Learn some unique lighting techniques to add a professional touch to your video.
This time around we'll be taking a look at some specialized lighting tricks which can add an element of professionalism to your production.
It's a nice day to film a car ride, but it can be quite the headache. Using daylight, bring a backlight in behind your trunk. Use a reflector to guide the light onto the subject and use a neutral density filter on the window to create a soft spread of light inside the front seat. Make sure to use a large black poster board to shade the windshield. Then place your camera behind the reflector and shoot away.
Adding light from one side is known as filling in from the key side. By placing both the key and the fill lights at an angle to one side and then throwing in a backlight, our production looks a little bit more natural yet is still nice and illuminated.
Here is an easy and very effective way to show the passage of time. Simply move a lamp over an item onto a tabletop letting the shadow move across the counter or table. We experimented with a couple different angles with the light, moving it over, alongside, or behind our subject to see which shadow effect worked best.
Whether it's in the car, filling in from the key side, or the passage of time, lighting is one of the most important aspects to film making. For more tips and tricks, be sure to join us online at www.videomaker.com.
There are always lots of new lenses announced at NAB every year, but this one was truly special. Most of us can’t even afford to rent some of the lenses on the show floor, let alone the camera to use them. Canon’s Compact Servo 18-80mm T4.4 is the exception. While the $5,225 price tag is nothing to scoff at, it’s a steal when compared to Canon’s other EF servo zoom lenses, which approach $30,000.
An optional add-on to the Compact Servo 18-80 is a zoom rocker grip.
The visual style of your video is usually in the director’s head from the start of production, so what happens when you bring the footage into your editing software and you can’t get it to look quite right? Well, when it comes down to crunch time, as editing tends to, any solutions that are "as easy as it gets," are often the ones that editors rely on. You need to get the right tool, and you know that big young Internet has plenty to offer, but do you really want to be searching for, learning and purchasing something you’re checking out for the first time the same day?
Testing the S-Gamut3.Cine Slog3 colour profile in the Sony a7S II. Please note this is 4K down scaled to a 1080P timeline. Canon 16-35 F4 Set to F11 on both cameras. Shutter speed used to get correct exposure. White balance 5500K
We've been screaming about this for years, but Simon Cade at DSLRguide has put it into words more eloquently than we've heard in quite some time. Simon strikes down all the buzz words we industry geeks tend to throw around like dynamic range, aliasing and 4K, but emphasizes that the they all take second fiddle to storytelling.