Transcript
7/26/2019 newbay dv 201109
1/36
dv .comdigita lv ideo
Vol. 19 No. 9 | September 2011
The Professional's Guide to HD Tools & Technique
dv .coi eo
INSIDERHETT & LINK:
THE ART OF THE LOCAL
COMMERCIAL
LOW SIZE, HIGH
DEFINITION:TINY HD CAMERAS
IN REVIEW
NIKON D7000
GENARTS SAPPHIRE EDGE
RED GIANT SOFTWARE
MAGIC BULLET SUITE 11
Register online now at www.dvexpo.com
Sept. 20-22
LOOKGOODDEVELOPING AND DEFINING YOURCOLOR MANAGEMENT PROCESS
DV.COM EXCLUSIVEBEHIND THE SCENES OF OK GO'S NEW WEB VIDEO
7/26/2019 newbay dv 201109
2/36
The new Universal Bundles from Redrock Micro: affordably priced and infinitely flexible. Each Bundle
enables you to build our most popular HDSLR support rigs, or invent dozens of your own creations.
With the new Redrock Universal Bundles you get all the pieces you need for great rigs, without having
to commit to just one.
NEW UNIVERSAL BUNDLES FROM REDROCK MICRO
HANDHELD UNIVERSAL BUNDLE COMPLETE UNIVERSAL BUNDLE SHOULDERMOUNT UNIVERSALBUNDLE
INFINITELY FLEXIBLE.
7/26/2019 newbay dv 201109
3/36
septem
ber2011|
opinion
3xx
EDITORIAL
EDITORINCHIEF Cristina Clappcclapp@nbmedia.com
MANAGING EDITOR Katie Makalkmakal@nbmedia.com
TECHNICAL EDITOR Jay Holbenjayholben@gmail.com
WEB EDITOR Sarv Taghavian,staghavian@nbmedia.com
CONTRIBUTING EDITORSJ.R. Bookwalter,James Careless, Chuck Gloman, Buck McNeely,
Carl Mrozek, Oliver Peters, Stefan Sargent, J on Silberg,Ned Soltz, Iain Stasukevich, Joy Zaccaria
ADVERTISING
EAST COAST SALES MANAGER Susan Shoressshores@nbmedia.com 212. 378.0400 Ext. 528
WEST/CENTRAL SALES MANAGER Jeff Victorjeffvictor@comcast.net 847. 367. 4073
EUROPE SALES MANAGERBob Kennedybkennedy@nbmedia.com
011. 44. 1279. 861264
DIGITAL VIDEO EXPO SALESContact your DVrepresentative
CLASSIFIED AD SALESSusan Shoressshores@nbmedia.com 212. 378. 0400 Ext. 528
ART & PRODUCTIONSENIOR ART DIRECTOR Nicole Cobban
ART DIRECTOR Annmarie LaScalaPRODUCTION MANAGER Davis White
703. 852. 4615 dwhite@nbmedia.com
ADVERTISING COORDINATOR Caroline Freelandcfreeland@nbmedia.com
CIRCULATIONASSOCIATE DIRECTOR FOR
AUDIENCE DEVELOPMENT Tracey H. DwyerCIRCULATION MANAGER Kwentin Keenan
CIRCULATION CUSTOMER SERVICEMichele Fonville
SUBSCRIPTIONS:DV, P.O. Box 221, Lowell, MA 01853
Telephone: 8882665828USA only, 8:30 a.m. 5 p.m. EST
9786670352 Outside the USFax: 9786710460
E-mail: newbay@computerfulfillment.com
NEWBAY MEDIA VIDEO/BROADCAST GROUPEXECUTIVE VICE PRESIDENT | GROUP PUBLISHER Carmel King
VP SALES | GROUP PUBLISHEREric TrabbEDITORIAL DIRECTOR VIDEOCristina Clapp
EDITORIAL DIRECTOR BROADCAST Carter RossWEB DIRECTORRagan Whiteside-Johnson
ONLINE PRODUCTION MANAGERRobert Granger
NEWBAY MEDIA CORPORATE
PRESIDENT & CEOSteve PalmCHIEF FINANCIAL OFFICERPaul Mastronardi
CONTROLLERJack LeidkeVICE PRESIDENT OF DIGITAL MEDIAJoe Ferrick
VICE PRESIDENT OF AUDIENCE DEVELOPMENTDenise RobbinsVICE PRESIDENT OF INFORMATION TECHNOLOGYGreg Topf
VICE PRESIDENT OF HUMAN RESOURSESRay VollmerVICE PRESIDENT OF PRODUCTION & MANUFACTURING Bill Amstutz
VICE PRESIDENT OF CONTENT & MARKETINGAnthony Savona
REPRINTS AND PERMISSIONS:Please contact our Reprint Coordinator
at Wrights Media: 877. 652. 5295
PUBLISHED BYNEWBAY MEDIA LLC
28 E 28th Street, 12th FloorNew York, NY 10016
Tel: 212. 378. 0400
Fax: 212. 378. 0470
Web: www.nbmedia.com
digita l
volume 19number 9
September 2011
Whatare the
best colorcorrection
toolsthat are
accessibleto the
typical videoprofessional?
In keeping with the theme of our DV 101 article
on color correction (page 27)and related
reviews of GenArts Sapphire Edge (page 12)
and Red Giant Software Magic Bullet Suite 11
(page 14)Id like to invite you to an in-depth,day-long seminar at Digital Video Expo on
color correction. Led by DV contributing edi-
tor Oliver Peters, Color Correction Options
takes place Wednesday, Sept. 21, from 9 a.m. to 5 p.m.
Color correction is often the final threshold in finishing your production. Its the
time to correct, polish and even stylize the look of your video. Color correction has
become the defining element of many iconic feature films through the digital inter-
mediate process. But what are the best tools to use that are accessible to the typical
video professional?
Oliver will break down the various options, including standalone desktop applica-tions, such as Apple Color and Blackmagic Design DaVinci Resolve; plug-ins including
Red Giant Magic Bullet Looks and Colorista II; and built-in tools within Apple Final
Cut Pro 7 and Final Cut Pro X, Adobe Premiere Pro and After Effects, and Avid Media
Composer. The session will include an overview of each of these software tools and a
demonstration of how to use them to achieve blockbuster results.
Oliver will also cover edit-to-color grading workflows and discuss how to maximize
the look of different cameras, including RED, ARRI Alexa, Canon EOS 5D and more.
If youre interested in attending, e-mail me and Ill get you a DVreader discount
code that you can use when you register at www.dvexpo.com.
DIGITAL VIDEO EXPO KEYNOTE: JACOB ROSENBERG, CTO,
BANDITO BROTHERS WEDNESDAY, SEPT. 21, 2:30 P.M.
Jacobs Digital Video Expo presentation
Raising the Digital Bar focuses on what you
gain and what you pay for in blood, sweat
and tears by throwing caution to the wind and
embracing new production technologies and
solving their inherent problems in post. Jacobs
talk and interactive Q&A session is free andopen to all show attendees.
A digital technology expert, author and
filmmaker, Jacob has worked as a senior con-
sultant to Adobe Systems Inc., on Adobes digital video software applications. He has
contributed his technical knowledge to a number of feature film projects, including
Superman Returns, Martin Scorseses Rolling Stones documentary Shine A Light,
James Camerons Avatar, and the upcoming independent film LBS. Jacob brings
his extensive experience as filmmaker, author and digital media expert to Bandito
Brothers, a full-service media facility that creates, produces, manages and distributesaudio-visual content.
from the editor
Color and Creativity
dv.com
CONFERENCE PROGRAMBEGINS ON PAGE 23
Jacob Rosenberg (with camera)
7/26/2019 newbay dv 201109
4/36
Inside dv.com/Sep2011|volume 19|number 9
dv.com
DV (ISSN 1541-0943) is published monthly by NewBay Media L.L.C. at 28 E 28th Street, 12th Floor, New York, NY, 10016. Telephone: 212-378-0400.
Periodicals postage paid at New York, New York, and at additional mailing offices. U.S. subscription rate is $29.97 for one year; Mexico and Canada are$39.97 (including GST); foreign airmail is $79.97; back issues $7. Prepayment is required on all foreign subscriptions in U.S. funds drawn on a U.S. bank. All
rates are one year only. DV, Digital Video, Digital Video Magazine, DV Full Motion, DV Web Video, DV Expo, Web Video Expo, Digital Video Expo, and Digital
Video Conference and Exposition are trademarks of NewBay Media L.L.C. All material published in DV is copyrighted 2011 by NewBay Media L.L.C. All
rights reserved. POSTMASTER : Send address changes to DV, Subscription Services, P.O. Box 221, Lowell, MA 01853. Return undeliverable Canadian addresses
to Bleuchip International, P.O. Box 255542, London, ON N6C 6B2. DV makes every effort to ensure the accuracy of all information published in the magazine;
however, it assumes no responsibility for damages due to errors or omissions. Printed in the USA.
contents|
septem
ber2011
4
update 6 News & Notes
Nelson shoots conservation doc with Sachtler,Teradek Cube HD Video Encoder, FFV ships
sideKick HD digital video recorder, Company
3 colors action-packed Beastie Boys video,
Blackmagic Design releases free DaVinci
Resolve Lite.
in review 12 GenArts Sapphire Edge
Add a little or a lot with Sapphire Edge presets.
By Ned Soltz
14 Red Giant Software MagicBullet Suite 11
Magic Bullet Suite 11 is a mega-bundle of good.
By Ned Soltz
16 Nuwaste Studios Pocket Light MeterThis app is accurate, sensitive and affordable
(meaning free).
By Jay Holben
18 Nikon D7000
The D7000 is a video camera strong enough to
keep Nikon a contender in the DSLR filmmaker
market.
By Jon Silberg
features 20 Sweet Spot
Rhett McLaughlin and Link Neal perfect the art
of the local commercial on IFCs Commercial
Kings.
By Joy Zaccaria
columns 3 From the Editor
Cristina Clappconsiders color and creativity.
22 Instant Expert
Ned Soltzexamines itsy bitsy HD cameras.
27 DV101
Jay Holbenexplains color correction.
