming with multiple cameras applies the same basic setup as with a single camera. You need a source for video and audio content, an encoder for converting the content into the correct format, a fast, steady internet connection, and a streaming destination where your content can be viewed by others.

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with the best livestreaming software, you can produce high-quality, multi-camera livestream content with a single person or a minimal crew.

With hardware switchers such as the Blackmagic Design ATEM Television Studio, you can switch between the various cameras seamlessly. This is good if you plan on livestreaming sporting events.

By investing in one or more of the best livestreaming encoding software, like Wirecast or OBS Studio, you will be broadcasting highquality, professional-looking content like the pros in no time.

Advanced multicamera livestreaming setup Every camera on set needs to link to one central meeting place so the crew can efficiently switch between shots.

Advance multistreaming setups require equipment like mixers and switchers to control video and audio feeds.

However, if you plan on being stationary, then you should consider feeding your camera into a capture device such as the Blackmagic Intensity Shuttle or Blackmagic Mini Monitor.

The Blackmagic Intensity Shuttle or Blackmagic Ultrastudio SDI is ideal for PCs. If you run a Mac, the Blackmagic Mini Recorder — which has Thunderbolt connections—is more compatible. Whatever you do, avoid low-cost, generic brands. Blackmagic is both reputable and reliable.

You can use DSLRs or camcorders and even PTZ cameras for your multi-camera livestreaming shots. But a multi-camera setup does not come without its share of obstacles. You might need to hire such a small crew to operate the switcher and cameras. All of the different cameras need to link to one central meeting place.

You should also have a quick thinking team member there to decide which shot to switch to at the spur of the moment.

Nevertheless, technology and software in broadcasting are evolving rapidly, and

For more high-end streaming — like music events and concerts — livestreaming with advanced multi-camera equipment is essential. Whether you’re a beginner or hobbyist who’s interested in streaming big events, the configuration for the equipment changes dramatically.

Many livestreamers employ professional equipment from the start, like cameras with 4K output, XLR, 3.5mm mic/line audio inputs such

ONE OF THE MOST FUNDAMENTAL TOOLS OF LIVESTREAMING IS KNOWLEDGE AND ENCOURAGEMENT. as the Canon XA40 4K UHD or the portable Blackmagic Pocket Cinema Camera. Many highend cameras support external microphones, which makes the Shure SM7B a top choice for the pros.

For many of the advanced multi-camera setups, mixers and switchers are necessary tools for broadcasting, like a NewTek or Tricaster and the popular SlingStudio wireless switcher. These devices will allow you to freely control video and audio feeds from multiple sources. They also allow you to mix the feeds quickly, allowing live multi-camera switching.

The NewTek Tricaster Mini input and output ports for a multicam setup And if you’re someone who’s seasoned at livestreaming and wants to ante-up your game, the Blackmagic Video Switcher is a high-end solution to any multi-camera streaming system.

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Advanced multi-camera livestreaming allows you to broadcast live sporting events, incorporate streaming into your business or professional organization or stream live video on your website.

Final thoughts There are numerous tutorials on the how-to’s of setting up your livestream for platforms such as YouTube, Instagram, Twitch, Facebook Live, etc. So, whether you’re new to livestreaming or someone seeking to improve on your expertise, there’s a mass of information available to you through blogs, vlogs and instructional websites.

Know that you’re not in this alone. One of the most fundamental tools of livestreaming is knowledge and encouragement. With advancements in technology, livestreaming is no longer exclusive to television studios or live mainstream or corporate channels.

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Whether you’re starting off on a budget with a webcam or using multiple cameras to stream via YouTube, Facebook Live or Twitch, the time to start sharing your video content is now. Because livestreaming is such a wideranging topic, each approach and setup to streaming is different.

Once you have some understanding of the basics, and, with a little trial and error practice, you should be on your way to creating and sharing livestreaming content that will engage your audience and make your streams stand out the moment you go live.

Stephen Mandel Joseph is a published writer, art student, and filmmaking enthusiast. He has directed several Sci-Fi 3D animated shorts and a short drama film on video. He currently resides in New York City.

You can comment on this article by going online: www.videomaker.com/?p=72064127

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LIGHTING

by Nicole LaJeunesse

Lighting techniques for video To create the best lighting for your project, it’s important to understand the essential lighting techniques for film and video.

Take some time to learn the fundamentals When it comes to cinematic lighting techniques, “Mars Attacks” (Tim Burton, 1996) is rich with examples thanks to its campy approach to the sci-fi genre. Since camp films tend to amplify established cinematic tropes and conventions, they turn out to be surprisingly useful learning tools. Let’s take a look at some of the fundamental lighting techniques for film and video through the lens of this classic.

Basic three-point lighting Three point lighting is at the core of nearly every other film and video lighting technique. If you understand this basic concept, you’ll have a much easier time achieving the lighting you want for any scene.

The basic three-point lighting setup include three components: the key light, the fill light and the back light.

Let’s dig into each element and see how it is applied in our shot of Pierce Brosnan here. (Figure 1)

Key light

The key light is the main lighting source for the scene. It’s job is to illuminate the subject so that audience can see what’s going on. In our example, the key light shines onto Brosnan’s face from screen right.

Fill light

The fill light is a supplemental light that complements the key light.

Placed on the opposite side, it counteracts any potentially distracting shadows the key light might leave.

The difference in intensity between the key light and the fill light is

(Figure 1)

called the contrast ratio and plays a big role in establishing the mood or tone in a scene.

In this example, the fill light from screen left is only slightly less intense than the key light. The setup strikes a good balance of defining Brosnan’s features without excess contrast.

