Live Stream to Multiple Platforms at the same time

How to live stream to multiple platforms at the same time. Step-by-step, how to simulcast to YouTube Live, Facebook Live, Twitch… You name it!

— LINKS —

Software:

Castr: https://primalvideo.com/go/castr/

Restream: https://primalvideo.com/go/restream/

Switchboard: https://primalvideo.com/go/switchboard/

Open Broadcaster Software (OBS): https://primalvideo.com/go/obs

VMIX: https://primalvideo.com/go/vmix

Wirecast: https://primalvideo.com/go/wirecast

Affiliate Links used where possible!

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— Live Stream to Multiple Platforms at the same time (How to Simulcast!) —

With some simple tools, these days it’s easy to livestream to multiple platforms. In fact, there’s even a name for it – Simulcasting! (Yep…)

So, whether you’re looking to simulcast () to YouTube and Facebook, go live to Twitch and YouTube, or almost any other combination of streaming platform, in this video we step through exactly how to live stream to multiple platforms at the same time.

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GEAR WE USE: http://primalvideo.com/gear

Check out all the gear we use and recommend at Primal Video!

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— Related Content —

– Best Live Streaming Setup for Smartphones (iPhone and Android) https://www.youtube.com/watch?v=jUgesX4g-Ho

– Video Lighting Tutorial (Video Lighting for Beginners!) https://www.youtube.com/watch?v=flc5iP0KwTg

– How to Make a Video Intro for YouTube (Full Tutorial!) https://www.youtube.com/watch?v=UbF-GI558q8


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https://www.youtube.com/watch?v=sMLEZb0k1YE

Four Ways to Become a Better, Happier Photographer

Four Ways to Become a Better, Happier Photographer

I remember the thrill of owning my first camera: the Panasonic FZ20. I was so excited; I didn’t need an alarm to get me up for sunrise. How things have changed! These days, if no one is commissioning the shoot I struggle to be motivated. This article tracks how this happened and offers four suggestions on how to keep enjoying photography.

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articles?d=yIl2AUoC8zA articles?d=qj6IDK7rITs articles?i=g5U6PTqVd1s:T9Z6KD9XXsA:gIN9v

https://fstoppers.com/architecture/four-ways-become-better-happier-photographer-326838?utm_source=FS_RSS&utm_medium=RSS&utm_campaign=Main_RSS

The Movies You Need to Watch Before You Go to the Movies in 2019

As usual, there are a lot of remakes, reboots, sequels, and spinoffs on the horizon. Coming soon in 2019, we’ve got everything from a culmination of two seemingly unrelated M. Night Shyamalan movies and three whole live-action reimaginings of Disney animated classics to a retconning Terminator sequel, a resurrection of the Men in Black movies, and the final episode of the Star Wars “Skywalker Saga.” If you don’t want to enter the multiplex feeling totally lost this coming year, you’ll need to do some homework. Below is a list of previous installments and incarnations to watch before the redos and returns and continuations. The due date is the release date of the new movie.


The Intouchables (2011)

This French film was a very big hit overseas, grossing more than $400 million. But since it only did $10 million in the US, and it’s not in English, obviously Hollywood had to go and produce an American translation. The remake, titled The Upside, stars Bryan Cranston, Kevin Hart, and Nicole Kidman, so maybe it’ll do a little better. Domestically anyway.
Due Date: January 11th


Unbreakable (2000) and Split (2016)

M. Night Shyamalan delivered one of his biggest surprises ever with the revelation that Split is set in the same universe as Unbreakable. Now, the filmmaker has made a sequel to both with Glass, which reunites Samuel L. Jackson as Mr. Glass and Bruce Willis as David Dunn, both of them now mixing it up with James McAvoy as The Horde/The Beast.
Due Date: January 18th


Jacob’s Ladder (1990)

Tim Robbins stars in this psychological thriller about a Vietnam veteran who is experiencing haunting hallucinations. The cult classic has now been remade under the same title by David M. Rosenthal (The Perfect Guy).
Due Date: February 1st


Miss Bala (2011)

Another 2011 foreign film loosely based on a true story has been remade, this one — directed by Catherine Hardwicke and starring Gina Rodriguez as a woman kidnapped by a cartel and forced to smuggle drugs — retaining the name of the Mexican original.
Due Date: February 1st


In Order of Disappearance (2014)

This Norwegian action movie by Hans Petter Moland stars Stellan Skarsgard as a snow plow driver who takes on local drug dealers after his son dies of an overdose. Moland also directed the Hollywood remake, loosely based on his original, that now stars Liam Neeson and is called Cold Pursuit.
Due Date: February 8th


