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    In most cases, this is something that can be done in your editor – no need for AE. The secret to success is to make sure a few things are absolutely done the speed of the transition to the next room needs to be constant, and can be real movement, or a mix of real plus the frame moving – whatever happens it must match exactly the speed into the next room. Verticals must be absolutely vertical, a few degrees of shift wrecks the effect. You will probably need to draw in a mask to simulate the room edge, and this needs to track with the room. The other thing to watch is the camera height. if it’s different in the two scenes that spoils it too. Perspective, heights, camera lens angles they need to be the same or as close as you can get or it looks wrong, and while you can’t see what’s wrong, your brain registers it. Daft things like the size of windows in the distance – they need to be the same, or the rooms won’t match. Technically it’s just tiny tweaks to make them match. For sideways ones, I conjure up an extra layer with a grid that I can use to centre the next image. I use Premier an d it can do this fine without faffing around in AE


    Is there an alternative “C?” Neither of these spaces inspire me. In “A” the center pillar effectively creates two spaces, one 7.5m x 12.35m, the other 6.85 x 10.45. This might be an advantage should you put a blue cyc in one “room,” a white cyc in the other. The ceiling is high enough that you can hang a grid for lighting, a definite plus, will the ceiling support a grid? The calls-to-worship might present significant audio problems — as might the footsteps of the faithful on the floor above.

    The water leak is a red flag and could portend a variety of problems with the building’s infrastructure. You indicate it’s an older building: will there be enough electrical service to the building to handle your lighting demands? What about access doors for load-in? Will your clients be able to move in set pieces easily? Being in town is a plus; but is there adequate day-long parking for clients?

    For me the most significant drawback for location “B,” besides its distance from town, is the low ceiling height which would virtually rule out a lighting grid and would all but rule out the use of a jib or high-angle shots. Its length certainly works in its favor: you could create a curved cyc that completely filled one end of the building, which would be wonderful for shooting music videos or large-product commercials.

    Here again is the question of access. Are there doors wide enough and high enough to accommodate scenic pieces and client products. You don’t have to have a loading dock, but high double doors would be a plus.

    The red flag here is the “not very friendly contractor.” For a conversion such as you are contemplating I would be searching for a very friendly and imaginative contractor, one who could save me money through innovation and a positive approach to my unique needs.

    Good luck with your project. You can get by with either of these sites you are considering but if it were I doing this project I’d continue to look for spaces.

    AvatarEric Matyas

    Hi everyone,

    Things have finally calmed down a bit…pfew! …In that spirit here’s:

    “Gulf Breeze”_Looping

    Positive / Upbeat

    The rest of this week’s new free tracks are from my Technology Page…I think some of them might work in sci-fi themed projects. They are:

    “Intriguing Future”_Looping

    “Future Business”_Looping

    “Future Grid”_Looping

    “Switch On”_Looping


    Enjoy your week! πŸ™‚


    I have found that the old camcorder focus stand by of zooming in – focus – zoom out and everything is in focus doesn’t always translate with DSLR video. The F-Stop on DSLR cameras play a bigger part in depth of field and a lot of kit lenses tend to be variable aperture zoom lenses. Meaning when you are zoomed out and set your F-Stop once you zoom in your F-Stop changes and so does your depth of field.

    I would frame up the shot and digitally focus. Also don’t set your F-Stop too low, I would start with around F8 to give a over all good depth of field. There are free apps out there to help determine the depth of field with your camera and lens. To help me focus on areas in video I took a thick white poster board and drew a grid of 1 inch squares on one side. The grid gives my camera something to focus on and the other side helps set the white balance.


    I recently filmed my daughter’s choir concert with another father, and in editing the footage from our cameras together, I noted a very significant quality difference between the video shot on my aging Canon HF M30 and his newer Panasonic HC-x920:

    I’m not really asking for a subjective comparison, here. Anyone can clearly see the detail difference in the images. (Yes, I realize that there are color differences as well, but I’m not overly concerned with this yet–oh, and the suits and dresses were definitely black, while the lights were definitely fitted with red filters.)

    I did some research and found that the x920 is a 3 CMOS (Panasonic calls it 3MOS) camera. I don’t know whether this accounts for the difference, or if it’s the result of a lower cost lens. But in either case, as I would like to improve the quality of my videos, I’m looking at a new camera.

    The x920 appears to have been released around February 2013, and I see that the newer model appears to be dubbed the HC-wx970. However, while this model now supports 4k recording, it no longer has 3 CMOS sensors.

    I’ve tried to find video comparisons between these two cameras, and I though that if a brick-and-mortar store had both in stock I could compare them myself. But I can’t find either.

    So my question is whether anyone out there owns or has experience with these two models (or the HC-vx870, which seems to be the same as the wx970, but without the secondary camera) and can help me understand whether the quality of the newer model, with respect to the obvious clarity difference I see from my current model, is roughly similar (in HD mode). i.e. If I buy the wx970 (or more likely the vx870), will I be sorry that I didn’t buy the x920? (My hope is that a higher resolution sensor designed for 4k, scaled to HD, will result in something roughly resembling the 3 CMOS camera.)


    Avatarvideo player

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    I agree with Robert in regard to the use of light stands. Overhead lights, unless mounted to a pipe or grid, are potentially dangerous and difficult to adjust without a ladder or step stool.

    C-stands or similar light stands will give you a great deal more flexibility; provided you weight the bottom of the stands and secure the power cables for the lights there shouldn’t be any problem with safety.

    AvatarEric Matyas

    Hi everyone,

    New free tracks are waiting for you:  

    “Waking Up” (on the Nature/Science Page)

    “Trekkin’ on Foot” (on the Events/Travel Page)

    “Classy 8-Bit” (on the Looping Music Page)

    “Future Grid” (on the Technology Page)

    “Runaway Technology” (on the Sci-Fi/Space Page)

    Daily updates are here:

    Have a great week!