Back light

The back light is the final piece in the three-point lighting puzzle. It’s job is to separate the subject from the rest of the scene. The window directly behind out subject serves as a backlight in this scene, giving Brosnan a crisp outline.

Three-point lighting variations Now that you understand three-point light, we can explore different ways to adjust each light for new and interesting results.

Hard lighting

Hard lighting refers to lighting setups that create strong definition between light and shadow. In this shot of Jack Nicholson, hard light reveals deep wrinkles both in Nicholson’s furrowed

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(Figure 2)

brow and his rumpled shirt. (Figure 2) It emphasized the anguish in his face as he realizes the full impact of the Martian invasion.

Soft lighting

Soft lighting, on the other hand, provides less definition between light and shadow. It relies on larger, more diffuse light sources. Soft lighting can conceal wrinkles and smooth features, making faces appear more youthful, open and friendly.

Compare the two shots above. The

(Figure 3)

BOUNCE LIGHTING OFFERS A GREAT WAY TO ACHIEVE THE SOFT LIGHTING TECHNIQUE. hard lighting in Nicholson’s shot emphasizes worry and confusion, while the soft lighting on Glenn Close allows her wide-eyed shock to take centerstage. (Figure 3) This softer lighting style follows Close’s character throughout the film.

In this second example, the lighting technique provides a comical juxtaposition as Close delivers the tough guy action-hero line, “Kick the crud out them!” (Figure 4)

(Figure 4)

Bounce lighting

Bounce lighting offers a great way to achieve the soft lighting technique.

With bounce lighting, a diffused key light is bounced back toward the subject off of a reflector or other light colored surface, such as an adjacent wall. (Figure 5)

(Figure 5)

High-key lighting

High-key lighting is bright and upbeat. It generally denotes a positive or optimistic tone. This type of lighting puts the audience at ease since nothing in the frame is concealed in shadow. In this shot, the world looks on optimistically as the Martian’s arrive at Capitol Hill, VIDE OMAK E R >>> JU LY - AU GU ST 2021

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(Figure 6)

unaware of the imminent destruction. (Figure 6) Low-key lighting

Low-key lighting describes an overall dimmer scene. This lighting tech-

NATURAL LIGHTING REFERS TO ANY SETUP THAT USES THE SUN AS A PRIMARY LIGHT SOURCE.

(Figure 7)

nique leaves pools of shadows to keep parts of the frame hidden from the audience. It’s perfect for establishing both literal and figurative darkness in a scene.

The low-key lighting in this scene aboard the Martian space craft emphasizes both the mysterious nature of the flying saucer and the dark intentions of its inhabitants. (Figure 7) Chiaroscuro lighting

(Figure 8)

Chiaroscuro lighting, also known as cameo or side lighting, is a staple in film noir and other kinds of gritty dramas.

It highlights a single subject against an otherwise darkened background.

In this example, a strong key light highlights Brosnan’s left eye while his the rest of his body and the background remain in relative darkness.

(Figure 8)The lighting technique undermines the optimism of Brosnan’s line, “I suspect they have more to fear from us than we from them.”

Ambient lighting techniques

(Figure 9)

Three-point lighting setups can feel rigid in the studio, but you can add interest to your lighting setups be integrating ambient light sources. Ambient or available lighting refers to the light sources that are already present in your scene. These can be broken down into two general categories: natural lighting and practical lighting.

Natural lighting

Natural lighting refers to any setup that uses the sun as a primary light

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LIGHTING

source. This shot provides a lovely example of natural lighting, where light from the window gives the scene a wash of soft illumination. (Figure 9)

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(Figure 10)

Practical lighting

This kind of lighting is similar to natural lighting in that it makes use of light sources already in the scene.

Practical light refers to an artificial light fixture that appears on screen.

In this example, the illuminated map behind Rod Steiger provides ambient light in the underground war room. The map serves as both a striking set piece and functional light source throughout the film.

(Figure 10)

(Figure 11)

Motivated lighting

Closely related to both natural and practical lighting technique is motivated lighting. This technique seeks to imitate or enhance ambient light sources to better serve the story. This

PRACTICAL LIGHT REFERS TO AN ARTIFICIAL LIGHT FIXTURE THAT APPEARS ON SCREEN. shot of a Martian infiltrator attacking the president in his bed gives us two examples of motivated lighting.

(Figure 11) First, since the scene takes place at night, the lighting in the shot suggests moonlight as the primary light source. Actual moonlight wouldn’t be sufficient to expose the scene properly, so the filmmakers likely used other techniques, like day-for-night shooting, to give that impression.

Second, the bright light of the laser pistol serves as a secondary source of illumination in the scene. Without that extra light, the scene wouldn’t make visual sense.

Cinematic lighting Cinematic lighting must strike a balance between illuminating the

(Figure 12)

scene and telling the story. (Figure 12) Dozens of subtle choices go into even the simplest lighting setup, so it’s important to understand the different lighting techniques for film and video.

Once you have the basics of threepoint lighting down, experiment with different variations and light sources to strike the perfect mood for your scene.

Understanding lighting techniques and lighting design is essential in film VIDE OMAK E R >>> JU LY - AU GU ST 2021

lighting. Now that you know the tricks of the trade, you are ready to light your next project.

Nicole is a professional writer and a curious person who loves to unpack stories on anything from music, to movies, to gaming, and beyond.

You can comment on this article by going online: www.videomaker.com/?p=72068238

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PROFIT MAKING

by Bill Baraona

Opening a business for video Starting a business can be both an exciting and stressful experience.

Nevertheless, running your own business can be highly rewarding once you get through the initial phases.