34 Production Diary
Stefan Sargentknows that it can only get worse.
On Our Cover: DVthis month examines options for desk-top color correction, such as (clockwise from upper left) Apple'sFinal Cut Pro 3-Way Color Corrector (p. 27), Blackmagic Design'sDaVinci Resolve Lite (p. 10), GenArts Sapphire Edge (p. 12) andRed Giant Softwares Magic Bullet Suite 11 (p. 14).
20
7/26/2019 newbay dv 201109
5/36
B e c a u s e i t m a t t e r s .
Edit with AJA.Professional I/O for your platform and workflow.
www.aja.com
KONA 3G brings the video professional an unparalleled feature set designed to keep you
ahead of the game. Now with a powerful "4K Mode", KONA 3G supports 4K playback on
a Mac in both YCbCr and RGB for the highest quality. Featuring 3G SDI I/O, and true 3D
HDMI 1.4a monitoring support, KONA 3G is a cross-platform solution, giving you the
freedom to work with the software of your choice.
KONA 3G. Now with 4K playout.Multi-format Digital I/O
KONA LHi bridges the gap between
legacy analog devices and the
latest 3G SDI and HDMI
enabled products providing
editing, monitoring and
mastering of professional
quality video in an affordable,
powerful, easy to use cross-platform product.
Compatible with applications like AppleFinal Cut Studio, Adobe CS5 and more.
Find out about our latest Edit products at www.aja.com
KONA LHi
Multi-Format Analog & Digital I/O
Compact and
lightweight, Io Express
brings professional I/O
and full 10-bit broadcast
quality downconversion to your PC or
Mac, with full compatibility for Apple
Final Cut Studio, Avid Media Composer 5.5
and Adobe CS5.
Io Express
Portable Multi-Format I/O
Seamless integration with Apple Final Cut Studio, Adobe CS5, Autodesk
Smoke for Mac and more
Uncompressed Quicktime, and DPX file format support
Broadcast quality hardware based 10-bit up-, down-, and cross-conversion
RED Epic and ARRI Alexa workflow ease with true 2K/4K playback 3D workflow support with discrete left and right eye output
EDIT
NEW
7/26/2019 newbay dv 201109
6/36
Cinematographer Peter Nelson
recently completed a short
film profiling the White OakConservation Center, a facility
in Florida dedicated to endan-
gered species conservation,
captive breeding and wildlife
research.
Our assignment was to film some
of the wildlife and center in a doc-umentary style, combining obser-
vational wildlife footage and vrit
footage of the veterinary activities
and interviews with staff members,
explains Nelson.Nelson shot the project on a
Panasonic AG-HPX300 P2 camera.
Camera support was either my
Sachtler Video 18 Plus or my shoul-
der, often switching between the two
in seconds, says Nelson. When you
see a shot in a documentary situation,
you have to respond quickly or miss
it. A good tripod is the little secret
of good shooting and one too oftenoverlooked.
Update|
news¬es|
september2011
mousingaround
6
find us onlinedigital edition:www.myDVmag.com
facebook:www.facebook.com/pages/digital-video-magazine
online:www.dv.com
twitter:www.twitter.com/DVMagazine
>in focus: Teradek Cube HD Video Encoder
dv.com
Company: Teradek What It Is/Does: A miniature camera-top HD video encoder, Cube accepts video from any
camera, compresses it using H.264, and delivers the video over any IP interface, including Ethernet, built-in
Wi-Fi and cellular. Video streams from Cube can go directly to video-enabled devices, including set-top boxes,smartphones, iPads and Web browsers, or to Cube decoders for on-site monitoring. Bottom Line: For live
video productions, users can stream video directly to viewers and devices. Price: Starts at $1,190 Contact:
www.teradek.com
>Michel Gondry and PeterSluszka Create Crystallinefor BjrkDirector Michel Gondry and Hornets
Peter Sluszka collaborated on the
music video for Bjrks Crystalline,
which plays like a low-fi science
fiction movie, with shooting lasers,
growing crystals and hand-drawn
graphics. www.videography.com
>Randall Dark Gets Close Upfor Eddie Willis Glow Video
Director/producer Randall P. Darkcrafted an intimate feel for Eddie
Willis Glow. Lately, it seems that
music videos attempt to tell an unre-
lated story and rarely let you enjoy
the performer singing, says Dark.
I wanted the viewer to have a one-
to-one type of experience with this
song. www.cinematographer.com
Nelson Shoots Conservation Doc with Sachtler
7/26/2019 newbay dv 201109
7/36
New DeckLink HD Extreme has Dual Link 4:4:4/4:2:2
SDI, HDMI and analog connections in SD, HD and 2K!
The new DeckLink HD Extreme is the worldsmost advanced capture card! With a hugerange of video and audio connections plusa hardware down converter, and Dual Link4:4:4/4:2:2 3 Gb/s SDI, advanced editing
systems for Microsoft Windows and Apple Mac OS X arenow even more affordable!
Connect to any Deck, Camera or Monitor
DeckLink HD Extreme is the only capture card that featuresDual Link 3 Gb/s SDI, HDMI, component analog, NTSC, PALand S-Video for capture and playback in SD, HD or 2K. Alsoincluded is 2 ch XLR AES/EBU audio and 2 ch balanced XLRanalog audio. Connect to HDCAM SR, HDCAM, DigitalBetacam, Betacam SP, HDV cameras, big-screen TVs and more.
Hardware Down Conversion
If youve ever wanted to monitor in both HD and SD while
you work, then youll love the built in high quality downconverter. Use the Dual Link SDI outputs as a simultaneousHD and SD output, or you can switch back to Dual Link 4:4:4when working in the highest quality RGB workflows. Selectbetween letterbox, anamorphic 16:9 and even center cut 4:3down conversion styles!
Advanced 3 Gb/s SDI Technology
With exciting new 3 Gb/s SDI connections,DeckLink HD Extreme allows twice the SDI datarate of normal HD-SDI, while also connectingto all your HD-SDI and SD-SDI equipment.
Use 3 Gb/s SDI for 2K and edit your latest feature film usingreal time 2048 x 1556 2K resolution capture and playback!
Microsoft Windowsor Apple Mac OS X
DeckLink HD Extreme is fully compatible with Apple Final CutPro, Adobe Premiere Pro, Adobe After Effects, AdobePhotoshop, Fusion and any DirectShow or QuickTimebased software. DeckLink HD Extreme instantly switchesbetween feature film resolution 2K, 1080HD, 720HD, NTSCand PAL for worldwide compatibility.
$995DeckLink HD Extreme
Learn more today atwww.blackmagic-design.com
7/26/2019 newbay dv 201109
8/36
news¬es|
september2011
Update digital
videotweets
dv.com
>@SteadiOpFS100, 5D MK II & AF100 Depth
of Field Comparison: http://t.co/
GbzrIhs
>@cristinavaldiviIm not gonna lie... Im kind of
obsessed with this video right now:
http://t.co/nFaHgx7 @Khalid-
Mohtaseb + @JonathanBregel are
awesome.
>@Sonysoftware
Create DVDs and Blu-raydiscs with #VegasPro http://t.
co/79YcTZK
>@Gizmodo10 of the Most Mind-Blowing Slow
Motion Videos Youve Ever Seen
http://t.co/UW4dX4N
>@donaldberubeIn Order to Be Good at Time Lapse,
You Need to Know What Good
Time Lapse Looks Like http://t.co/GDP3oAe @3exposure @rhedpixel
#timelapse #dslr
>@philiphodgettsThe Trivialities and Transcen-
dence of Kickstarter http://tinyurl.
com/3emfl46 Great background
on fan funding site and projects
its funded
>@VisionWranglerDirecting on a Dime: Legendary
Producers Rep John Pierson on
the Current State of Indie Film:
http://bit.ly/nvyEHL
>@colorgradernetDaVinci Resolve 8 - Lite vs. full
version http://bit.ly/rp4zuy
>@SnagFilmsDocumentary vs. Docudrama, do
they need to be true? http://is.gd/p3KsaZ
>@Autodesk_MECheck out all four parts of Grant
Kays video series on #Autodesk
#Smokeonmac for #FinalCutPro
users: http://bit.ly/6SBvVk
>@MyDigitalVisualLike Crazy - The HDSLR Film
That Made It Big http://t.co/
s36zq3a>@indiewireWatch: Raucous Trailer for Festival
Staple Shut Up Little Man! http://
ow.ly/1e5qQq
dv.com most-read features (Direct links at dv.com/Sep2011)
8
FFV Ships
sideKick HDDigital Video
RecorderNow shipping, sideKick HD from
Fast Forward Video (FFV) is astraight-to-edit, camera-mount-
able digital video recorder that
captures video directly from any
HD-SDI or HDMI output at bit
rates up to 220 Mb/s with 4:2:2
sampling and 10-bit resolution in
industry-standard codecs such as
ProRes.
sideKick HD records video onto
standard 2.5-inch hot-swappablesolid-state SATA drives and pro-
vides a 4.3-inch color on-board
confidence monitor that offers
playback options including scrub
and jog. sideKick is available now
for $2,495.
< Evolve DigitalCinema Explores forNat Geo CampaignA four-spot on-air campaign for
National Geographic Channel,shot and edited by Evolve
Digital Cinema/IMG, showcases
individual explorers in their
element.
Captain AmericaAction Shots Captured with Canon 5DCaptain America: The First Avenger used Canons EOS 5D Mark II digital SLR cameras
to capture many of the movies action shots.
7/26/2019 newbay dv 201109
9/36
7/26/2019 newbay dv 201109
10/36
Postproduction house Company
3 completed dailies and final color
work on the Beastie Boys music
video Dont Play No Game That I
Cant Win (featuring Santigold).
Billed as an action-adventure
spectacular, the video, directed
by Spike Jonze, features the hip-
hop group portrayed by action
figures; the trio is in the middle of
a performance when set upon by
a ruthless band of assassins. The
videos concept is the brainchild
of MCA (Adam Yauch).
Company 3 colorist Tim
Masick worked with director of
photography Wyatt Troll to re-
create the look and feel of semi-
nal 80s action films like First
Blood. This is basically the action
movie you wanted to make when
you were a kid, says Masick.
