In video production, knowing how to use a green screen is an essential skill for any producer. It is an irreplaceable tool and can give you a lot of creative freedom in post-production. But in my book, knowing when to use a green screen is just as important as knowing how.

There are so many resources on how to shoot green screen for your project. Forums and blogs are filled with tips and tricks and best practices. In my experience, clients and producers seem to view green screen as a magic tool that makes a shoot easy, and avoid the hassle of being on location. However,  if you’ve had some experience trying to achieve high-end results with green screen, you’ve no doubt been frustrated with the process.

If you find yourself needing a shot of an actor hanging off the edge of a skyscraper, then green screen is probably going to be the most economical, and safest option. Often times, however, I’ve been asked to shoot green screen for scenes when a park, a news set, or a nondescript background was needed.

While green screen may appear to be a simpler option, often times I find that by the time I set up all the lighting properly, and spent the time in post-production to get the key and background correct, my time would have been much better spent researching and securing the right location. Good green screen work takes a lot of forethought and post-production time, and if not done properly, can easily bring down the production value of your entire project.

For interviews or a spokesperson, using a white or black background is a simple way to give you some of the options a green screen shot offers, without the time-consuming task of keying and precise lighting. Some simple editing can allow for graphics and other assets to be placed alongside your talent. I’ve always found white and black backgrounds to be easy to work with, while continuing to keep the production value high without a huge time investment.

So the next time you’re considering breaking out the green screen, consider your options carefully, and make the choice that will result in the highest production value you can achieve.

On May 7th Adobe released Creative Suite 6, and it’s pretty clear that their eyes are keenly focused on video production. While we’re still in the process of writing our review of the software suite, here are a few of the features we’re think video producers everywhere will be excited about.

Adjustment Layers in Premiere – Here’s the situation. You’ve edited together a very complex sequence of shots which features a drunk stumbling from home from a night at the local watering hole. The sequence is composed of several point of view shots cut tightly together, and sprinkled with wide shots of the person walking down the sidewalk. You want to make sure every POV shot is blurry and de-saturated so the viewer can see the world as the drunk sees it. Before, our only solution was to either apply the blur and de-saturation effects to each clip individually, or nest each chunk of shots and then apply the effects. Adjustment layers change this. They work just like they do in After Effects. Simply place an adjustment layer over the shots you want to affect, then apply the effects you want to the adjustment layer. It will transfer those effects to every clip underneath it in Premiere’s timeline. Now, if you have to change the amount of blur or desaturation, you only have to change the settings on the adjustment layer(s) and not each clip or clips inside of a nested sequence. To me, this feature is about six versions late, but better late than never!

3D Text (and Basic Shapes) in After Effects – Have you ever needed to do simple 3D text when working in an After Effects project? Unfortunately, After Effects could never do true 3D. Rather, it could place 2D objects in 3D space. That means if you wanted 3D text, you’d have to put 2D text in a 3D composition, duplicate it about a hundred times, then offset each layer’s Z position by one pixel. What a pain! Alternatively, there was a way to use the Shatter effect and turn off force and gravity to give pre-composed text a bit of extrusion. Still not very efficient. Finally, Adobe has added an extrusion option within the settings of 3D text/shapes. For those that only need very basic 3D tools, this may save you from spending a couple grand on 3D software.

SpeedGrade – Okay, this isn’t so much of a feature as it is a complete product. Adobe aquired IRIDAS, and included it in the creative suite for the first time in this sixth version. The first thing you’ll notice is that it doesn’t really feel like an Adobe product. The user interface is way different. Additionally, quite a few Adobe UI conventions that are ubiquitous in Adobe products aren’t there. The software itself, however, is great. Dedicated color grading software is being used more and more frequently outside of Hollywood. DaVinci, for example, can now be purchased for $1000 on OS X, where it used to be a $20,000+ system only. It only makes sens that Adobe wants to get in on the action. Considering the price for Adobe’s Creative suite hasn’t risen any (in fact, the Creative Cloud option looks like it’ll save you money), having a dedicated color grader is a welcome addition!

Obviously this isn’t a comprehensive list of new features. There’s tons more to look forward to in CS 6, so keep an eye out for our upcoming review!