There is a lot of information available for starting your own business. It can be overwhelming, so let’s focus on the basics to get you off on the right foot.

We have broken those fundamentals down into three categories to cover starting, running, and growing your business. Taking these first steps will help set you up for ultimate success to make money with video.

Starting your videography business Stephen Covey, author of the book “The 7 Habits of Highly Effective People” says, “Begin with the end in mind.” Build your company to last.

Starting things off right and having good habits when you start will only benefit you down the road.

Building from the ground up Now that you’ve decided to start your videography business, make it official.

Before you run out and begin doing work, you need to create a legal entity.

There are multiple options to choose from including a sole proprietorship, partnership, LLC, or corporation. If you are unsure which will work best for you, learn more from the Small Business Administration or the IRS. If you need further assistance, we recommend looking into an online service such as Legal Zoom or contacting an attorney in your area.

Setting up your financials Another important part to get right from the beginning is your accounting. Failing to keep track of your expenses, put money aside for taxes, or

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file your taxes on time will end your entrepreneurial journey really fast.

Take the time to plan out your expenses on a spreadsheet in advance.

Look at what costs you have, what you will need to buy in the future, and how much you want to pay yourself.

This will help you determine how much you should charge and how many projects you need to get in order to reach your goals. Do some research to determine the average rate in your area and industry.

Once you determine your market rate, keep track of all of your expenses using accounting software. We recommend checking out Wave Accounting for a free, easy solution when you are just getting started. Wave will allow you to manage transactions, run accounting reports, create invoices, and accept payments from clients. If you want to step up to a paid software with some more features, check out Quickbooks.

Educate yourself as much as possible about your financials. Your cash flow and finances are the blood of your videography business and what will help you survive and grow as you move forward. If you still feel lost VIDE OMAK E R >>> JU LY - AU GU ST 2021

when it comes to financials and taxes, find a good accountant and bookkeeper in your area. These professionals can help you make good financial decisions and file your taxes correctly at the end of the year.

Running your videography business Now that your videography business is legal and you have a system in place for tracking your finances, it’s time to start running the day-to-day operations. Motivational author and speaker Zig Ziglar said it best when he stated, “Success occurs when opportunity meets preparation.” In order to succeed, you will need to be ready for your first job.

Assembling a team As you start to bring in jobs, you will quickly realize that even though you are a team of one, it will take an army to achieve your goals. How do you get great talent if you can barely afford to support yourself? The answer is freelancers.

Visit websites like Production Hub, LinkedIn, and Instagram to start finding local talent in your area. Reach out to the people you want to work with

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and set up a short Zoom meeting, phone call, or go grab coffee. Tell them about your videography business and let them know you are looking for freelancers you can reach out to when you start to bring in more work.

Create a list of questions to help you get a feel for who they are and what they do. Ask them about their rate, specialty, where you can view their demo reel, and how far in advance you need to book their service. Use what you find out to build your own freelance directory. The next time you have a job that requires a team you’ll know who to contact first, second, or third.

Creating an online experience Your website is like your online storefront, so make sure you have a great experience ready for your visitors. Create your website’s messaging around your ideal customer. Make sure to address things in your text that speak to them and let them know that you are here to help. Think about their pain points and how you can help solve their problem.

Create a demo reel of your best work and put it on your main page so your visitors know what you’re capable of. If you have past clients, ask them if you can interview them about your services in a testimonial video or if they will provide a written quote for your homepage. This will demonstrate to potential customers how you have helped clients just like them. For more help on your messaging, check out books like Building a Story Brand or Brand Bewitchery.

Networking is essential for growing your videography business. Get involved with local networking groups and keep in touch with past clients.

Time to sell Marketing will help you with brand presence, but sometimes you just need to ask for the job.

Get involved with some local networking groups and your chamber of commerce. For more help with networking check out some articles online.

Another way to try to get business is with a cold reach out. Try sending emails, making calls, sending direct mail, or visiting in-person. Don’t ask for a sale right away. Lead with value and help educate your prospect on how you can help them achieve their goals. Learn more about your prospect and position yourself as a resource. The sale will come naturally as the relationship progresses.

Growing your videography business

Go get started

Getting your first few projects is exciting, but it’s critical to stay focused on how you can continue to grow and generate more revenue. Make time for marketing and sales. If you sit around waiting for work to come to you, you will lose opportunities to someone else who is putting in the effort.

These were just a few tips to get you started. There are plenty of other great resources. Search Videomaker for some more articles before you jump in and continue to educate yourself as you go along.

Stay up to date with industry trends, changes in taxes and bookkeeping, sales techniques, etc. You are now the business owner and that means you have to wear many hats, but don’t be afraid to ask for help. It’s a lot of work but, when done right, starting your own videography business can be extremely rewarding. Good luck!

Marketing mindset Pick one to two social media platforms that you like using and create a posting schedule. Post behind-the-scenes photos and helpful articles and videos. Don’t be afraid to put yourself on camera. Being helpful, giving people a peek into your day-to-day, and demonstrating your expertise as a professional will allow prospects the opportunity to discover and get to know you. We recommend trying to post at least once a week and staying consistent.

Bill is a video production and marketing professional living in Cleveland, Ohio. He has been working in the video industry since 2004. When he’s not working and running the day to day operations of Flex Media you can find him on the shores of Lake Erie, enjoying local restaurants, and searching for the perfect cup of coffee.

You can comment on this article by going online: www.videomaker.com/article/72067493

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53

TECHNOLOGY

by Tiffany Harness

What is RTMP and how to use it?