The videos full of action and
explosions.
BlackmagicDesign ReleasesFree DaVinci
Resolve LiteDaVinci Resolve Lite, a free,reduced-feature version of
DaVinci Resolve that includes
many powerful color correction
features in a downloadable soft-
ware package, is now available
at www.blackmagic-design.com.
Resolve Lite includes all of the processing
of the full DaVinci Resolve, but limits projectsto SD and HD resolutions, two color correction
nodes, a single processing GPU, and a single
RED Rocket card.
Resolve Lite offers high-quality optical resiz-
ing, curve grading, XML import/export, 32-bit float
processing, YRGB image processing, multi-layertimelines, stabilization, window tracking, primary
and secondary color correction, real-time process-
ing, capture and playback with deck control, and
compatibility with third-party control panels.
Update
Company 3 Colors Action-Packed
Beastie Boys Video
dv.com
7/26/2019 newbay dv 201109
11/36
Innovation at work.
WASHINGTON, DC
Plan now to attend the East Coasts largest pro video and broadcast expo, held November 29 to
December 1 in the heart of our nations capital. Learn about cutting-edge video technologies andtechniques in a comprehensive conference program produced by the experts at DMDC; get hands-
on with the latest video gear in an exhibit featuring over 120 suppliers, dealers and distributors; and
attend FREE special events and networking opportunities to further your knowledge and career.
For a FREE exhibits pass and/or to view discounted conference options, visit gvexpo.com.
Attention Exhibitors Book your booth now and get in front of thousands of high-level equipment
buyers working in government, broadcast, pro video, corporate media, law enforcement and edu-
cation. Call Jackie Gospodinoff at 212-378-0493; jgospodinoff@nbmedia.com for more info.
CONFERENCES: Nov. 29 - Dec. 1 | EXHIBIT HALL: Nov. 30 - Dec. 1
Walter E. Washington Convention Center
www.gvexpo.com
GenArts
7/26/2019 newbay dv 201109
12/36
xxx
dv.com
12
BY NED SOLTZ
A good script or compelling docu-
mentary subject is the beginning.Of course, having well composed,
exposed and creatively shot visuals
helps. And dont forget audio. Bad
audio is a surefire way to lose your
viewers. But it is the look that con-
veys the true feel of any piece.
GenArts recently released
Sapphire Edge, a $299 collection of
some 350 customizable looks presets
combined with a one-year subscrip-tion to its new FX Central service.
Now some readers might say, There
are tons of free looks out there on
the Web, and besides, I can create
my own. Both are true. However,
what sets Sapphire Edge apart from
many albeit well constructed home-
brew looks is the Sapphire render
engine. The Sapphire engine is fastand its rendering is precise. It is the
Sapphire core that makes Edge well
worth the price of admission.
Sapphire Edge is available in
FxPlug format for Mac (meaning
Apple Final Cut Pro 7, Motion 3.02
or greater, Final Cut Express 4.0) andSony Vegas Pro for PC. An update
due by the time you read this review
will add FCP X compatibility.
I tested Sapphire Edge on an
Apple Mac Pro running OS X 10.6.8
with an Nvidia Quadro 4000 and
Final Cut Pro 7.0.3. Installation is
straightforward, and it works like
any other effect or transition plug-in.
Select the clip and applythe filter or select the
edit point and apply the
transition. Effects plug-
ins include FilmStyle,
FilmDamage and
TVDamage. Transitions
are Sapphires renowned
lighting effects: DissolveLensFlare,
DissolveGlow and DissolveGlint.Thats where the fun begins.
Click the Presets tab and a separate
screen appears with all of the avail-
able presets for the Edge filter or
transition youve selected. Presets
are searchable by keyword. Clicking
on the preset shows a real-time pre-view of the clip with preset applied.
This feature can be turned off if
desired. In my test system, the built-
in CUDA-aware acceleration of Edge
combined with my Quadro 4000
card to produce smooth previews.
Click Apply and there it is in your
Viewer window. Tweak the sliders
to refine or customize your look or
transition. Its that simple.The software is GPU-
accelerated for Nvidia
CUDA cards, but even if
you dont have a CUDA-
capable card, the engine
is multiprocessor-aware. It
remains to be seen wheth-
er this produces the same advantage
in FCP X, with its ability to use allprocessor cores.
Currently in beta but set to
launch shortly, FX Central provides
continual updates, tutorials, useful
information and customized looks
that can be downloaded. GenArts
has promised to post a new set of
looks each month. Following the
initial one-year complimentary sub-
scription, FX Central costs $99 per
year.
Sapphire Edge provides a simplebut powerful tool to add dramatic
impact to your clips. The available
presets plus those downloadable
from FX Central create virtually lim-
itless possibilities for creative film-
makers. Its powerful render engine
is fast, the architecture is 64-bit, and
it is precise.
A question remains whether buy-
ers of Apples $299 Final Cut Pro Xwould spend another $299 on an
effects package. My answer is simply
that they should. FCP has always
been enhanced through plug-in
packages and standalone plug-ins. I
lament the loss of direct FxPlug sup-
port in FCP X and welcome any plug-
in that works to enhance the creative
juices. Sapphire Edge gives a definiteedge to editors and I heartily recom-
mend it to FCP and to Vegas editors.
Your viewers will admire you for your
choice.dv
gear|
september2011
dv.com
12 In ReviewGenArtsSapphire Edge
PROS:Virtually unlimited choice of
looks. Fast and accurate rendering.
Constant updated looks through FX
Central.
CONS:Some editors find pre-
packaged looks constraining.
Perhaps price sensitivity for FCP X
users.
BOTTOM LINE: Sapphire Edge
gives a definite edge to editors and I
heartily recommend it.
MSRP: Sapphire Edge: $299. FX
Central: First year free with Sapphire
Edge purchase, $99 per year there-
after
ONLINE:www.genarts.com
score
EXCELLENCE
AWARD
Look Inside
Add a little or a lot with Sapphire Edge presets.
7/26/2019 newbay dv 201109
13/36
1414
I R iRed Giant Software
7/26/2019 newbay dv 201109
14/36
xxx xx
dv.com
14
BY NED SOLTZ
Red Giant Software is taking both
a bundled and unbundled approach
to its latest update of the Magic
Bullet line of plug-ins. The Magic
Bullet Suite consists of nine applica-
tions that can be bought separately
or in the $799 bundle.
The bundle represents
the best buy, since indi-
vidually those packages
would cost more than
$1,500. Included are
Colorista II, Denoiser,
Grinder, Instant HD,
Looks 2, Mojo, Cosmo,
PhotoLooks and Frames.
Weve reviewed Colorista II (DV
September 2010), and I concur withmy colleague Oliver Peters, who
ranked it above other color correc-
tion plug-ins. Within FCP, it is my
go-to color corrector.
I have found Denoiser a bit tem-
peramental in FCP 7 when dealing
with long clips. I made the mistake
of applying Denoiser to a 30-min-
ute point-the-camera-talking-head
clip (I knowits what the client
wanted and I aim to please) and
FCP was simply unable to render
it. It worked fine on small clips, and
that long clip was able
to render in AE CS5. (It
took 10 hours, but it ren-
dered.) The results were
stunning: noise removal
with very minimal soft-
ening of image. Lesson
here is to apply Denoiser
to shorter clips. The bet-
ter lesson, however, is to convince
your client that a 30-minute shot of
a talking head is deadly.Grinder 1.5 is my transcoding
app of choice for DSLR footage.
Granted, some of this workload has
been obviated by FCP X and its
ability to ingest DSLR files. But
there remains a use for Grinder
wherever direct reading of DSLR
and other H.264/AVC files is incon-
venient or impossible.
The two new components of
MB Suite are Cosmo v1 and Looks
v2. Cosmo is one of several digital
makeup apps in the marketplace,
but it stands apart from its com-
petitors by the great amount of
control it offers.
Magic Bullet Looks 2 is the
centerpiece of the suite. Its power
mask parameter allows keyframe-
able masks so you can apply a look
to a specific portion of the image.
Note the presence of scopes as well
as extensive categories of looks.
Apply a basic look and tweak theimage by clicking on a category
at the bottom of the screen and
adjusting its controls. When youre
satisfied, click Finished to return
to the host application.
The principle in Magic Bullet
Looks differs from the preset
notion of Sapphire Edge. In Magic
Bullet Looks 2, you are creating
your own look with extensive tools
not only to preview but also to
monitor technical parameters of
the shot with scopes.
Then add Magic Bullet Mojo to
the stack. Mojo extends the func-
tionality of looks with the ability
to tint, warm, cool, add punch or
bleach bypass an image.
The combination of Colorista II,
Looks 2 and Mojo provides a com-
plete color grading solution within
your NLE. It is for this reason alone
that I would recommend purchasing
the entire package, even if you are
not using the other plug-ins, sincetogether the cost of these three
exceeds the $799 package price.
Once again, Red Giant hits one
out of the park. The bundle repre-
sents excellent value. Colorista II is
my favorite color grading plug-in.
Mojo adds, well, that little bit of
mojoto your shot. Looks 2 is more
intricate and allows for the creation
of your own looks with fine con-
trol. For the best results, I prefer
running these plug-ins within After
Effects. dv
gear|
septe
mber2011
dv.com
14 In ReviewRed Giant SoftwareMagic Bullet Suite 11
PROS:Excellent value in suite.
Powerful controls. Plug-ins work
well in combination. Grinder ingests
AVC/H.264 files quickly and converts
to ProRes.
CONS: Steeper learning curve
than preset applications. Seems to
work better in AE than in FCP 7.
BOTTOM LINE: Once again,
Red Giant hits one out of the park.
The bundle represents excellent
value.
MSRP: $799
ONLINE: www.redgiantsoftware.
com
scorePlug-In Power PackMagic Bullet Suite 11 is a mega-bundle of good.
Magic Bullet Looks main window
The combination of Colorista II, Looks 2 and Mojo pro-vides a complete color grading solution within your NLE.