I had the pleasure of auditing a portion of the Videomaker “Basics of Video Production” workshop a couple weeks ago. There are many basic rules when it comes to video, and there is a wealth of basic knowledge that continues to be the foundation for great production. Though I had been exposed to all of this before, it had been years since I had seen the fundamentals of good video production laid out so methodically. It caused me to really think about the basics again.

As my experience has grown, I have developed a tendency to wing-it much more often than I would have when I was just starting out. The video portion of my scripts began to dwindle, and the fine details of the script were often left to be finalized on set. I was still proud of the final product, but as I sat in the workshop, I was reminded that proper planning, and a concise vision of what you want out of a given video project can really be the difference between good and great video production.

While there is no substitute for experience, remembering to follow those simple rules makes your chance of success so much higher, so write that script and edit it until it’s perfect. Make that storyboard a true reflection of what you want to see in your video. Keep shooting takes until the shot is right. White balance properly for every shot. If you think there might be some distracting backround noise, do your best to minimize it on the set. Move the lights that extra inch to get it just right, and help your talent give the performance you know they’re capable of, even if it feels exhausting at the time.

Take your time, because what only takes a few seconds in the field, can take hours to fix in post-production. Doing all these things will make the the video production experience much more enjoyable for you and your crew, and it will show in the results.

Greg has 15 years of experience working with video professionally, and has recently joined the Videomaker team.

Video production is such a wide and varied field, from hobbyist and amateur producers, to Lone Wolf business people and full-fledged production facilities. Is your interest in editing video production or video production service? Are you a wedding video producer or a newbie looking for advice? Are you making online video or educational video? Video producers come in all flavors and inquiring minds want to know: who ARE you? What kind of video work do you do? Let us know, we’re curious about what type of video you make, and for what purpose.

Recently, EarlC, one of Videomaker‘s moderators, posted a Videomaker Forums Survey looking to answer some questions about the type of video producer who reads Videomaker, either online or in a paper edition, and who reads our forums and who is active on them.

As many of you might know, Videomaker forums are chock full of advice from real video professionals working in the trenches – and best of all, they’re FREE! How many places can you get service for free, huh?!?! Read the rest of this entry »

As you’re honing your skills with video, you may, at some point, be asked to do freelance video work for someone else. You know as well as anyone that video production is a skill that has value, so when you’re asked what your rates are, you’ll want to be ready with a number. All too often, new videographers are, for some reason, eager to work for free in order to build their demo reel. DON’T DO IT! Unless it’s for friends or family, your potential client is surely expecting your services to cost something.

FreelanceSwitch.com has put together an hourly rate calculator to help you determine what to charge. Now, this calculator is designed for individuals who are planning on doing freelance work as their main source of income, but even if you only plan on doing video here and there on the side, there are a few take-aways here. The main one is that you should charge for your equipment. Even if you’re okay with not charging for your time and labor, your camera and editing system in order to work, and being able to pay your credit card bills or business loans ensures that you’ll still have your gear the next time you want to shoot. One thing that FreelanceSwitch.com’s calculator doesn’t account for is rented equipment. If you’re renting your camera and lights, I’d recommend using the calculator to figure out your rate without the rented gear, then putting together a work order and tacking the price of the gear on there.

So let’s assume you’re not still paying off your camera, you really love doing video, and you have all the time in the world. You really should charge something reasonable anyway. The reason why charging for you work is important is because every time someone does video work for free they are devaluing the market. Think of the producer that was passed over because the client was sure they could get someone new to videography to do it for free. You might be in their position some day. This kind of thing happens all the time with video, graphic design, and art. It’s a side effect of these fields to be really fun to work in!

Looking for Props for your next movie? Check out After Halloween Sales!

So I was at my local department store shopping for a storage bin and I stumbled upon my biggest pet peeve this time of year, “The Nightmare Before Christmas” a long row of Halloween items on sale while Christmas music blared happily overhead.

I always wish we could have a rest from exposure to both of these over-saturated events between Halloween and Thanksgiving, but I’m also a savvy shopper. Anyone who makes videos that might need movie props or makeup should consider the Halloween sale aisle. If you have a fake fight, you’ll need scars or makeup. If you have an ethereal fairy or wizard making magic, you’ll need tiaras and wands.  This time of year you’re going to find wigs, fake swords, zombie makeup and more – all at 50% to 75% off. What a deal. Facial scars, skin putty and glue, fake teeth even fake blood props are all on sale – and you probably won’t find them again until next year.

Read the rest of this entry »