RTMPs and livestreaming protocols are essential components to troubleshooting your livestreams. Knowing how and why they work can help you run a smooth stream and troubleshoot any difficulties you encounter while live.

Often, when something technical works as it should, we don’t give much thought to how or why it works.

This may be especially true when it comes to RTMP and livestreaming protocols. However, when you’re having difficulties with your own livestream events, understanding what it is and how it works might be helpful in troubleshooting. Here, we’ll go over the details of RTMP as it relates to livestreaming. You can gain an understanding of what RTMP really is, how it works and who uses it. Plus, we’ll show you some alternatives.

What is RTMP? Behind the scenes of your computer, there are dozens of protocols at work.

Protocols are the rules that inform your computer’s ability to interact with other computers even if they are not the same. For example, an office network has protocols that allow each user to access the same servers even if everyone has a different computer.

Internet protocols allow computers to transmit messages, audio and video over the internet and be received by other unrelated computers. RTMP (Real-Time Messaging Protocol) is a specific set of protocols that help make livestreaming possible because the messages can be sent over the internet in — you guessed it — real-time.

RTMP was originally a proprietary protocol designed specifically for the

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purpose of sending audio for use with Adobe Flash Player. The flash player plug-in was mostly unrivaled in the early years. It was owned by Macromedia and eventually acquired by Adobe.

Adobe later made a limited version of the protocol available to the public as the rest of the technologies advanced.

How does RTMP work?

If you’ve ever streamed a movie and found that the audio lags behind the actor’s mouth movements by a second or two, you might suddenly realize the importance of RTMP. In general terms, it transmits multiple types of information simultaneously between communicating devices. In this case, the multiple types of information are audio, video and messaging.

This livestreaming protocol creates a multi-directional path that sends you the image and sound. Although it sounds like a two-way system, it actually has a three-way handshake between the source (client) on one end and the receiver (server) on the other end. Not only does it send the information to the receiver, the receiver then sends a message back to confirm, which informs the source to continue sending. This gives it a stable connection with reliable timing.

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Who uses RTMP? Because of the excellent low-latency (delay in delivery to the viewer), RTMP has been widely used in video broadcasting. The delay is about 5 seconds.

This is just enough time for radio and television broadcasters to cut back on liability (wardrobe malfunction, anyone?) if they move quickly. Imagine you’re streaming and a guest drops a forbidden f-bomb or you’re filming live from a ground-zero situation and it becomes a tragic scene. You have a few seconds to react and cut the video before it reaches viewers.

Online, though, it’s an evolving situation. In 2017, Adobe announced that it will be closing the books on the Adobe Flash Player at the end of 2020. It’s not compatible with most browsers or embeddable video players. Android and iOS devices no longer support it. Adobe strongly encourages transitioning to HTML5 standards going forward. Many users have made the switch.

Even though use has declined dramatically since the announcement, some servers like Nimble Streamer and Wowza Streaming Engine are still fully implementing RTMP. Livestream, YouTube, Brightcove, Twitch and Vimeo, as well as other platforms,

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use RTMP to allow simulcasting. This allows your video events from such platforms to be distributed on the platform and also to other sites or social media at the same time.

Where can you find the RTMP information?

To set up your next livestream for simulcasting, you’ll need to find the RTMP URL on your streaming platform. Then, add or embed it on the other websites where you want the video to play. Here’s where to find it on some of the major platforms:

YouTube Start by logging into your YouTube account. Navigate to “Create” and then choose “Go live” to bring up the options screen. You can select the type of video and make a few choices to customize the audience. Be sure to choose whether it will be for public or limited viewing.

Next, set the schedule. Nothing happens if you miss the scheduled time and you can make changes to reschedule as long as you didn’t actually go live.

When you’ve finished with the details, click “Create Stream” and you’ll be directed to the Live Control Room. This is where the RTMP URL and Stream Key. Be aware that YouTube’s default settings will automatically turn your video into a VOD in your library. If you don’t want that, you can choose “Make archive unlisted when complete” in the stream set-up process.

Vimeo On Vimeo, you’ll need a live-enabled membership. Once logged in, go to your homepage and choose “Create Live Event” to get to the configurations page. When you’ve navigated through that, click the Next button which takes you to the Live Preview. It defaults to the “Webcam” view. Just click the option at the top for “Connect (RTMP)” view and you’ll find the RTMP URL and Stream Key information.

Twitch Twitch has different RTMP URLs depending on where in the world you are.

Go to their Ingest Endpoints page to find

the listing closest to your actual geographical location. To the right, you’ll see the RTMP URL. Be sure that you don’t grab the piece that says {stream_ key} after the URL. To find your Stream Key, you’ll need to log into your Twitch account (we recommend doing this in a separate window so that you won’t lose the URL). Under the menu, go to Preferences and then Channel. Your Stream Key will be at the top of the page.

What are some RTMP alternatives?

Obviously, if you’re creating video content for streaming, you want to be sure that it’s the best it can be. Getting the right gear is important, of course, but finding alternatives to RTMP and livestreaming protocol might become an important part of that conversation.

The number of hours we spend watching videos each day has grown exponentially in a relatively small amount of time. RTMP hasn’t developed much since its inception, though. As the flash player fades out, newer technologies are gaining traction in the industry.

MPEG DASH and HLS MPEG DASH (Dynamic Adaptive Streaming over HTTP) or HLS (HTTP Live Streaming) are options that work similarly to each other. They use protocols that hold the audio and video data in chuck called packets. The path to the receiver is mapped and if some of the data gets dropped it’s quickly redirected on the mapped path. This means that VIDE OMAK E R >>> JU LY - AU GU ST 2021

the receiver will pause in a state of buffering before the playback actually begins so that all of the data arrives. It generates high-quality results but the timeliness of live video is often lost.