EXCELLENCE
AWARD
7/26/2019 newbay dv 201109
15/36
7/26/2019 newbay dv 201109
16/36
BY JAY HOLBEN
Nuwaste Studios
Pocket Light Meter app
uses the iPhones cam-
era as a spot meter, and
its incredibly accurate.
Comparing readings
with my Sekonic L508C
spot meter, I found the
Pocket Light Meter to be within 1/10th of a
stop every time. Using a gray card, I could
quickly turn the Pocket Light Meter into an
incident meter.
On the setup page, you can set your shutter
speed to indicate full, half or third stops or set it for cine speeds. You canset your aperture and ISO stops into full, halves and thirds as well. Theres
even an option to log your readings to your Dropbox account for future
reference. If the meter is slightly off or if you need to calibrate to a second
meter, theres a simple slider for EV correction factor.
The app works with either the forward or backward camera on the
iPhone (or iPod). A small viewfinder-like image shows you what the cam-
era is seeing and a red open rectangle indicates the reading area. You can
touch the viewfinder area to move the reading area to wherever youd like
if the center isnt what you need to read.
The meter is always reading, so its handy to have a hold button: point
it at the area you want to read, hit hold and then move the phone to look
at the reading information and evaluate your exposure.
I was surprised at the precision of this app. It is a very legitimate, work-
able tool. It's useful on the iPad, but less so as the size of the pad makes
taking readings a little cumbersome. The iPhone or iPod is the perfect
handheld size to make a viable spot meter. dv
dv.com
xxx xx
X Marks the Spot MeterThis app is accurate, sensitive and affordable
(meaning free).
PROS:Very accurate, great range
of sensitivities.
CONS: Because its a free app,
you have to deal with annoying, butignorable, ads at the bottom of the
screen.
score
Nuwaste Studios Pocket Light Meter
In Review
EXCELLENCE
AWARD
BOTTOM LINE: A phenomenal-
ly useful application in your pocket.
Shouldnt replace a real meter, but it
definitely works in a pinch!
MSRP: Free
ONLINE: Apples App Store
7/26/2019 newbay dv 201109
17/36
1818
7/26/2019 newbay dv 201109
18/36
xxx18
gear|
septem
ber2011
18 In Review
Sensors and SensibilityThe D7000 is a video camera strong enough to keep Nikon acontender in the DSLR filmmaker market.
BY JON SILBERG
For some years after
Nikon brought video to
the DSLR world with its
D90, the company pretty
much ceded that market
segment to Canon, which
was first to market with
the 1080 and 24p options that really
made DSLR video a force in the
indie feature and TV worlds. Since
Nikon released the D7000, however,
the company has almost closed
the technical gap between the twocompanies in that regard.
The HD options and functionality
on the D7000 are very much like
those on Canons EOS 7D and T2,
DSLR hybrid offerings with sensors
of a similar size to this Nikon. Using
essentially the same H.264 codec for
video as all the DSLRs, the D7000
offers many flavors of HD, from
1920x1080 down to 640x424. At an
MSRP of about $1,200, the D7000
falls right in between the Canon
EOS 7Ds nearly $1,700 and that
companys $800 T2i.
First and foremost,
Nikons D7000 is an
amazing still camera.
Nikon has always made
a point of not adding
pixels just to add pixels,
because of the quality
costs in terms of noise
and latitude inherent in
decreasing pixel size to
increase pixel number on an imager.
I found virtually the same low-light
capabilities with the D7000 as with
my Nikon D700 and its astounding
12.1-megapixel FX-size imager.
Scenes shot at ISO 2500 lookedamazingly clean to me at 8x10, and
shots appeared noisy but still crisp
and with good contrast at settings
higher than that, up to 6400. I did find
that in a contrasty situationI was
shooting a DV Expo presentation with
a bright screen and a person speaking
in the shadowswhen I had both
cameras set with the same picture
control settings, the D700 seemed
to do a better job than the D7000 of
holding both shadow and highlight
information.
In the month I had to experiment
with the D7000, I found that some
of the magnificent qualities
of the still images
did not totally hold up to the line
skipping and compression involved
in recording video. I cant say I did
a true shootout between the Canon
7D I had earlier this year and the
D7000, but I did shoot both at ISO
settings throughout the range at
each cameras highest quality
setting. I used similar opticsthe
kit lenses for each body, Canons
28-135mm f/3.5-5.6 on the 7D and
Nikons 18-105mm f/3.5-5.6 on the
D7000and I zeroed out sharpness
and contrast settings, and across theboard I found a greater number of
moir issues in the D7000 footage at
every ISO and more noise in material
shot above ISO 800.
I was also frustrated with the
D7000 by the fact that its impossible
to change F-stop manually while
recording in HD modeunless
youre using one of Nikons older
lenses with an actual F-stop ring,
and then you can pull the aperture
manually. (The D7000, unlike some
previous Nikon models, can meter
just about any lens the companys
ever made that fits the mount.) I
was able to use a beautiful, ancient
Nikkor 75-150mmf/3.5 optic I bought
on eBay for $100. It not only let me
change aperture mid-take, it also
has a throw much more useful for
pulling focus than any modern auto-
focus lens. Shutter speed settings
can be changed while recording HD.
Overall, Nikons D7000 is an
amazingly fast, efficient still camera
with an incredible sensor, easy-to-
use and customize controls, and
some of the best metering and auto-
focus available in the current crop
of DSLRs (not merely in this price
segment). As an HD camera, it has all
the limitations inherent in the HDSLRworld in terms of ergonomics, a
very highly compressed signal
and all the rest, with (in my
experience) a tendency to
moir and get noisy faster
than HD out of the 7D.
That said, the D7000 has
kept Nikon in the HD game,
and it rates very close to its
Canon equivalents. At least
until the long-awaited 7D
and/or 5D Mk II sequels are
announced. dv
Nikon D7000
score
PROS: Great sensor; superb auto-
focus, customization and ergonom-
ics. Any flavor of HD (compressed
to H.264, of course) that you could
want.
CONS: Has all the same limita-
tions as an HD capture device that
all DSLRs have (because video func-
tionality will always be a secondary
consideration in designing cameras
used primarily for still photography).
Some moir and noise issues.
BOTTOM LINE: An excellent
still camera. An HD camera strong
enough to keep Nikon a contender in
the market segment Canon owned
for some time.
MSRP:$1,199.95
ONLINE: www.nikon.com
In Review
EXCELLENCE
AWARD
dv.com
7/26/2019 newbay dv 201109
19/36
2020
7/26/2019 newbay dv 201109
20/36
dv.com
0
Rhett McLaughlin and Link Neal have
long felt a kinship with the local car
salesman who goes on TV dressed
up in a chicken suit. They appreciate
that jingle you cant get out of your
head for the local pet supply store.
They are the Commercial Kings.
McLaughlin and Neal built their
comedy niche on the Web by mak-
ing real commercialswith a distinc-
tive local commercial flavorfor real
businesses. Their Web series I LoveLocal Commercials was such a hit
that IFC greenlit a show called Rhett
& Link: Commercial Kingsthat docu-
ments how these beloved local com-
mercials are made.
The premiere episode of Rhett
& Link: Commercial Kings was pet
themed; it featured the making of
commercials for Holiday Hotel for
Cats and Super Shmuttle, a door-
to-door dog taxi and daycare. Other
episodes include a business called
Make Me a Pro Wrestler and Bury
Me Naturally, a company that offers
eco-friendly burial products.
In each episode,McLaughlin and
Neal get to know a small business or
two and conceptualize a commer-
cial for each one. Business owners,
customers and equipment on site
are all put to good use in each spot.
The goal is to draw customers to
these small businesses by coming
up with a commercial that is unique-
ly suited to the client,unforgettable and shot
within about 48 hours.
Fans have latched onto
the final product, says
Neal. They may call the
commercials crazy, but
at least they are a lot of
fun, and they are a ser-
vice for real businesses.
Before shooting
the actual commercial,
McLaughlin and Neal
take turns shooting
the business owners and associates
using a Sony PMW-EX1R XDCAM
camcorder, getting to know their cli-
ents. Meanwhile, a two-person TV
crew for the IFC show is document-
ing the whole process. One is cover-
ing McLaughlin and Neal and the
other, an audio tech, is mixing the
sound.
McLaughlin and Neal did have
to make one adjustment to their
work method because of the IFC film
crew with them on set. One of us
is always holding the camera, says
Neal. Now we had to be sure to
shoot in a way that didnt get the
other cameraman who is document-
ing us. It took the first couple of
episodes for them to adjust to the
new blocking.
Neal recognizes that the greatest
local commercials raise the question,
How did they comeup with that? One
of the most success-
ful projects from their
Internet series was for
Red House Furniture of
High Point, N.C. When
McLaughlin and Neal
arrived at Red House
Furniture, one of the
first things the employ-
ees told them was, We
have black people who
work here. We have
0
Rhett & Link Perfect the Art of the Local CommercialSWEET SPOT
BY JOY
ZACCARIA
feature|
septe
mber2011
Rhett McLaughlin (left)
and Link Neal
7/26/2019 newbay dv 201109
21/36
white people who work
here. All races of people buy
couches here.
With racial harmony as
their inspiration, McLaughlin
and Neal made the com-
mercial. The slogan is, RedHouse Furniture, Where
Black People and White
People Buy Furniture.
People loved it, says
Neal. It was confounding
to think, How can you com-
bine racial reconciliation
with selling couches? And
it worked!
Some businesses are
naturally suited for a
good jingle. In Las Vegas,
Designated Drivers is a com-
pany that drives you home
in your own car if youve had
too much to drink. For the
commercial, we determined
the most important thing
for people to remember isthe phone number, which is 456-RIDE,
says Neal. We wrote a jingle right there in
the field and recorded it into our phone as
kind of a scratch track.
Often the first pass at musical production
happens in the field, since they need to refer
to the track while shooting the commercial.
They then go back to their studio and use
Apple Logic Studio for the music production.
McLaughlin and Neal are mostly self-
taught as videographers. With every
step, whether it was greenscreen or light-
ing, we learned it all by necessity, says
McLaughlin. The Internet provides, and
we have been subscribers to Videography
magazine, where we picked up tips about
framing, three-point lighting and the
advantage of locking shots off.
