While waiting for the last ep of the Great Camera Shootout, I ran across this video by Jason Levine. He give a pretty good demo on using native DSLR footage in the Premiere CS5 timeline with the Mercury Playback Engine. One thing that came up during the Shootout was that after transcoding H.264 video to ProRes or Cineform codecs, DSLR footage becomes so much easier to work with and color-grade. The point came up then if that's the case, what's the 'big deal' about editing DSLR footage natively in CS5?
As always, solutions come from relatively simple setups. One of the beef's users of DSLR video cameras have is not being able to monitor their audio while shooting. Apparently the folks over at Orange Wedding Films used one of my old standby's to link up an Zoom H4n to monitor through headphones and record audio directly into the camera using a Radio Shack Mini Splitter. Despite all the XLR connections I have on gear, I always keep a fistful of mini splitters around for stuff just like this. Check it out....
Anyone who's read my post's regularly probably knows I'm down with DIY solutions to solve professional equipment and production problems. Here's one by Jonathan Christen Bergqvist that combines furniture making and RC model tech to make a pretty cool shoulder rig. Check this out....
Just posted a few interval DSLR timelapse clips from San Francisco.
Daniel Bruns - April 15th, 2010
For nearly a year I've been posting about the revolution DSLR cameras have been causing and posting 'beauty' vids from the cam's in action. However, my posts have been lopsided towards the Canon line of rigs. In an attempt to be balanced, here's a short vid by Carolyn Pitcavage called Uncle Jack. Normally, quirky flicks give me the hives, but this one was worth the initial itching. It was shot with the Pentax K7. Enjoy.
We've been busy publishing and updating the guides on our website!
* Videoguys' Guide to DSLR Workflows
* Videoguys Guide to Migrating From Avid Liquid to Avid Media Composer
* Videoguys Guide to Understanding HD Formats
* Videoguys' FAQ: Matrox MXO2 Family of Products
* Wedding & Event Videography Guide from the Videoguys
* Videoguys' Professional Video Editing and Production Guide
As promised, today Tony Wiess and the Zacuto Team released part I of "The Great Shootout" where the top performing DSLR cameras go head to head in comparison against motion picture film. In this first episode, film latitude (the ability for film to be over or underexposed and still get an acceptable image) is examined. Though DSLR's use a video sensor instead of film, the sensitivity to highlight and shadow detail can still be measured in the same manner.
Andy Clark - March 24th, 2010
Daniel Bruns - February 23rd, 2010
Oh, how times have changed. Just two short years ago, I was shooting on a Panasonic HVX200, previewing my footage on a Marshall monitor, and using a G35 lens adapter in order to achieve depth of field. These were wretched times in which one was forced to make a choice between quality and speed. On one hand, if I was trying to capture beautifully focused footage with a shallow depth of field, I would inevitably be running around like a chicken with his head cut off just trying to get my shots in the limited time my clients gave me.