WebRTC and SRT WebRTC (Web Real-Time Communication) and SRT (Secure Reliable Transport) are alternatives that definitely work towards upholding access to truly real-time streaming. They’re both free, open-source options. The focus in WebRTC is adaptive bitrate technology to eliminate latency entirely. Because it uses API support, it eliminates the need for plug-ins and downloads. SRT boasts secure streams that can traverse firewalls easily to reduce dependence on IT support while still giving you immediate delivery.

As the Adobe Flash Player goes the way of fax machines and floppy disks, we’ll collectively explore and expand the emerging technologies.

Livestreaming protocols will likely evolve rapidly in the coming year. We advise you to learn as much as you can and start experimenting if you haven’t already.

As a transplant from Videomaker headquarters to the California high desert, Tiffany feeds her wanderlust with obscure touristy experiences.

Often by the light of the moon, she digs into writing topics that range from personal to technical in a variety of fields.

You can comment on this article by going online: www.videomaker.com/?p=72064245

55

AUDIO

by Blag Ivanov

Tips for microphone placement Microphone placement directly influences many technical aspects of how sound is captured. It greatly contributes to the overall quality of the audio you record.

Achieving good microphone placement is a surprisingly straightforward process and one grounded in physics and engineering concepts.

Technical aspects like the microphone type directly influence the design, sensitivity, sound and directionality. Adapting these concepts makes capturing good audio for video a lot easier and more consistent.

The article uses a blend of realworld applications, understanding the different microphone types and understanding the basic theory behind how different designs work. All of this information proves overwhelming.

However, given time, it is no different than playing a game once you learn the rules. It becomes second nature.

Proximity to sound source When it comes to microphone placement, you need to reduce the distance to a sound source. Close miking is

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placing microphones within 12 inches of the source. If you place the mic too close, there is the risk of distorting and muddying the captured sound. A microphone set up too far causes the source to sound weak or washed out.

Condensers lend themselves better to distances.

Common microphone placement for typical situations An important consideration to contend with for microphone placement is the microphone’s footprint. A cardioid pattern is a suitable choice for all of the examples below. However, this works

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with several cardioid packaging options: mounted/handheld, lavalier, shotgun.

Interview There is a reason lavalier mics are synonymous with interviews. They are easy to use, tend to stay put once mounted and you don’t have to worry about holding or moving them. The tricky thing about lavalier microphone placement is they often sit visibly on the talent’s clothing. It is important to place the microphone and the cables strategically so that they don’t distract from the speaker.

The Rode VideoMic is purpose-built for this. It features a camera-mountable design, condenser capsule, supercardioid pattern and camera-friendly 3.5mm output. Just don’t forget the 9-volt battery or things might get a little quiet.

The integrated approach has the added benefit of not having to sync the audio and video later, just make sure that your frame and sample rates are correct. At least 48KH for the audio track, frame rate can vary by application, but 24fps is suitable for online streaming and 27.97d for NTSC. Before getting started, do your best to approximate your setup beforehand, and find the desired camera

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position while keeping in mind that this will also be your sound pickup point. Positioning is important — the more distant the camera and microphone are from the source, the less direct it sounds and the more gain needed.

Being a condenser, the VideoMic is friendlier to use at longer distances and does not need to be directly in front. Meaning that six feet away won’t have world-ending consequences for your audio.

Try it for yourself in a variety of environments ranging from less to more reflective. It is all part of the larger experience of learning your equipment and getting the most from it.

Narrative Good quality narrative relies on a quiet space free of ambient sound. This can be a sound booth or similar to the broadcast and streaming setups that are commonly seen. A cardioid microphone is the easy and suitable choice, pick a flavor of microphone that suits the purpose but also your talent’s voice. A popular choice for voiceovers is the Electro-Voice (EV) RE20. It is a large-diaphragm cardioid microphone, which makes it good for close proximities and handles lower frequencies well. Most importantly, it sounds good.

At live events, make sure to adjust the height of the mic to compensate for the speaker’s position and head tilt.

If you are in need of a more accessible microphone, the AT2020 is an amazing valuefor-money condenser great for getting started it. Tonally it presents a good example of what to expect from a condenser. It has a good presence and frequency response that lends itself well to singers and narrators alike!

The setup considerations should consider whether the talent is standing or seated. This helps with breathing, projection, and comfort. Position the microphone about 12 inches from the source, try moving it within that distance and adjust to taste. Make height adjustments around the talent’s position and based on whether they tilt their head at all when addressing the microphone.

Live event

Keep your microphone at a good distance from the speaker’s mouth. To start, place the mic 12 inches from the speaker and then adjust as needed.

Focus on reducing and rejecting ambient sounds to help clean up the noise floor. This helps reduce the potential for feedback, bleed and just makes for a much cleaner sound. The lengths you go to will vary depending on the type of live event.

Speaking events will require less mitigation than something larger and noisier like a concert.

A mounted dynamic condenser microphone is an excellent starting point. Provided this meets the sensitivity needs without requiring too much gain and risking feedback you are on your way. Typical placement scenarios include a static microphone stand for a standing speaker, a mounted stand for podiums or taking the handheld approach. The core principle is to take advantage of the directional cardioid pattern.

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AUDIO

Stay behind the speakers where possible as this massively reduces the possibility of feedback. Noise gates make an excellent buffer by cutting audio below a set threshold, especially loud ambient sounds. Work with the talent beforehand and provide a few basic tips. The worst thing they can do is get too far away or address or not address the mic at all.

