Last night I decided I need a small softbox for my flash. Something light, that can be taken apart and constructed from things I could find in my house at 11pm.
A little while back we shared three options on quickening your Lightroom workflow with the use of a game pad controller. And why not, game pads were designed for prolonged repetitive interaction, very similar to the actions you take when curating files in Lightroom. next, next, mark, next, mark… and so on for 1000 files.
Here is the caveat, if you don’t want to spend $50 on the Cullinator or configure complicated software, you were left without options.
Paul over at thoughts on film shares another option, using a Logitech F310 which is ergonomic, cheap and can be configured for Lightroom right out of the box. (I suspect that higher models from this series share the same option)[Read More…]
A little while back I was contacted by Bruce Devon and & John Irwin and they pitched a post about a new “hack” – an intervalometer/firmware hack that ramps the camera shutter to 1/93000, allowing to action-freeze action sports. Indecently it was April’s first.
Now, I am not really sure what “ramping the shutter to 1/93000” even means, but I loved the resulting video, and asked them for some explanations on how the video was made. Turns out that while shooting the video took a bit under two hours, creating the freezing effect took about 35 hours of after effects effort. The prank, textual explanations and a how to video after the jump.
You know that to get the most of your DSLR you should be shooting in RAW, right? But these days Nikon cameras gives you even more options: 12-bit or 14-bit, and compressed or uncompressed RAW (NEF) files. Which should you choose?
Short question: Does it matter? Will you see any difference between compressed (lossy) and uncompressed (lossless) RAW? And between 12 and 14 bits?
Short answer: No it does not matter. Choose 12-bit compressed (because they take up less space) and forget about this topic. Or choose 14-bit uncompressed because theoretically you’re getting the “most” from your camera – you just have to live with the file sizes.
| Approximate RAW file
size on a Nikon D7000
|12 bit||14 bit|
|compressed||12.6 MB||15.7 MB|
|uncompressed||14.9 MB||18.8 MB|
Not happy with the short answer? Then read on…[Read More…]
I don’t really know how to tag this short here, but after yesterday’s announcement on the MoVI I thought it would be right to bring some counter opinion.
About three years ago Vincent Laforet released Reverie which was the first proof of concept that quality films can be shot with a DSLR, the Canon 5Dmk2. The movie stirred a huge commotion on the web. The thing is that even before releasing it, Vincent knew it was going to change the game with video and dSLRs.
MōVI is a handheld 3-axis digital stabilized camera gimbal. This means that you shoot hand held, no tripod, no body mount, no jib, Steadicam or dolly and can still get smooth, great looking shots.
In fact, Vincent is so sure that he says it would be easier to use the MoVI and shoot a scene rather than trying to describe it:
“This device isn’t the end of the sticks, Steadicam, slider, dolly or jib to be sure… but it sure will make you think twice about using those tools on many of your shots when you find out how quickly this device allows you to execute a similar shot but in a fraction of the time. It can literally take longer to explain a shot, than it would to execute a perfect shot with the MōVI. Heck you’ll even think twice about every using a tripod for a quick pan or tilt shot – when you realize you can do that with a “push” or a circular forward movement left (a curved dolly track…) Except you don’t need to lay track down”#
If you are not sure, just watch this BTS that shows how stabilized it is even when cameraman is running full speed.
Here are some of the point that Vincent highlights for why this is such a game changer:
- Affordable – with a predicted price of under $15,000 (and a smaller unit under $7500) this can be used by most small production crews. It is not cheap, but also not that expensive when you consider the amount of gear and crew it can potentially replace.
- it is small, light weight. This means it can easily go on a plane or be carried into desolated locations.
- It’s super stable, and can be used running, skating, or on an air born platform
- It allows a second operator to control the unit with a joystick while the gimbal is held by a different person
- Short learning curve – while Steadicam can produce smooth shots, it takes years to master The MoVI is super quick to learn and use.
For a demo of how stable the thing is, here is an entertaining tail-chasing demo
Finally, here is the movie Vincent shot entirely with the MoVI. Quite a proof of concept.
There are a lot of misconceptions about photography and copyright. Some of the more common questions (and wrong answers – at least on the net) concern copyright ownership, photo usage, online usage, fair use and licensing.
Others concern model releases, invoicing & payments (and their relations to copyrights) and legal documents and wordings.
Jack Reznicki and Ed Greenberg A.K.A The Copyright Zone (and authors the Photographer’s Survival Manual: A Legal Guide for Artists in the Digital Age) have a great lecture on B&H indepth blog.
It is a one hour and fifty minutes long lecture, but it clears a lot of the questions and misconceptions around the subject of copyrights and well worth the time watching it.
In this post Andy Pearson solves one of the most annoying issues for DSLR shooters – the location of the record button. The default “start video” button is placed in the most inconvenient location ever. If only you could operate it from the rig….
While filming the other day with some of my colleagues for a short project we’re producing I noticed that the cameraman was having to balance the DSLR Camera rig with one hand while trying to press the record button on the back of the camera.
I had a little research on the internet and searched for how the pros do it with their camera rigs. It became apparent that unless you paid a ton of money for bespoke remote triggers for the model camera and rig you owner, it was something that most people lived with…[Read More…]