    In this tutorial I show you how to create a 3D grid in After Effects without using any 3rd party plugins.
    Thanks for watching!

    I am looking for some help with an effect that I am trying to create in after effects.


    I filmed about a 3 mintue video of guy rapping in front of a grreen screen. The shot is really just his face and he is moving it as he raps. I removed the greenscreen background in After Effects.


    What I would like to do now is place a grid that only shows up on his face. So that it looks like the grid in inside or on top of his face. How can i do this other than masking the grid frame by frame which will take way too long?

    Apreciate any help!




    Hello there Rocky M! Thank you very much for you reply.


    I also envy the recording equipment you have! πŸ˜›


    I posted this on another forum where someone pointed out that my camera shoots in a 4:2:0 color space(?) which means it won't work as well with green screens as a 4:2:2 would.


    The reaons I wanted a green screen is so I could easily change backgrounds, because what I really want are simplistic, yet elegant backgrounds like gradients of grey and white and such.


    However, I have no problems with going with just a plain white background or a greyish gardient background, as long as I can light it up (I am willing to invest in some cheap lightning for my head and to light up the background).


    I also find that my lightning gear which are 2 units of "Magic Square softbox 44 x 44 cm" to really spread out the light so I have been looking at "eggcrates" / "softbox grids" to direct my lightning better in this confined space. What do you think about that?


    Would bouncing the light off from the roof decrease its intensity?


    Thank you very much for taking your time to reply. I really appreciate advice from more experienced people! πŸ™‚


    Take Care & Have An Awesome Day, Rocky M! / Max.



    We wrote a buyers guide on this a few months back you should check out. More specificlly, take a look at our lens comparison grid (PDF).


    Hope this helps!



    Hi Mike – maybe I missed it – but I couldn't find any Panasonic DSLM lenses on your DSLR lens comparison grid?


    The lenses I did find (e.g., from Canon, Zeiss, Nikon, Sony) are incompatible with the OP's Panasonic GH3 DSLM camera without an adapter.





    Hybrid Camera Revolution

    Mike WilhelmMike Wilhelm

    We wrote a buyers guide on this a few months back you should check out. More specificlly, take a look at our lens comparison grid (PDF).


    Hope this helps!



    Feature Phonic Media is a video production company based in Manchester. It was established in March 2012, and is driven by a passion for music, video and excitement. Our work ranges from documentary to corporate work, fashion to football and we cater to any genre of video. The company was set up by Adam Mugridge and Josh Woods and has has now grown – over the space of less than a year – into a well appreciated professional production company with associations with some "big" names: "Nike", "Ear to the Ground", "Jeffrey Campbell", "Manchester United" to name a few.


    Originally our passion was for the music industry, and our main objective was to record live sessions for artists/bands – both established and upcoming. This created opportunities that we never thought we'd get a chance to be a part of. For instance recording Wheatus' Teenage Dirtbag live in studio, and watching Brendan Brown hit the high note on the song's breakdown. However, since then we have evolved into a vareity of different areas and pride ourselves on producing high quality content.


    Hi everyone, long time lurker here.

    I’ve been working freelance for a few years and knew about this problem, but had never really needed to worry about it until now.

    I was recently hired full-time as an in-house videographer / editor for a company, and have been working out of a standard office cubicle and external locations for the first few months while a studio space is built in a large partitioned area of the workplace. The space will be used for shooting products, promo videos and misc. video tasks (e.g.: brand managers, rep training videos etc.).

    Camera and other gear aside, for lighting we have purchased a 4-head Lowel lighting kit coming in at ~1700W. This may or may not be supplemented by more lighting down the track.

    I personally own an Ianiro 3x 800W redhead kit and a single 650W Arri fresnel, which I have used for most of my freelance work over the past year or two. For a few of these jobs, we have worked in a space where smoke and/or heat detectors are either absent, or able to be manually overridden / shut off temporarily.

    Currently we are looking at ways to avoid the issue of lighting setting off the building’s fire alarms and costing us thousands each time the lights are switched on.

    The company HQ is on the top floor of a 3-floor office building with standard 10-12ft office ceilings. Fire department protocol dictates that smoke detectors must be spaced in a grid pattern every 7m throughout the building. It also dictates that installing an extraction fan would be against the fire code, as any fire that starts would potentially spread into the roof cavity via that duct and worsen the situation.

    The body corporate has informed us of some smoke detector “condoms” that are made to fit over the smoke detectors temporarily as a barrier to stop any particles reaching them (they’re basically glorified plastic cups). Ironically, it’s against the fire code to install them for anything other than fire system test / technician work…

    For the size of the space (approx 8x8m, or 26x26ft, or 676 square ft.), going the Kinoflo / LED panel route with lighting would not be an option as we’re looking at $8K to $10K of lights to adequately meet the needs of this space, which I can’t swing in the available budget.

    Has anyone had experience setting up a studio space, other than in purpose-built buildings, garages or warehouses (all of which I’m more used to working in)? If so, how did you get around this issue? Our lights will be thoroughly “burned in” outdoors, so a lot of the factory chrome / paint will already be cooked before setting them up indoors, but even my own lights, which have seen heavy use over the years, still smoke occasionally like all tungsten / HMI / anything-with-a-heating-element will.

    Lots of reading on the net, plus talking to fellow video people has told me that it’s either something they’ve never thought about, or it’s something that’s been solved by “less-than-legally” overriding the detectors / whole alarm system. I know what I’d do, but unfortunately I’d most likely foot the bill personally should anything disastrous happen.

    Any advice would be great.


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