The LEGO Movie (2014)

Everything is awesome in this surprisingly great adaptation of the popular toy brand, a sequel for which (The LEGO Movie 2: The Second Part) is arriving in theaters with double the Chris Pratt and presumably more awesomeness.
Due Date: February 8th


What Women Want (2000)

The trend of gender-swap remakes continues with What Men Want, a redo of this Nancy Meyers-helmed fantasy rom-com starring Mel Gibson as a chauvinist who acquires the power to read women’s minds. Taraji P. Henson leads the new version as a woman who can suddenly read men’s minds.
Due Date: February 8th


Happy Death Day (2017)

Before you spend your Valentine’s Day with the sequel Happy Death Day 2U, check out this surprise hit horror movie with a Groundhog Day scenario in which a slasher keeps on killing the protagonist (Jessica Rothe) on her birthday.
Due Date: February 14th


To Watch Train Your Dragon

How to Train Your Dragon (2010) and How to Train Your Dragon 2 (2014)

Take flight with Hiccup and his pet dragon Toothless in the first two installments of DreamWorks Animation’s How to Train Your Dragon film series before the next and apparently final sequel, How to Train Your Dragon: The Hidden World, brings the franchise back to the big screen.
Due Date: February 22nd


Diary of a Mad Black Woman (2005), Madea’s Family Reunion (2006), Madea Goes to Jail (2009), I Can Do Bad All by Myself (2009), Madea’s Big Happy Family (2011), Madea’s Witness Protection (2012), A Madea Christmas (2013), Madea’s Tough Love (2015), Boo! A Madea Halloween (2016), and Boo 2! A Madea Halloween (2017)

How many of Tyler Perry’s Madea movies have you seen already? Well, better late than never on seeing all 10 installments, including the animated feature Madea’s Tough Love but not Meet the Browns (I think the character just has a cameo). This year brings the 11th and supposedly final installment of the series, titled Tyler Perry’s A Madea Family Funeral. As far as I know, it’s not about Madea’s funeral, so that leaves the potential for Perry to change his mind.
Due Date: March 1st


Iron Man (2008) and Avengers: Infinity War (2018)

Captain Marvel, the next installment of the Marvel Cinematic Universe, is a prequel set more than a decade before the events of the first release. But that franchise-starting film, Iron Man, is still worth seeing because it’s the first time we saw Samuel L. Jackson’s Nick Fury and Clark Gregg’s Agent Coulson, both of whom appear in the new movie in younger form. Meanwhile, Captain Marvel is likely to end with some reference back to the ending of Avengers: Infinity War when Fury paged the title character through time and space.
Due Date: March 8th


Dumbo (1941)

Even if Tim Burton’s new live-action remake of Dumbo furthers the story of this animated classic, and even if certain elements are changed (there are no talking animals in the new movie), the original is worth seeing in order to be acquainted with what will amount to be, maybe, only the first act of the redo.
Due Date: March 29th


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The post The Movies You Need to Watch Before You Go to the Movies in 2019 appeared first on Film School Rejects.

https://filmschoolrejects.com/movies-to-watch-before-2019/

Classic Course: Effects & Presets Panel

A little over a year ago, we had the bright idea of re-releasing for free our After Effects online training that Lynda/LinkedIn Learning had dropped from their site because it was a few years old. As any user of Adobe software knows, even though new features get added all the time along the with occasional user interface refresh (usually making it progressively darker and darker), the core of the program remains essentially the same – so there’s still useful content in many of those old movies. We kept it up for a few months, but then got distracted by other projects.

Well, one of our New Year’s Resolutions for 2019 was to continue posting those movies for users who might still find them interesting. For the next few months we’re going to go through old “Effects Essentials” showing how to get the most out of a number of common effects, and then move onto other, larger features.

To re-launch the Effects Essentials part of this series, here is a pair of movies on using the Effects & Presets panel in After Effects. If you’ve been using the Effects menu to find and apply effects, you’ll find the Effects & Presets panel is a more efficient way to work:

Another benefit of the Effects & Presets panel is that it stores Animation Presets. In short, if you can keyframe a parameter (including “transformations” such as Scale and Position along with effects), you can save it as a preset to apply to other layers later. This can be a huge timesavings. Also, Adobe ships After Effects with a large number of pre-built Animation Presets. This movie shows you how to search through them, and shares a “gotcha” about where you apply them along your timeline:

The one feature mentioned in the movie above that does not work anymore is the animated preview of Adobe’s pre-built presets in Bridge. Back when these presets were built (many of them by us), Adobe saved very small animated thumbnails of effects using a now-obsolete format. These animations unfortunately no longer play in Adobe Bridge CC 2019. Fortunately, the names of the Adobe presets are pretty descriptive.