Adjust your approach to the suit the event and talent. Not all presenters have the same skill or mic control, they might need coaching on how and where to hold it, and speaking distance. A podium presentation can be similar to a narrative voice over or entirely different if the presenter tends to move on and off axis.

Compression helps smooth out peaks and valleys but doesn’t entirely eliminate them.

Wedding When it comes to microphone placement, this is by far the most discrete setting used. Wireless lavaliers are a known quantity in this space and also come in cardioid flavors. In most cases, it’s not practical to mic the bride. The aesthetics alone make it a challenge, as well as the technical, and time considerations. Unless everyone is willing to take the time and space concessions to disguise a wireless pack and hide a lavalier, never say never!

More specifically we are going to be using two supercardioid Shure WL184 lavaliers to illustrate and take advantage of the directional cardioid pattern. Use two lavaliers, one on the groom and the other on the caller. We are aiming to dial in the gain so that the bride is sufficiently audible through both mics combined.

This is based on the assumption that everyone is standing in the standard triangular arrangement roughly three feet apart.

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Microphone Directionality Another consideration when thinking about microphone placement is directionality. Directionality is depicted using polar patterns that use a 360° axis to illustrate the shape and strength of a microphone’s pickup. Keep in mind that these are 2D representations, but in reality, they are 3D bubbles of sorts. On-axis refers to front address, where offaxis is anything but the intended direction.

Cardioid vs Hyper cardioid These two polar patterns are synonymous with microphone directionality and for ™¡a very good reason. The cardioid pattern forms the basis for this as the other patterns are extensions of the design. Directionality is created by allowing sound waves to flow in from other directions.

This does need to be both subtle and measure as not just a matter of letting in some sound through the back door. The types of openings used are called ports and rely on complex channels that carry the sound through to the diaphragm while keeping it in phase. Rear-facing pickup is useless if the sound waves cancel each other out.

The difference between a cardioid and its super and hyper siblings is the amount of sound permitted. Hyper cardioids are the most permissive iteration and bear a slight resemblance to a figure-8 or bi-directional pattern.

Microphone types A microphone’s design plays a major part in its sound and microphone placement. The types below utilize different designs, offer different levels of sensitivity, and each has its uses. All of these designs are a means of generating an electrical current that forms the basis of the signal supplied to the mic preamps. The ability to choose the most suitable tool is powerful!

Each of the following sections explains the characteristics of the design before providing a technical overview of how they work.

Dynamic

Cardioid polar pattern.

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Hypercardioid polar pattern, note the additional pick up at rear or 180°.

The passive nature of a dynamic microphone design tends to make them less sensitive overall, more so in the higher frequencies. This also has the effect of making them capable of taking higher sound levels. When it comes to tone, dynamic microphones are on the darker and warmer side.

They can be used on everything from vocals, guitars, drums, and are ideal for close miking.

Dynamic microphones operate through the principle of electromagnetic induction, which is when a conductive metal moves within a magnetic field, thus generating a current. The conductive

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AUDIO

material is the voice coil and the main moving element is the diaphragm. Acoustic pressure in the form of the sound waves moves the membrane in proportion to the sound’s amplitude and frequency. The mylar diaphragm then moves the attached voice coil, in turn inducing a current. Now we have a signal!

To be clear, dynamic microphones do not require any supplemental power to function. Besides the standard microphone preamps already used. This is an important difference between dynamic and condenser microphones. This also means that dynamic microphones are less sensitive, which is advantageous when dealing with louder sources.

Notable dynamic microphones: Shure SM57, Sennheiser MD 421-II

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Royer designed a flagship ribbon microphone for the 21st century by beefing up the internals and making the R121 capable of holding up to close-miking guitars and drums alike; all while retaining the signature Figure-8 polar pattern.

There is one final type of ribbon microphone in need of mentioning, active ribbon microphones. Take the SE Electronics VR2, which uses an in-house design that packages the transformer internally and allows for higher output levels.

Combined with SE’s ribbon design and the result is a powerful, versatile, and responsive ribbon mic. Combined with a 20Hz to 20KHz frequency response makes the VR2 all the more impressive.

Worthy mentions: Royer R121, Beyerdynamic M160, SE VR2

Condenser Ribbon Today’s ribbon microphones see much more varied use, owing to years of design iterations.

Traditionally they had a place in broadcast because of how good the human voice came across. What many refer to as “air” or presence.

Ribbon and dynamic microphones use the same electromagnetic induction method. They differ through the design and materials used for the diaphragm. Early designs used a thin aluminum ribbon, just 2 microns thick, suspended a strong magnetic field. The conductive aluminum strip moves due to sound pressure. As earlier, conductive metals moving in a magnetic produces a current and again signal.

Older ribbon microphones have some drawbacks. For example, the fragile ribbon material is susceptible to damage from high sound levels and rough handling. There is also the problem of accidentally applying +48v phantom power, resulting in the instant death of the thin aluminum strip. Lastly, the signal levels in ribbons struggle to compete with their dynamic cousins. That is why ribbons require an additional step-up transformer.

Modern Day Ribbon The conventional and practical packaging of the Beyerdynamic M160. A new type of ribbon with a cardioid pattern.

Fortunately, modern improvements like miniaturization and stronger materials have made ribbon microphones more rugged and flexible. Corrugated aluminum ribbons provide increased strength.

Printed ribbon microphones use a polyester film with an aluminum ribbon printed on it.

Ring magnets sit at the front and back of the diaphragm. The M160 is one such example.