The history of McLaughlin and Nealswork together goes back to the first grade,
when their friendship began. In high school
their video-making partnership started
thanks to a camera originally meant to
capture athletic stardom. My dad bought
a video camera to film me playing bas-
ketball in high school, hoping that Id get
a scholarship, McLaughlin says. I com-
mandeered that camera and Link and I
made movies with it. We wore that thing
out just shooting everything we could.
Over the years, they continued making
videos, even through college, where they
were both engineering majors. With Apple
Final Cut Express and a very simple digital
video camera, they built an audience on
YouTube to the point where brands began
approaching them asking to be part of
their videos. The two had been able to
make a living by creating YouTube videos
since about 2006. The local commercial
series was one of the ideas they came up
with for a brand in 2009.
The IFC show Rhett & Link: Commercial
Kings offers a window into McLaughlin
and Neals process of making the most
of a given marketing task with the props
and talent provided. The final product is a
great and lovable commercial, says Neal,
but the real meat is the whole process of
creating it. You see us directing talent
usually a business owner or someone whonever expected to be in their own com-
mercial, and now theyre the star!
McLaughlin and Neal continue to com-
bine the media of television and Internet
with this show. The episodes air at 10 p.m.
Fridays on IFC. At 10:30 p.m., the show is
encored along with a live chat at IFC.com.
As people are watching our process of
making a local commercial, they can talk to
us and ask us questions, says Neal. Its a
live video chat. I dont know how often you
can say youre hanging out with the host of
a show while youre watching it. dv
dv.com
Instant Expert il d b N d S lt22
7/26/2019 newbay dv 201109
22/36
gear|
septe
mber2011
Instant Expert compiled by Ned Soltz
dv.com
iPad 2 Apple From $499Yes, I said iPad 2. Mount it on a DSLR rig and record directly into iMovie or stream live using thefree Ustream app. Or record and then edit in iMovie. Not water resistant.
HD Hero GoPro From $260
www.gopro.com
www.gopro.com
i2 3D-HD Aiptek $179
www.2fidelity.com
Records 720p. Optional hard disk. Glasses-less built-in monitor. Includes software to export ana-glyph 3D and supports export to YouTube 3D. Not water resistant.
Replay XD1080 Replay XD $299
www.replayxd.com
www.contour.com
The worlds smallest 1080p helmet cam. Writes to microSD card. Available in a variety of kits and
mounts. And, like most of the mini cameras, its water resistant.
Venerable camera maker Rollei now enters the smallish HD camera world. (I once shot with atwin-lens Rolleiflex!) It is bullet-shaped, waterproof to 10 meters, and writes 12-megapixel reso-lution in 720/30p format to microSD cards.
Built-in LCD screen and user-replaceable lens are two unique features of this small camera.
Remote control. Records 1080p to microSD cards. 9-megapixel resolution. Built-in microphoneas well as input for external mic.
www.iconixvideo.com
Superslim HD
Pencam
Ultimate
Gadgets $219
www.ultimategadgets.net
ITEM/
CONTACTCOMPANY MSRP
Low Size ... High Definition:An assortment of itsy bitsy HD cameras.
You'll find direct links to all these products at www.dv.com/Sep2011
www.apple.com
WHAT'S NEW & OTHER COMMENTS
3D Hero GoPro $100
ContourHD Contour From $250
Available with various standard and optional mounting options. GoPros various configurationsare tremendously popular in both consumer and professional applications. I walked around NYCwith one on my head and nobody even turned to look. Records 720/30p or 1080/30p to SD cards
in H.264 format. External monitor optional.
Stereoscopic enclosure with sync cable. Just add two 1080p HD Hero cameras, and set them forthe same format. Press the button and youre shooting 3D. Includes free GoPro Cineform Studiosoftware. A great inexpensive 3D solution. Files also work with Dashwood Stereo3D Toolboxplug-in suite.
Records 1080p to microSD card. Also has HDMI out. Numerous mounting options and one of thefirst real challengers to GoPros preeminent position. External monitor option available shortly.And it has external microphone input/audio out.
Super-small head. Requires lens. Not exactly an inexpensive crash cam, but an industry standard.A 2K version (Studio 2K) is now shipping. Iconix cameras have shot episodic TV and feature films,going where no other camera could go, whether due to physical size or extreme conditions. Wefeature it each year because there is nothing like it.
Cant resist running this again. Records 1280x960 30p to 8GB internal memory. The ultimate hid-
den camera from Ultimate. Looks like a pen but sports camera and mic. Voice-activated record-ing. Unlike the H.264 cameras above, this sneaky guy records to M-JPEG format. Great for yournext reality show or hidden-camera journalism.
Bullet HD RolleiAbout $350(250)
www.rollei-bullet.com
Drift HD Drift $349
www.driftinnovation.com
HD-RH1 Iconix$8,000 (headonly)
7/26/2019 newbay dv 201109
23/36
For more than ten years, Digital VideoExpo has been the destination for contentcreation professionals to explore the lat-est technologies, learn from world-classprofessionals and connect with peers
who share the same passion. This yearsExpo will feature a packed show floor,Apple and Adobe training sessions byWeynand, production training by AbelCine,production and post conference sessionsfrom DV magazine, and prize drawings.Plus, there will be more networking eventsand free content than ever before.
FREE exhibit hall pass and training discountsavailable at dvexpo.com with code DVGR1.
Bold, Fresh Ideas to Inspire and Excite.
September 20-22, 2011[Exhibit Hall September 21-22]
Pasadena Convention Centerwww.dvexpo.com
Twitter: #DVEXPO; Facebook: Digital Video Expo; LinkedIn: Digital Video Expo; RSS: http://dv.com/rss
FREEEXHIBIT HALL PASS
OR SAVE 5% ONCONFERENCE TRAINING
@ DVEXPO.COM
USE CODE DVGR1
GET WEYNAND TRAINING
DianaWey
7/26/2019 newbay dv 201109
24/36
SCHOOLEDGET
at Digital Video Expo
Taught by production and postproduction industry experts
including Oliver Peters, Ned Soltz, Philip Hodgetts and
Jay Holben, these day-long classes all offer hands-oneducation, whether you want to learn about shooting with
large-sensor cameras, working with different HD formats,
building your own postproduction studio, color correcting
your projects, or lighting a wide range of set-ups.
Sessions as low as $245 for a full day!
POST TRAINING FROM
THE PROS AT WEYNANDDigital Video Expo offers Apple-authorized training taught
by the experts at Weynand. If youve ever taken a Wey-
nand class, you know its worth the investment. All classes
are taught by qualified, trained instructors who help you
master the software quickly and easily. Space is limited,
so reserve now. Three-day FCP X class starts at only $895 orOne-day sessions as low as $335 per day!
GET HANDS-ON WITH PRODUCTION
TRAINING FROM ABELCINE
New this year at Digital Video Expo, AbelCine is offering
three courses geared toward the latest production tech-
nology available today. The first course, Video Formats &
Workflow, details the many different HD formats available
today and gives attendees a practical knowledge of how
to choose the right format for their next job. Building on
this conceptual class, the next two days are focused on
two new cameras: the Sony NEX-FS100 and Sony PMW-F3.
These classes both give a hands-on overview of the camerasystem and in-depth look into their functions. Combining
all three classes is recommended for anyone interested in
both camera systems and developing a better understand-
ing of HD video formats.
Just $325 per session or $895 for all three!
DV EXPOS CONFERENCE PROGRAM
IS ALL ABOUT EDUCATION
WITH INTENSIVE, INVOLVED, IMMERSIVE
SESSIONS DESIGNED TO BUILD YOUR
SKILLSETS, CAPABILITIES AND KNOWLEDGE.
WEYNAND TRAININGSESSIONS
All sessions run 9 AM 5 PM
PRODUCTION TRAININGAll sessions run 9 AM 5 PM
Your Free Expo Pass Gets You Access to: A Packed Show Floor Center Stage Sessions Product Demos Presentation Theater Sessions
Networking Opportunities Prize Drawings Ask the Experts and more surprises!
TUESDAY SEPTEMBER 20TH
ROOM FFinal Cut Pro X Level 1, Day 1
(Three-Day Certification)
ROOM G Adobes Flash
ROOM H Apples Motion
WEDNESDAY SEPTEMBER 21ST
ROOM F Final Cut Pro X Level 1, Day 2
ROOM GTranslate your current FCP
skills into the new FCP X
ROOM H Adobes Premiere Pro CS 5.5
TUESDAY SEPTEMBER 20TH
ROOM E Video Formats and Workflow
WEDNESDAY SEPTEMBER 21ST
ROOM E Sony FS100 Workshop
THURSDAY SEPTEMBER 22ND
ROOM E Sony F3 Workshop
THURSDAY SEPTEMBER 22ND
ROOM F Final Cut Pro X Level 1, Day 3 Certification & ExamROOM G Maximize the Power of Foundrys STORM
ROOM H Avid Media Composer 5.5 for FCP Editors
naWeynandistheonlypersonfromwhichtolearnFCP
-EDITFEST2011
DIGITAL VIDEO EXPO CONFERENCE PROGRAM
7/26/2019 newbay dv 201109
25/36
DIGITAL VIDEO EXPO CONFERENCE PROGRAM
TUESDAY SEPTEMBER 20TH
ROOM A
OLIVER PETERS
ROOM B
JAY HOLBEN
ROOM C
NED SOLTZ
ROOM D
PHILIP HODGETTS
9:00 am - 5:00 pmIndie Feature Film
Production and Post A-ZDIY Lighting 101:
A Shot in the DarkNLE Comparison Shopping Basic Tech for Producers
WEDNESDAY SEPTEMBER 21ST
9:00 am - 5:00 pm Color Correction Options Demystifying DigitalWorking with Large Sensor
CamerasUsing Metadata for Production
and Asset Management
12:30 - 1:30 pmDVE Center Stage: Post Sound for Digital Content Creators:
What You Need to Know to Make Your Project Sound As Good As It Looks
1:00 - 1:45 pm Presentation Theater: Vendor TBA
2:00 - 2:15 pm Presentation Theater: Digital Video Expo Drawing! You Must Be Present to Win!
