13 Gimbal Movements You Should Know by; Alex Cooke

 Gear  Comments Off on 13 Gimbal Movements You Should Know by; Alex Cooke
Jun 172017
 

Adding to your arsenal of camera movements is always a good thing to do. If you just bought your first gimbal, this great tutorial will show you 13 essential movements that will add more visual interest to your work.

Gimbals are one of the fastest ways to get your footage looking more professional and cinematic. They open an entirely new world of stabilized, smooth video, and they enable shots that just aren’t possible (or don’t look good) when shooting handheld. In this helpful video from Aputure, you’ll learn 13 such movements that take advantage of a gimbal’s capabilities.

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This Photographer Uses a Flash Drone to Light Difficult Portraits by; Michael Zhang

 Gear  Comments Off on This Photographer Uses a Flash Drone to Light Difficult Portraits by; Michael Zhang
Jun 152017
 

Want to place an off-camera flash where stands and assistants can’t go? Try mounting it to a drone. That’s what Chinese photographer Fuyan Liu does to light difficult portraits in extreme situations.

WeTalkUAV reports that Liu attached a flash to a DJI Inspire 2 drone for a recent fashion photo shoot on top of a tall building.

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Adobe Premiere Pro’s Editing Tools Explained by; Jason Boone

 Technique  Comments Off on Adobe Premiere Pro’s Editing Tools Explained by; Jason Boone
Jun 152017
 

It took me several years of editing video before I became comfortable venturing out to use some of Premiere Pro’s editing tools. The problem is that you can accomplish almost everything you need with the Selection tool, and some editors are comfortable doing just that. You can perform simple trims, move clips around, and add transitions all using just the Selection tool. To be honest, you never really need to use any of the tools provided in Premiere Pro. However, by exploring tools such as Ripple Edit, Rolling Edit, Track Selection, Rate Stretch, Slip, and Slide, I’ve ended up saving myself countless hours in the edit suite.Take the Ripple Edit tool as an example. The Ripple Edit tool allows you to trim or expand a clip while simultaneously shifting (rippling) all of your assets further on down the timeline. This happens all in one movement. Performing the same action with the Selection tool could easily take 3 movements, and sometimes, even more, depending on the complexity of your project. If you use the Ripple Edit tool enough, it begins to save you quite a bit of time.

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HIVE LIGHTING Wasp 100-C – Omni Color LED Ready to Go! by; Fabian Chaundy

 Cinematography  Comments Off on HIVE LIGHTING Wasp 100-C – Omni Color LED Ready to Go! by; Fabian Chaundy
Jun 142017
 

After a successful Kickstarter campaign, HIVE LIGHTING are just a few weeks away from finally bringing their much-awaited Wasp 100-C LED fixture to market.

Like we originally reported back in December 2016, the Wasp 100-C is an 85W LED spotlight with the kind of output you would get from a 650W tungsten fixture. In addition to the usual advantages of LED — such as lower power consumption and heat generation — the Wasp 100-C also offers Omni Color LED technology, allowing it to reproduce millions of different hues thanks to an array of LEDs of various colours, in addition to pure white.

In comparison to something like the ARRI Skypanel — a very desirable Omni Color LED fixture — the Wasp 100-C comes in a compact form factor that allows it to be a lot more portable than something in a panel form-factor. The light can also be powered with anything above 95Wh, so you can stay mobile with a V-Lock or Gold mount and a D-Tap to 4-pin XLR adapter.

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cinema5D

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Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage by; Johnnie Behiri

 Cinematography, Gear  Comments Off on Apertus AXIOM Beta – Your Open Source Camera. An Update and Recent Footage by; Johnnie Behiri
Jun 142017
 

It has been a while since we last reported about the status of the apertus AXIOM beta camera, so last week I took the opportunity to meet and talk to Sebastian Pichelhofer who is acting as AXIOM’s project leader, association chairman and one of the software developers, in order to find out what is new and in what shape and status the project currently is.  

AXIOM Beta Developers kit

It was nice to hear and see that this unique open source/open hardware motion picture camera system venture is really moving forward to the point where developers and early adopters alike can now already get their kit. Mind you, if you are an “end user” like me, then the camera is NOT YET ready for us as the enclosure and actual  operating system of the camera are still under development. Without those, operating the camera can be a tedious work.

 

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Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom by; Sebastian Wober

 Cinematography, Gear  Comments Off on Sony 18-110mm Review – One-Of-A-Kind Versatile Video & Cine Zoom by; Sebastian Wober
May 192017
 

The conveniently-named Sony E PZ 18-110mm F/4 G OSS lens has been on our radar ever since it was announced in September, as it is one of the only lenses of its kind made for large sensor video cameras. In my Sony 18-110mm review, I will be looking at all the benefits and limitations of this lens. See the video review summary above, or read on for the details.

Sony 18-110mm Review

When looking at the new Sony E PZ 18-110mm F/4 G OSS, it makes sense to first look at its predecessor, the FE PZ 28-135mm F/4 G OSS (Review HERE). Back when Sony introduced their first lens in this series, it was the only “affordable” video lens made for large-sensor cameras with video functionality. Unfortunately, some aspects about it were not ideal: while it gave us a great focal range on full-frame cameras like the Sony a7S and Sony a7S II, the field of view was too narrow on crop sensor cameras (super35) like the Sony FS7, which it actually shipped with as a combo package. Also, the electronic zoom functionality was a big downside for many.

Fast forward to 2016 when Sony introduced the E PZ 18-110 F/4 G OSS, the subject of this 18-110mm review. Tailored to super35, it introduced a manual zoom functionality alongside several other improvements. Now this lens is finally on my desk and, even though the Sony FS7 is out for a shoot, I have no reservations to slap it onto our Sony a6500 to take it for a spin.

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Go Wide with the New Sony 16-35mm f/2.8 GM and 12-24mm F/4 G by; Adam Plowden

 Gear  Comments Off on Go Wide with the New Sony 16-35mm f/2.8 GM and 12-24mm F/4 G by; Adam Plowden
May 192017
 

The new Sony 16-35mm F/2.8 GM and 12-24mm F/4 G are the latest additions to the wide-angle end of their lens line-up for full-frame E-mount cameras.

Sony 16-35mm F/2.8 GM

Professional video creators and filmmakers have been eagerly anticipating the release of a wide-angle G Master lens, and the wait is finally over. The Sony 16-35mm F/2.8 GM promises sharpness across the zoom range and throughout apertures, with Sony promoting the extreme aspherical (XA) element – the largest Sony has ever created – to achieve the greatest resolution and lowest image distortion. The Nano AR coating also is supposed to reduce the unwanted flare and ghosting that often plague wide-angle shots.

Eleven aperture blades promise a pleasing circular bokeh, even when shooting at the minimum focus distance of 28cm, where lower-end wide-angle lenses struggle with creating depth and maintaining sharpness.

Two direct drive SSM systems handle the auto-focusing capabilities, working with the floating focus configuration to achieve fast and precise results while remaining quiet in operation, thus catering for both photography and video applications.

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