The most sensitive microphone type around, condensers lend themselves well to higher frequencies and don’t come far behind the sound level ceilings of dynamic microphones. If anything this has only got better over the years.

Condensers offer a good choice when looking for more sensitivity in the higher ranges and bringing more presence to a recording. They can be used in close or room miking arrangements.

Condensers rely on the electrostatic principle to capture sound waves and produce a signal, they are essentially capacitors. Even the word condenser means capacitor.

This section will explain the details of operating a condenser microphone while staying fairly light on the technical details. Condenser microphones require an additional power source.

Today, this comes standard as a switchable +48v phantom power on all interfaces and recorders.

The microphone capsule consists of two plates, a movable top plate and a fixed back plate. Once powered and both plates have reached an equal charge the unit becomes a microphone.

Sound waves impact the top plate and causing it to move, which in turn causes the overall charge or capacitance to change. Ignoring for a second the microphone impedance characteristics at play. It is this change in voltage, when captured, that produces a usable signal that is sent to the preamp.

Famous condensers: Audio Technica AT2020, AKG C214 Blag spends his time between DevOps and audio. He works at a software company and is a contributing editor at Videomaker where he mainly focuses on, you guessed it, audio!

You can comment on this article by going online: www.videomaker.com/?p=72067493

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59

DIRECTING

by Jo Mayer

Celebrating women in film Since the dawn of filmmaking, women have been working in the industry. Although many women weren’t recognized, they persevered—revolutionizing cinema

The film industry has always been a beacon of discovery and creation.

The many contributions of women in the industry are influential, but are often overlooked and less recognized than their male counterparts. From its roots, the industry developed into an ever enticing business that produces works of art. Many notable scenes and various aspects of film production were shaped by women.

History In the early days of filmmaking, women took part in the various processes of the craft, but not to the extent of men. Women worked as directors, editors, inventors, cinematographers and writers. They told their stories through their craft. These are a few of the many notable women in film history.

Alice Guy-Blaché An absolute pioneer of her time, Alice Guy-Blaché is the world’s first female

director. Born in Paris in 1873, she made her way into the film business as a secretary for Gaumont Film Company. She grew inspired after a viewing of the cinematograph by the Lumière Brothers. She urged Léon Gaumont, her boss, to let her use a camera to make a movie of her own.

Through this endeavor, she created one of the first narrative films, “La Fée aux Choux“ (The Cabbage Fairy), in 1896, one of over 700 films made under the Gaumont name. She developed techniques like split-screen, matching sound to film and is acclaimed to have created the close-up.

She eventually moved to New York and created Solax studios, named one

Alice Guy-Blaché made history by becoming the first female director— paving the way for future generations of aspiring directors.

of the largest studios before Hollywood. Alice went widely unnoticed in the industry during her life, partially due to creating so much work under the Gaumont name.

Margaret Booth Often referred to as the first-named “film editor,” Margaret Booth worked as a patcher at her first job out of High School in Los Angeles. The first film she worked on was “Birth of a Nation”

by D.W. Griffith in 1915, where she earned $10 a week. She worked her way up in the business to be in charge of entire print production, overseeing every step of the production, from inspection to the shipment of film.

She then moved to the East Coast where she would get a job at MGM. Her work caught the attention of Irving Thalberg, the head of production at the time. The two worked closely together, and Thalberg gave Booth the well-deserved name of “film editor.” She only received one Oscar nomination in 1935 for “Mutiny on the Bounty.” She later received an honorary Oscar in 1978 for her contribution to filmmaking.

Dorothy Arzner Another notable pioneer, Dorothy Arzner, invented the boom mic by using a fishing rod to propel a microphone.

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DIRECTING

Other notable women in film There are countless women contributors that go widely unrecognized.

These women made room for those who would come after. Some honorable mentions from early film history include Leigh Brackett, who was a big inspiration for “Star Wars.” Writing sci-fi was her passion.

Another notable woman is Lois Weber. She took risks with controversial

Margeret Booth worked her way up to running a print production. She caught the attention of Irving Thalberg, MGM’s head of production, and earned her the title of “film editor.”

Image Courtesy: IMDB

Arzner started out as a typist for Paramount Pictures in 1919. Through this, she learned about the industry quickly. She produced around 20 films made for women. With her experience, she became the first woman in the Director’s Guild of America. She also received a star on the walk of fame for her work. Known for her drive to make stories about women for women, Arzner often challenged the male gaze and objectification of women.

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topics like birth control. She was the first American woman to create a fulllength film in 1914. Weber was the only female member of the Motion Pictures Directors Association.

Then there are Tressie Sounders and Madame E. Toussaint Welcome, the first black women filmmakers.

Sounders produced “Woman’s Er-

ror” in 1922, a film credited for its portrayal of the black experience.

Madame E. Toussaint Welcome created films and art about black soldiers in World War I.

Recent events Skipping forward, women continue to shape the history of film. Chloe Zhao

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Chloe Zhao on the set of “Nomadland” – Image courtesy: Searchlight Pictures

Although the number of women in the industry continues to increase, the ratio of men to women remains widely unbalanced.

Furthermore, Figure 3 of the report shows the data of women working behind the scenes from the 250 top-grossing films over years. Women remain under 25% of the behind-the-scenes workforce since 1998. In figure 6, you see that films show a low representation of women as composers of the top 250 films. In 2020, the ratio is 5 to 95, women to men. Through this report, you can see the disparity that is still alive in the industry for women. With this knowledge, there must be a collaborative effort to promote a need for more representation within the industry.