2:30 - 3:30 pm DVE Center Stage Keynote: Raising the Digital Bar - Jacob Rosenberg, Director, CTO & Partner, Bandito Brothers
3:00 - 3:45 pm Presentation Theater: Panasonic Presents!
4:00 - 4:45 pm DVE Center Stage: New LTO Tape File System Helps Make Video Storage Easy
4:00 - 4:45 pm Presentation Theater: Vendor TBA
5:00 - 6:00 pm DVE Center Stage Keynote: The Art of the DSLR Video - Kevin Shahinian, Founder, Pacific Pictures
5:00 - 6:30 pm LAPPG Meeting | Room D
6:00 - 7:30 pm Digital Cinema Society Meeting | Room E
6:30 - 6:45 pm Presentation Theater: Digital Video Expo Drawing! You Must Be Present to Win!
7:30 - 9:00 pm LAFCPUG Meeting | Room D
THURSDAY SEPTEMBER 22ND
9:00 am - 5:00 pm Build Your Own StudioThe Art of Micro-Budget
ProducingMobile Production Apps
Avoiding PostproductionNightmares
11:30 am - 1:00 pm DVE Center Stage: Lighting for Digital Production
12:00 - 12:45 pm Presentation Theater: Panasonic Presents!
1:00 - 1:15 pm Presentation Theater: Digital Video Expo Drawing! You Must Be Present to Win!
2:00 - 3:00 pm DVE Center Stage Keynote: TBA
3:00 - 3:45 pm Presentation Theater: Vendor TBA
4:30 - 4:45 pm Presentation Theater: Digital Video Expo Drawing! You Must Be Present to Win!
REGISTER NOW @ DVEXPO.COMUsePromoCodeDVGR1andgetafree
exhibithallpassorsaveanadditional5%onconferencetraining.
A MUST-ATTEND EVENT
7/26/2019 newbay dv 201109
26/36
FOR CONTENT CREATION
PROS LIKE YOU!
EXHIBIT HALL PASSES
ARE FREE WITH CODE DVGR1
AND INCLUDE ALL DV EXPO
STAGE, PRESENTATION
THEATER AND KEYNOTES.
GET FULL INFORMATION@ DVEXPO.COM.
3D GRAPHIC DESIGNERS
CAMERA OPERATORS
CINEMATOGRAPHERS
COLORISTS
DIRECTORS
DVD PRODUCERS
ENGINEERSFILM EDITORS
PHOTOGRAPHERS
POSTPRODUCTION EDITORS
TV BROADCASTERS
SOUND ENGINEERS
VIDEO PRODUCERS
ANYONE INVOLVED
IN PRODUCTION AND
POSTPRODUCTIONCONTENT CREATION!
WHO SHOULD
ATTEND?
Get a hands-on look at new
technology from exhibitors whohave been busy developing new
products and services justfor you. The list reads like an
industry whos who guide:
ABELCINE
ALZO VIDEO
AMERICAN CINEMATOGRAPHER
AMERICAN EXPRESS OPEN
AUTOCUEAZDEN
CAMERA DYNAMICS
CARL ZEISS
CARTONI
DIGITAL PRODUCTION BUZZ
ESS/LEDZ
GRASS VALLEY
INTERNATIONAL SUPPLIES
LIBEC SALES OF AMERICA
LITEPANELS INC.
LOWEL-LIGHT MFG INC.LTO PROGRAM
MARSHALL ELECTRONICS
MATROX ELECTRONIC SYSTEMS
MILLER CAMERA SUPPORT
MIRAIZON
NEIL ENTERPRISES
PACIFIC RADIO
PANASONIC SOLUTIONS CO.
PROMAX SYSTEMS
SCHNEIDER OPTICS
SMARTSOUND SOFTWARE INC.SWIT ELECTONICS
THE TIFFEN CO.
TS COMPUTERS & VIDEO
VARAVON
WESTERN DIGITAL
WEYNAND TRAINING
Z. REISS & ASSOCIATES/RAYNOX USA
Meet MajorIndustrySuppliers
REGISTER TODAY! @ DVEXPO.COMU S E C OD E D V G R 1 A N D S A V E 5 % ON A L L F U L L - D AY T R A I N I N G OP T I ON S
A few booths remain!To exhibit at DV Expo, contact
Jackie Gospodinoff at 212.378.0493or jgospodinoff@nbmedia.com.
Hotel & TravelPasadena Convention Center
300 E. Green Street
Host Hotel: Sheraton Pasadena303 E. Cordova Street
KeynotesDontMiss
These!
Jacob RosenbergDirector, CTO & Partner,Bandito Brothers
September 21stDVE Center Stage2:30 - 3:30 pm
Kevin ShahinianFounder, Pacific Pictures
September 21st
DVE Center Stage
5:00 - 6:00 pm
What you gain and what you pay for
in blood, sweat and tears by throwingcaution to the wind and embracing newproduction technologies and solving theirinherent problems in post.
RAISING THE DIGITAL BAR
THE ART OF THE DSLR VIDEO
27
by Jay HolbenDV 101
7/26/2019 newbay dv 201109
27/36
septe
mber2011|
basics
dv.com
by Jay Holben
Understanding Color Correction
Colorcorrection is
a requisitestep in the
productionprocesin
everyproduction
processtocreate a final,
polished andprofessionalpresentation.
I was at an industry networking function this past week
and had a conversation with a young woman who was
interested in producing films. She had been working as
a PA for about two years, and when she learned that
I had previously been a cinematographer, she asked
me, Can you explain color correction to me? Does that
mean that something is wrong and it has to be fixed?
Before I could even start to reply, a young man standingnext to us chimed in, Thats what happens when they
shoot it wrong on set and they have to fix it in post.
I waited for the smile to crack on his face, but
when it didnt and I realized that he was serious, I had
to wonder how
many people in
this business dont
understand color
correction.Ill start with
the basics: color
correctionor,
as it used to be
called, color tim-
ing or gradingis
not a step to cor-
rect errors. It is a
requisite step in
the productionprocessin every
production pro-
cessto create
a final, polished
and professional
presentation. To
skip color cor-
rection would be
similar to building a car, making the chassis and piecingtogether the engine, putting in the interior and all the
dash components, bolting on the wheels and then skip-
ping the paint job. Youve got a car, but its unfinished.
The paint job doesnt correct any mistakes; its simply
the final stage in the creation of the car.
Color correction starts with balancing the image.
This is where some people have the mistaken belief
that color correction fixes errors. The majority of bal-
ancing isnt about fixing errors; its about accounting
for innumerable variables within shooting limitations:changes in the light due to different time of day or dif-
ferent fixtures, changes in the image due to different
shooting environments, or matching shots that were
recorded days, weeks or even months apart.
Especially in narrative shooting, where youre tak-
ing multiple camera setups (whether that be from
one camera or many) and editing them together to
create a linear whole that appears to take place in real
timealthough the production might have taken days
or weeks to capturebalancing between shots is very
important to smooth out the scene. It is the most basictask a colorist does, and it is the most complicated.
With todays digital tools, nearly anyone can take an
image, fiddle with some filters and functions and create
something cool, but having the knowledge, experi-
ence and tal-
ent to apply
that cool
look to every
other shot in asequence, and
make them
seamless, is
of paramount
importance.
Many people
who are new
to color cor-
rection think
they can juste x p e r i m e n t
to set a look,
and then copy
and paste that
look to the rest
of the scene.
Without bal-
ancing first,
that approach will have disastrous results.The general controls over the image are blacks,
mids and whites, and then red, green and blue color
elements of the picture. Within each color, you can add
that color, or subtract it by adding in its complementary
color. For instance, if you want to make a scene cooler,
you might add blue to the scene; if the scene is already
too cool, youll reduce the blue look by adding yellow. If
you adjust a color just in the blacks, it will change that
color value only in the shadow areas of the image. If you
change the mid range, it will change those areas thatare closest to proper densitythat middle gray area. If
you change the whites, you will affect only the areas in
the highlights of the image.
Color correction in Apple Final Cut Pro on Amandas Game
DV 10128
DV 101
7/26/2019 newbay dv 201109
28/36
Once youve achieved a color balance, you can start to apply your look,
the creative part of color correction. Todays digital tools are versatile
enough to take a daylight image and make it night, which happens from
time to time. Thats not to say that it was a mistake by the cinematogra-phersometimes the sequence of scenes might be changed in editing and
what was once a day scene might now need to be a night scene. With a good
colorist (and the right image), this change is entirely possible.
Setting the look is normally done with the colorist, cinematographer
and director in the room. Most often, most of the look is set on location and
in camera, but it is further refined in the color correction sessions. Should
the look be a 1970s era feel, with high contrast and washed, faded colors?
Should it be dark with reddish hues to match the alien planet where the
story takes place?
A lot of high-end digital cameras now shoot in raw mode, which meansthat the image recorded has a very low contrast, high dynamic range.
The look that the cinematographer and director set during shooting is not
recorded,but is saved as metadata in a lookup table (LUT) associated with
the video. The colorist can start by applying this LUT to the footage to get
the best idea of what the director and cinematographer wanted the image
to look like. Without the LUT, the image will be washed, low contrast and
often a sickly greenish hue.
I would always recommend that any serious project be taken to a profes-
sional, experienced colorist. Although some editors cando color correction,its a lot like asking a veterinarian to operate on your mom. Sure, theyre
medically trained, but they are not skilled specialists in a very delicate and
complicated trade.
Software like Apples Final Cut Pro comes bundled with some basic but
pretty powerful color correction tools. I recommend using the 3-Way ColorCorrector filter in Final Cut and experimenting a bit.
On page 27 are some screen grabs from Final Cut featuring a shot from
a project I directed calledAmandas Game with actor Brian Glaney, shot by
cinematographer Teri Segal. Although the warm, high-contrast image was
our intention, Ive changed that to a more sickly green la Collateralfor
purposes of illustration.
Take a look at the three color spheres at the left side of the screen
capture. The far left sphere represents the shadow range of the image, the
middle are the mids, the right represents the highlights. Notice that each
sphere has a small circle in the center: this is the color position for that rangeof the image. Center is a neutral position, making no change to the image.
