Use Deceptive Shooting to make Fire, Rain and Earthquakes
Jennifer and John go out on location to experiment with making a sunny day look rainy, a studio look like a fire-lit setting, and creating some "camera shake" moves that are more realistic than 1960's era Sci-Fi TV shows.
Use Deceptive Shooting to make Fire, Rain and Earthquakes
Hi, I’m Jennifer O’Rourke. And, John Burkhart and I are taking tips and techniques out of the studio and on location to show you a couple cool ways that you could do in camera effects, using just your camera and a couple props that we’ve brought along. Our first one we’re going to do is show you how to make rain without it being a rainy day. So let’s take a look!
Now there’s a couple different ways you could make rain. This is the way we did this; we just got a simple bucket and a ladder and we drilled holes in the bucket at various sizes and distances. As you can see, a couple holes are a little bit too large in this demonstration. Another thing you need to watch for when setting this up is the distance of your camera to the subject and the subject to the rain.
The idea is we’ve got the depth of field here and I’m not as close to the bucket as I appear to be. But we’ve got the camera far enough back that it looks like the water should be rolling right in front of me. And we’ve put holes of random size and random areas of the bucket; if you use just a sprinkler, a sprinkler is too uniform so it doesn’t look like real rain. But using the bucket the way that we did with the holes being a little bit larger and smaller is what adds to the effect. Of course to pull this off right, you need to have your subjects wet or in this case the umbrella in the background.
Run John run! See John run! He’s running down to the really cold creek to get some very cold water.
Now this is a very subtle effect that we’re going to show you. You know in the old Star Trek series where when the enterprise was hit by a bomb, everyone would jump left and they would all jump right and it was all choreographed; nothing in the background ever moved, but the people all jumped around. It looked fake and we knew it was fake. There’s some real subtle ways you could make camera shake work for you in earthquakes or in situation like I’m going to show you with a car door. And we’re just going to close the car door and John is going to tap the camera just a little bit and just kind of simulates that the car movement has caused the camera shake. We’ll do it two times. We’ll do it without him moving it and with him moving the camera.
And that was obviously very subtle and that’s the idea. Let’s take a look at it again. You don’t want to be obvious when you do these effects; you just want to subtly play out the idea that there’s movement going on in the shot.
And this next effect has us back in the studio so we do have a controlled environment. And we’re going to give you the effect of a soft cozy fire-light scene. And the easiest way to do this is to create your own fire. Now John’s going to turn off the light that I have here on our studio light and Joseph’s going to turn on the fan and we’ll show you what the effect looks like of that nice cozy fire-light scene. And then John’s going to tilt the camera down to show you exactly how we did it. We just got a fan and we put plastic strips in front of the fan and we put an orange gel onto a light and we have the light flashing through the plastics strips. Pretty easy!
And that’s it for today’s tips and techniques. A couple little sizzling and cool in camera effects that you could do quite easily. Another one we want to tell you about is the one we call the vanishing effect. You see that in I Dream of Jeannie, she pops in, she pops out. The best way to do that though, is sometimes you get a little bit of the camera shake, so you want to actually just dissolve between the two shots; the shot of the person in the shot and the shot of the person no longer in the scene instead of a straight cut and that makes it a lot smoother and cleaner.
So, for tips and techniques, I’m Jennifer O’Rourke.
After Effects templates can look really nice, and be a big time saver, but you do need to add some of your own personal touches. Make your After Effects templates look unique using projects from VideoBlocks. With the variety of projects from Videoblocks, you’re sure to find something you need. And If you’d like a FREE 7-day trial to Videoblocks, then go to www.videoblocks.com/videomaker. #AD
We go hands on with the new Canon 5D Mark IV at the Albuquerque International Balloon Fiesta! Shooting from dawn to dusk at this spectacular event, we put the 5D Mark IV’s, low light, run and gun and 4K video recording capabilities to the test.
The GoPro HERO5 Black and Session were released Sept 19, 2016 along with their first drone Karma. In this review we test all of their functions, show you test footage and our thoughts on if you should buy it or not.
Canon has been slow to bring 4K to their DSLRs, so we were eager to see what Canon has to offer in this space with the 1D X Mark II. This camera is now their flagship DSLR and has some very intriguing specs. We already mentioned 4K, but there’s a lot more to this camera than that. With up to 60 fps in DCI 4K, the ability to shoot up to 16 continuous photos, it’s an action shooters dream.
The Sigma 24-35mm F2 DG HSM Art Zoom is affordable fast glass and are nicely built. The short distance of this zoom might be concerning to those needing more. The MC-11 is a nice mount converter but does slow down the AF. Overall, Sigma made some great products and we would recommend them.
It’s easy to get smooth, breathtaking footage with a brushless gimbal, but balancing them can be a bit tricky. In this video we show you how to set-up, balance and operate the Argo 3-axis gimbal from Came-TV. Leveling and balancing takes time, but with patience and a steady hand, you’ll be ready to capture smooth and, precise free-floating stabilized camera shots. #AD
With the huge number of computers on the marketplace, it’s not easy to choose the right machine. Because there are so many hardware options, pricing varies greatly from brand to brand and model to model. That’s most definitely true with the Dell Tower 7810 line. Starting at the low end, you can configure a machine costing a humble $1,500. On the grander side, it’s possible to build a system with a price tag of up to $35,000. With this range, you can build a 7810 with any need and budget in mind.
The G-Technology Shuttle XL is a large, fast and portable Thunderbolt 2.0 storage solution for those that make money producing video. Expandable to 80TB, the Shuttle XL can be configured to accept less-common formats including RED MINI-MAG. Buy the G-Tech - Shuttle XL HERE:http://amzn.to/2bWHzux Buy the Promise Pegasus2 R6 HERE:http://amzn.to/2bWI6Ne Buy the LaCie 5BIG HERE:http://amzn.to/2bCq7fx Buy the Shirt Here:http://bit.ly/1pvMo0f
Choosing the right light for the job can be difficult these days. With a slew of bulb types, color temperatures and sizes, knowing what you need and how much you need to pay can be tricky.
The newest choice in bulb type is LED, which offers a long life but comes with a premium price tag. Plus, it can be difficult to differentiate between brands and models to understand what you are paying for.
The LitePanels Astra 1X1 Soft is a bi-color LED light that’s simple to operate and delivers high performance when it comes to color quality.
Are your low angle shots shaky, uneven, lacking variety, and just not up to the quality standard you’re okay with? Whatever it may be, we’re going to show you some tips on how to get better low angle shots, with a Benro Hi Hat. Low camera angles are fun, can look very professional and don’t require a lot of expensive equipment. Getting good camera angles will add variety and that always makes editing easier and a good hi-hat like the Benro makes sure your shots are consistent. #AD
We define diegetic and non-diegetic elements and demonstrate how they can be used to convey complex cinematic ideas. Learn to better control the emotional and intellectual response of your audience by understanding the mechanisms behind it.
Many producers these days are a crew of one, meaning if it needs to be done, it’s being done by you and only you. Because of that, the market has many products to help the one person crew create the best video possible with no outside help. Consider this: You find yourself with only a camera and tripod, and you want to improve your production value, but have very little ability to carry around much more than you already have. What then? Not long ago, you’d have accepted it, and got the best pans and tilts your camera and tripod could offer.