Dorothy Arzner spent her entire career producing films made for women—while also challenging the objectification of women.

is the first woman of color nominated for Directing in Academy Award history. This win would make her the second woman ever to receive the award next to Kathryn Bigelow. She received a nomination for the film “Nomadland,” a story of a woman who lives in a van, travels around the American West and meets an array of individuals to have a meaningful connection. Zhao definitely has her own style that centers around connectivity between living beings.

Aside from the directing category, A number of women received nominations for sound design, acting, animation, documentary, visual effects, and more.

Chloe Zhao’s directorial style focuses on connectivity between living beings. Her work has earned her an Academy Award for Directing.

Representation

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Although women have come a long way in the film industry, they still have a ways to go. The Center for the study of Women in Television & Film latest report on the Celluloid Ceiling gives insight into the employment of women in the industry. In the report, you can see an increase in the number of women working over the years.

Organizations Being that the disparity is all too real, women in film need organizations to support their efforts. Women In Film is an organization that “advocates for and advances the careers of women working in the screen industries,” providing resources for programs, advocacy and events for women.

In the same vein, Women Make Movies is another organization working to support filmmakers. WMM classifies itself as “the world’s leading distributor of independent films by and about women, we amplify historically ignored voices and challenge the mainstream media.” WMM gives access to a wide selection of films made by women about women.

There are many more organizations that champion women in the entertainment industry.

Some notable organizations include Camp Reel Stories and Ms. In the Biz. Camp Reel Stories is a program teaching young women useful techniques to create their own media. Ms. In the Biz is “the go-to resource for female entrepreneurs in the entertainment industry, focusing on creating careers.”

Conclusion Ultimately, it is important that we persist in advocating for women’s voices and stories in all industries. The high focus film industry, in particular, should strive to lead in this movement.

The industry must look at its discrepancies of the past and work to improve the future.

Jo graduated from CSU-Chico with a degree in Media Arts Design & Technology. She loves live event photography, as well as music and the outdoors and is an amateur skateboarder.

You can comment on this article by going online: www.videomaker.com/article/72071823

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TAKE FIVE

5 quick production tips

by Haley LaPlant

5 tips for creating social media video

Over the past 10 years, social media has exploded in popularity. Platforms like YouTube, Facebook and Instagram—as well as many others— have millions of active users that consume content daily. People are reading posts, posting pictures and most importantly, they’re creating and sharing video.

According to Vidyard’s 2019 Video Benchmark Report, by the year 2022, online videos will make up more than 82% of all consumer internet traffic.

It is resoundingly clear that video is becoming the most effective social media tool.

So, with the power of video and social media right at your fingertips, how do you utilize them effectively to expand your business and reach as a videographer? If you do things right, more people will see your work and want to pay for your services.

Keep reading for five tips on how to use social media video to successfully grow your client base and business.

1. Figure out your social media platforms The first thing you need to decide is what platforms you want to share your content to. Instagram, Facebook, Twitter and YouTube are all great options — share to as many as you can.

The more platforms you share on, the more people you will reach.

YouTube is an obvious choice for sharing video content. However, running a YouTube channel takes a great deal of time and effort. You need to be ready to plan content regularly and edit your videos. Although it’s a commitment, it’s undoubtedly an excellent way to share your knowledge, brand and skills with an audience.

If you don’t have time to run a YouTube channel, then Instagram and Facebook are great alternatives. In fact, in a 2019 study, video posts saw 49% higher interactions and engagement than posts with just images.

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Instagram has many features that can benefit videographers such as stories, live and Reels.

2. Create quality, engaging content So, you’ve decided on what social media platform(s) you’re going to upload to, now it’s time to create the content.

There is a whole sea of content on the internet, so how do you make yours stand out? Try your best to implement the following tactics: • Create original content • Provide answers or solutions to common problems, show your authority • Be accurate with the information you share • What are people in your space looking for? Do some research • Make your content interesting, fun and engaging By implementing these steps, you will be on your way to creating great social media video that people will enjoy watching, and they will come back for more.

3. Upload regularly Get in the habit of uploading and posting regularly. The more you upload, the more people will see your content.

Viewers will also get to know you and your business more, and understand that your information and services provide them value.

If you have a busy schedule, create a schedule for posting and sharing to social media, that way you have a dedicated day and time during the week to get it done.

4. Get exposure and expand your reach Getting exposure and views goes along with creating quality content and uploading regularly. Butm another thing you should do to boost your audience’s reach is to optimize your social media profiles. Each part of your social media profiles can be VIDE OMAK E R >>> JU LY - AU GU ST 2021

optimized for greater exposure. Some examples include your usernames, photos or brand logo, and use of keywords. If you are unfamiliar with SEO—search engine optimization—do some research and get familiar with it.

SEO can be your best friend.

You can also use targeting to reach your desired audience. Facebook has what is called organic post targeting, which allows you to choose who you want to see your content.

Self-promotion also goes a long way. Reach out to people in the industry and see if they want to do a collaboration. Encourage people you know to share your content to their socials as well.

5. Create a community You can find a community for almost everything imaginable. It is a powerful tool that you should utilize when considering your own social media strategies.

When you create your videos, be authentic to create camaraderie between you and your viewers.

Utilize features such as Instagram Live and Instagram stories. You can host an Instagram Live Q&A session where your followers can interact with you. You can also do a live session where you show your audience a new product, or perhaps a tutorial on how to do something.

Go and create Now that you have some tools in your arsenal, you are ready to take a dive into the world of social media video, which will help grow your network, build social media understanding and grow your business.

Haley LaPlant is a freelance writer and the former Managing Editor at Videomaker and Creator Handbook.

You can comment on this article by going online: www.videomaker.com/article/72061282

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