The farther away from center you drag that circle, the more drastic the color
effect youre adding.
In the final image, by adding blue/cyan into the highlights, I start to cool
off those red/yellow tones. I added a moderate amount of cyan into the
mids and then just a little into the blacks. The overall effect is a much cooler,
paler, sickly fluorescent look. This example represents a creative choice in
postproduction, which happens from time to time, not any fault or error
in photography. Even though the tools are available inexpensively, I stillrecommend working with a professional colorist to finalize your project. dv
basics|
septe
mber2011
7/26/2019 newbay dv 201109
29/36
AG-HMC40
3-CMOS Pro HD Solid State Camcorder
1080 d 720 HD l ti
HDR-TD10
Dual Sensor 3D HD Camcorder
1920 1080 F ll HD 60 /24
7/26/2019 newbay dv 201109
30/36
TheProfessionalsSource
forPhoto,Video&ProAudio
TM
HOURSOF OPERATION:Sun d ay: 10: 00a m 6: 00 pmMo nd ay thru T hursday : 9: 00am 7: 00pmFri da y: 9:00 am-2:00 p mD S T / 9: 00am-1 : 00 p mES TSatu rday: Cl o sed BandH.com
PH OTOG RAPHY
800947 7785212 4 44 6 6 35
H OME& PORTABLEEN TERTAIN MENT
800947441421 2 444 6 692
VID EO
800 9471186212 444668 6
COMPUTERS
800 947 3308212 44 4 6 691
PROAU D IO
800859 5252212 444 5072
420 N IN THAVE NEWYORK,N Y10001
SUMMER 2011
BandH.com/catalog
212-444-6633
Page 1
When in New York,
Visit our SuperStore
420 Ninth Ave.Corner of 34th Street
New York, N.Y. 10001
Over 70,000 square feet
of the latest gear
The most knowledgeableSales Professionals
Hands-on demos
Convenient free parking
available
Prices, specifications, and images are subject to change without notice. Manufacturer rebates are subject to the terms and conditions (including expiration dates) printed on the manufacturers rebate forms. Not responsible for typographical or illustrative errors. 2000-2011 B & H Foto & Electronics Corp.
VIXIA HV40
HDV Camcorder
1/ 2.7, 2.96MP HD CMOS sensor
with RGB primary color filter
Frame rates: 60i, native 24p (records
at 24p), 24p cinema, and 30p (at 60i )
DIGIC DV II image processor
Canon HD 10x optical video lens
Instant Aufo Focus w/ext. sensor SuperRange optical stabilization
2.7 widescreen LCD screen External mic input
Smooth variable zoom with 3 fixed zoom speeds
#CAHV40
1080 and 720 HD resolution
recording on SDHC cards
3 1/4 3-MP CMOS
HD image sensors
AVCHD MPEG-4
AVC/H.2 64 encod ing
10.6-megapixel still capability
12x optical zoom
2.7-inch LCD monitor XLR audio input, HDMI output, USB 2.0
#PAAGHMC40
1920 x 1080 Full HD 60p/24p
Two 1/4" HD 'Exmor R' CMOS Sensors
3D Viewing Directly on 3.5" LCD
No Need for 3D Glasses
2D Playback from 3D Recordings
Dual Wide Angle G Lenses Wide 10x (in
3D mode) optical zoom (17x Extended)
Built-in 64GB internal flash memory
SD/ SDHC/ SDXC/ Memory Stick card slot Microphone & Headphone Jacks
#SOHDRTD10
HDR-AX2000
3-CMOS AVCHD Flash Camcorder
Three 1/3 CMOS Exmor sensors
Records to Memory Stick PRO Duo,
SD/SDHC Cards (Dual media slots)
1080/60i, and 24p/30p AVCHD
recording 20x zoom G-Lens (29.5mm wide)
Zoom, focus, and iris rings
Dual XLR inputs 3.2 Xtra Fine LCD
Low-light (1.5 LUX) capabilities
CinemaTone Gamma and CinemaTone Color Control
#SOHDRAX2000H
HXR-MC50U
Pro Solid State Camcorder
1920 x 1080 HD resolution
1/2.88" back-illuminated Exmor R
CMOS sensor
64GB internal memory
Memory Stick / SD/SDHC media card slot
10x wide G series lens Assignable manual dial controls
3.5" wide LCD
Geotagging with built-In GPS
Optical image stabilization
# SOHXRMC50U
AG-HMC80
3-CMOS Pro HD Solid State Camcorder
3 1/4.1 CMOS sensors
1080 or 720 HD recording
SD/SDHC media card slot
12X optical smooth zoom lens
High-definition and standard-
definition recording Pre-record & interval recording
Optical image stabilization
Dual XLR/3.5mm mic-in inputs
HDMI, USB, DV, Component terminals
#PAAGHMC80
AG-HMC150
3-CCD Pro SD/SDHC Camcorder
3 1/3 progressive CCD sensors
Records HD 1080/60i/30p/24p,
720/60p,30p,24p formats
Solid-State HD recording onto SD/SDHC
media (21 Mb/ps - 1920x1080)
In-camera Waveform monitor Vectorscope
and two focus assist displays Leica Dicomar13x wide zoom lens
Optical Image Stabilization
Time/date stamp (legal depositions) Dual XLR audio inputs
#PAAGHMC150
GY-HM100U
3-CCD ProHD Solid State Camcorder
Supports 1920/1440 x 1080, 1280 x 720
HD formats in 35, 25, and 19Mb/ps
with variable frame rates
Dual SDHC card slots
(loop, pre-record)
Captures native QuickTime files
Fujinon 10x HD lens
Optical image stabilization Dual XLR audio, with phantom
Color viewfinder and large LCD monitor
#JVGYHM100
HDC-TM900
3 CMOS HD Camcorder with 3D Shooting
32GB internal flash memory
SD/ SDHC/ SDXC card slot
3x 3.05 Mp 1/4.1" CMOS sensors
1080/60p recording
Optional Panasonic VW-CLT1 3D
image lens required for 3D recording
Leica Dicomar 12x optical,
20x intelligent zoom 3.5" touch screen LCD screen
Microphone & headphone inputs
#PAHDCTM900 / Conversion Lens #PAVWCLT1
NEX-VG10
Interchangeable Lens HD Camcorder
Exmor APS HD CMOS Sensor (23.4 x 15.6mm)
Includes E-mount 18-200mm (11x) zoom lens
Record 1920 x 1080 HD resolution onto
SD/SDHC/SDXC, Memory Stick PRODuo/Pro-HG media
Accepts A-mount lenses with
optional LA-EA1 adaptor
3" Xtra Fine LCD monitor
Optical stabilization
Include Vegas Movie Studio HD Platinum 10
#SONEXVG10
HXR-NX3D1
Professional 3D Compact HD Camcorder
Dual 1/4" Exmor R CMOS sensors
Two Sony G lenses (10x optical in 3D)
96 GB internal memory
One SD or Memory Stick card slot 3.5" LCD (view 3D glasses-free)
Full 1920 x 1080 in 3D and 2D
3D modes: 60i, 50i, 24p (28 Mb/s)
2D modes: 60p, 50p, 60i, 50i, 24p, 25p
Active SteadyShot in 3D
Dual XLR inputs (line / Mic / Mic+48V selectable)
#SOHXRNX3D1U
7MegaPixels
12MegaPixels 10
MegaPixels
3MegaPixels
14MegaPixels
XA-10
VW-CLT1
3D Conversion Lens
XA10 / VIXIA HF G10*
Professional HD Solid State Camcorder
64GB Internal and Dual SDHC/SDXC
card slots with relay recording
1920 x 1080 CMOS Image Sensor
Canon 10x HD Video Lens
8-Blade Iris and Manual Focus Ring DIGIC DV III Image Processor
24Mbps Recording (AVCHD)
3.5" High-resolution touch panel LCD and EVF
Dual XLR terminals
* Same as XA10 without handle & XLR audio adaptor
#CAXA10 / #CAHFG10
HXR-NX5U3-CMOS NXCAM Flash Memory Camcorder
Three 1/3 Exmor CMO S sensors
XF100 / XF105HD Professional CF Camcorders
1/3" CMOS 1920 x 1080 CMOS sensor
7/26/2019 newbay dv 201109
31/36
We Buy, Sell and Trade
Page 2
Store & Mail Order Hours:
Sunday 10-6 Mon.-Thurs.9-7Friday 9-1 EST / 9-2 DST
Saturday Closed
800-947-9939
212-444-5039
Fax:
212-239-7770
Consumer Video.............. #813Pro Video .........................#821
Audio for Video.................. #91Video Edi ting...................#831
Over 300,000 products,at your leisure.
BandH.com
AG-HPX170P2HD Pro Solid-State Camcorder
Two P2 card slots recording HD
(1080i and 720p) and SD (480i) f
20 variable frame rates
3 1/3 progressive CCD sensors
HD/SD-SDI output 13X Leica Dicomar wide zoom lens
Enhanced metadata management
Optical Image Stabilization D ual XLR inputs
3.5 LCD monitor In-camera Waveform monitor
Vectorscope and two Focus assist
#PAAGHPX170Q
Three 1/3 Exmor CMO S sensors,
with a ClearVid array
Capture uses Memory Stick PRO
Duo / SDHC Cards, with relay
record capability (optional HXR-
FMU128 flash memory unit)
20x wide G series lens
HD-SDI & HDMI output, SMPTE
Time Code in/out, Dual XLR inputs Built-in GPS system 3.2 Xtra Fine LCD
#SOHXRNX5U
HVR-Z5U3-CMOS Pro HDV Camcorder
3 Sony ClearVid 1/3-inch CMOS
sensors with Exmor technology
Sony G-series 20x optical zoom
lens (29.5mm wide-end)
Native (24p/24A/30p) progressive
scan recording Direct connectivity
to Sonys HVR-MC1K flash memoryrecorder Records HDV/DVCAM/MiniDV
Dual XLR inputs, SMPTE timecode 3.2 XtraFine LCD with 921k pixels
Cinema Tone Gamma and Color Control
#SOHVRZ5U
PMW-F3KSuper 35mm HD Camcorder Kit
Exmor Super 35 CMOS image sensor
Includes 35mm, 50mm, 85mm lens kit
PL lens mount, 35mm Cine lens
compatibility 10-bit 4:2:2 HD-SDI
Two SxS memory card slots
Interlace/Progressive modes
D-SDI Dual-link output
3D-LINK option
#SOPMWF3K
AG-AF100Professional Memory Card Camcorder
Large 4/3-type MOS sensor
Micro four thirds lens mount
Uses still & cinema lenses
Two SDHC/SDXC memory card slots
(Relay Recording)
AVCCAM Recording 1080i/p,
720p variable frame rates
Optical low-pass filter HD-SDI, HDMI output, Dual XLR
#PAAGAF100
HXR-MC2000UShoulder Mount AVCHD Pro Camcorder
1/4" 4.2Mp, ClearVid Exmor R CMO S sensor
Built-in 64GB hard drive
SD/SDHC/ SDXC & Memory Stick slot
1920 x 1080i AVCHD (24Mbps)
MPEG-2 SD Mode (9Mbps)
12x wide angle Sony G lens
Optical SteadyShot stabilizer
2.7" ClearPhoto LCD Manual lens ring with assignable
parameters
#SOHXRMC2000U
PMW-EX1RXDCAM EX Solid State High-Defin ition Camcorder
SxS Memory Card Recording
w/800Mb/ps Data Transfer
DVCam Recording Cache Recording
Image Inversion Function
1/2-inch Exmor 3 CMOS Sensors
1080i/720p Switchable
Multiple Frame Recording 14x HD Fujinon Lens
3.5 LCD Full Manual Focus Ring
Over- and Under-cranking
#SOPMWEX1RQ
PMW-EX3XDCAM EX Solid State High-Defin ition Camcorder
Interchangeable 1/2 bayonet lens mount,
incl. Fujinon 14x5.8 lens
3 1/2 Exmor CM OS image sensors
that shoot full raster 1920x1080
hi-def imagery Recording on
removable SxS flash memory cards 1080 and 720 shooting modes with
selectable bit rates in both PAL
and NTSC standards 3.5 LCD
8-Pin remote studio connectivit
#SOPMWEX3Q
1/3 CMOS 1920 x 1080 CMOS sensor
Dual CF card slots
50Mbps MPEG-2 recording
Canon's MPEG-2 4:2:2 color sampling
60p/60i, 30p, 24p MXF File Format
10x HD zoom lens
3.5" 920K dot LCD monitor
Stereoscopic 3-D recording capabilities
Dual XLR inputs Waveform MonitorXF105 Step-up:HD/SD-SDI, SMPTE Time Code, Genlock
#CAXF100 / #CAXF105
Lens Optional
XF300 / XF3053 CMOS Solid State HD Camcorder
Record HD 1080/720 onto
Compact Flash cards
50Mbps M PEG-2 4:2:2 recording
3 1/3" 2.37Mp CMOS sensors
18x Canon HD L series lens DIGIC DV III image processor
4" 1.23 Mp LCD monitor
1.55 Mp Color EVF
Over and under crank
XF305 Step-up:HD-SDI Output, Genlock & SMPTE Time Code
#CAXF300 / #CAXF305
AG-HPX3703-CMOS Pro Solid State Camcorder
10-bit, 4:2:2, native 1080 and 720p
HD resolution in variable frame rates
AVC-Intra 100 and 50 codecs
Two P2 card slots (hot swapping,loop, pre-record)
3 advanced 1/3, 2.2 MP
CMOS sensors HD-SDI output
20-bit digital signal processor
17x Fujinon HD lens Built-in scan revers e mode
Waveform and vector scope display
#PAAGHPX370
NEX-FS100UKSuper 35mm Sensor HD Camcorder with Lens
Exmor Super 35mm CMOS image sensor
Includes 18-200mm
Zoom Lens
E-mount interchangeable lens mount system
HDMI 4:2:2 uncompressed
1920 x 1080p 28Mbps recording 3.5" XtraFine LCD screen
1920 x 1080p slow & quick motion
Record onto SD/SDHC/SDXC, Memory
Stick cards, or Sony HXR-FMU128 (optional) H D MPEG-4 AVCHD format
#SONEXFS100UK
4MegaPixels
7/26/2019 newbay dv 201109
32/36
xx xxx
Buyers Market 33
7/26/2019 newbay dv 201109
33/36
septemb
er2011|
classifieds
COMPANY PAGE WEB SITE
Adorama 13 www.adorama.com
AJA 5 aja.com
Azden 10 azdencorp.com
B&H Photo-Video-Pro Audio 30, 31 bhphotovideo.com
Blackmagic Design 7 blackmagic-design.com
International Supplies 28 www.internationalsupplies.com
LCD4 Video 35 lcd4video.com
Neil Enterprises 9 www.neilenterprises.com
Primera 17 www.primera.com
Redrock Micro 2 www.redrockmicro.com
Shutterstock 36 footage.shutterstock.com
Tiffen 16, 21 www.tiffen.com
Varizoom 29 varizoom.com
Videoguys 15 videoguys.com
Adobe3, 14; Aiptek22; Apple3, 12, 14, 16, 21, 22, 28; ARRI3;
Avid3; Bandito Brothers3; Blackmagic Design3, 10; Canon
U.S.A.3, 8, 18; Company 310; Contour22; Drift22; Evolve Digital
Cinema/IMG8; Fast Forward Video8; GenArts3, 12; GoPro22;
Hornet Inc.6; Iconix22; Nikon18; Nuwaste Studios16;
Nvidia12; Panasonic6; RED Digital Cinema3; Red Giant
Software3, 14; Replay XD22; Rollei22; Sachtler6; Sekonic16;
Sony Creative Software12; Sony Electronics20; Teradek6;
Ultimate Gadgets22
>Advertiser Index
>Company Index
The latest news onlineand information at
DV.com
Call Susan Shores
212.378.0400 Ext. 528Email:
sshores@nbmedia.com
log on to www.2-pop.com
and join today!
the online
communityfor digital
video
filmmakers
Sign-up today by visiting
www.nbmedia.com
FREE!
STAY ONE
STEP AHEADwith NewBay Medias FREE
Electronic Newsletters
ONE-STOP SHOPPING:
Simply visit www.nbmedia.
comand click on the EmailNewsletters link. Thenchoose as many newslettersyou need.
1
Production Diary by Stefan Sargent34
7/26/2019 newbay dv 201109
34/36
dv.com
So you think filmmaking is easya piece of cake. Youve
spent three years at UCLA, graduated with honorsyour
student film was screened at the Ventura Film Festival.
Youve got FILMMAKER printed on your business card.
Its all rosy and then one day you enter the real world
Its kind of scary out here. How to get work? Howmuch to charge? Get a crew to help? What to pay them?
Charge sales tax on DVD copies? The location needs a cool
$1,000,000 insurance policy
But be warned, dear newbiethe scariest thing out
here is CLIENTS, especially if theyre a dog.
MEET BENTLEY
He might only be a dog, but hes client to be reckoned with.
Stefan, I think that cut should be a dissolve.
Cutting is cool, John. Dissolves look really old-
fashioned these days.
Bentley, cut or dissolve?
Woof.
Its a cut. Thanks, Bentley.
Woof.
No, Stefan, I think hes saying wipe. Woof means
wipe. And hes right, a side wipe would be great. Good
boy, Bentley. Daddy loves you.
Youre not serious? You want a wipe?Why not? Try it.
What do you think Bentley? Isnt that better? Yep,
stick with the wipe.
KEEP CALM AND CARRY ON
Behind the photo of John and Bentley, you can see
my poster, Keep Calm and Carry On. In wartime
Britain, when a German invasion seemed possible, the
government produced this classic. As you all know, aseven Bentley knows, they didnt invade and the poster
was scrapped.
But its become my mantra. The visual equivalent of
Always Look on the Bright Side of Life.
CLIENTS ARE THE STRANGEST PEOPLE
I received an e-mail today from Peter.
Stefan, I showed our homepage video to Xxxxxx of the
Xxxxxx Corp. and he thinks the one you made five years ago
was better. Can you comment on this?Hang on a moment, Peter. Ive got Bentley with me.
OK, Bentley, heres the new videolike it? Two
woofs. Now heres the old video. No woofs.
Peter, my client today saw both. Loves the new one.
End of story.
MY WEB SITE CLIENT
Friends, Ive got to tell you that if you can get your head
around FCP, you, too, can make Web sites. WEB SITES its a natural extension of your filmmaking skills. Im
surprised that UCLA didnt include it in your curriculum.
You make a videowheres it to be seen? On the
Internet, of course. You dont want some dumb Web
designer asking for files.
So, my little FILMMAKERS, protect your video and
learn WordPress.
Now youve got double trouble. Take Michael (please)
He was no fun as a video client and now he wants a site.
Sure, I can do WordPress. Here are some themes. I
really like the iFeature themeor Striking. He settles for
iFeature. I spend two weeks creating the site. I always buy
an .info site from GoDaddy. They cost just over a dollar. Ihost them on my shared server for the client to see progress.
Michael LOVES what Ive created... Wow. Great.
Terrific. You are a genius.
Next week an e-mail: Stefan, I think weve picked the
wrong theme. Maybe Strikingwould have been better. On the
pages where we have white type over the ripple background,
please lose the background and go to black type. Finally, its all
too big for my Mac laptop. Please shrink the site down.
Come back, John. Come back, Bentley. All is forgiven.
You can have woofs, I mean wipes, on every scene change.Please shrink the site down.Grrrrrr.
Keep Calm and Carry On. Keep Calm and Carry On. Keep
Calm and Carry On dv
experience|
september2011
No, Stefan,I think he's
saying wipe.Woof means
wipe. Andhe's right,
a side wipewould begreat. Goodboy, Bentley.Daddy loves
you.
KEEP CALM AND CARRY ONIt Can Only Get Worse
I
7/26/2019 newbay dv 201109
35/36
7/26/2019 newbay dv 201109
36/36
top related