 

The post Classic Course: Effects & Presets Panel appeared first on ProVideo Coalition.

https://www.provideocoalition.com/classic-course-effects-presets-panel/

Sony VENICE presses the flesh with Bad Mothers, new Channel 9 series

Bad Mothers is the new eight-part drama series for Channel 9 from Jungle Productions and Filthy Productions. Starring Tess Haubrich, Mandy McElhinney, Jessica Tovey, Shalom-Brune Franklin, Daniel MacPherson and Don Hany. It explores the underbelly of modern motherhood through the prism of four very different women. DoP on Bad Mothers is John Stokes ACS and the camera he chose to shoot the series is Sony’s new flagship VENICE next generation motion picture system with full frame sensor, phenomenal colour science and user-friendly operation.

 Stokes explained, “I did some tests with VENICE and was astonished at how well it worked with flesh tones. The large format is excellent as is being able to work with 500 and 2500 ISO. VENICE also has some very clever functionality such as the ability to change the in-camera NDs one stop at a time up to 2.4. With all of these factors and more it became evident that only the VENICE could give us the new, fresh look we wanted to implement on Bad Mothers from the ground up.” 

VENICE is a cinema camera created by and for the cinematographer. It’s equipped with a newly developed full-frame image sensor meeting the needs of the film industry in pushing the boundaries of large format image capture with exceptional picture quality.

Stokes continued, “The VENICE is perfectly weighted and balanced and is great for shooting handheld which makes it very easy to work with. In fact we use two VENICE cameras on Bad Mothers along with Zeiss Supreme Primes. We mainly shoot the wider shots with a 50mm on one VENICE and a tighter, over the shoulder with an 85mm on the other. There’s a real pattern to the vision with this set up and the VENICE’s sensor responds incredibly well to whatever light comes in and how the lenses accept that light.”

With the wide latitude and gamut recorded by the VENICE, Stokes’ freedom of expression is significantly expanded on Bad Mothers. The camera’s user-friendly design, clear and simple menu navigation, and a highly durable, reliable construction allows him to simply concentrate on filming, and not the camera.

 

He added, “The VENICE gives you this lovely, silky, velvety look which is hard to explain until you see it and when you see it you can’t help but love it. When I’m using a T2 aperture there’s also a lovely fall off and look that just ‘happens’. We shoot 16-bit X-OCN LT (eXtended tonal range Original Camera Negative) as by combining 16-bit precision with surprisingly moderate bit rates, X-OCN opens up a world of new production possibilities for us. X-OCN also produces file sizes much smaller than typical camera RAW, but offers 16-bit scene linear encoding, so we get the ultimate in tonal expression, longer record times, faster file transfers and more economical post-production.”

Stokes also makes good use of the VENICE’s simple ability to change resolution to save time, money and ensure continuity.

He explained, “We shoot X-OCN LT at 6K but we alternate between 6K and 4K on a daily basis as a changing the 50mm lens from 4K to 6K is the equivalent to going from a 50mm to a 33mm, so in order to save ourselves a lens change we simply change the resolution.”

It’s not just John Stokes ACS who loves how the images the new Sony VENICE is creating for Bad Mothers, according to Stokes it’s the entire crew from the top down.

First AC B-CAM Keir Suggett added, “The VENICE is a great camera to work with. It just works as it says it will. No fancy workarounds required. The menus are better than ever before, less cluttered and it’s easier to find what you’re looking for. The short press menu and longer press menus are a real bonus, as is the fact that the most used functions are easily accessible on both sides of the camera – which is great if you’re pressed up against a wall. It’s also good to have the read out on camera operator side so they can easily see the settings. The internal NDs and two base ISO settings are also a huge plus.”

First AC A-CAM Karina Davies agrees, “Having two base ISOs is fantastic as when you’re outside in harsh sunlight you can start with 500 ISO which is great, as if you started at 2500 and you were trying to stop down you’d get to 2.4 very quickly and then have nowhere else to go. With 500 you only go up to 2.1 maximum. As John said, being able to switch from 6K to 4K is great as it’s so quick, efficient and perfect for producing this kind of TV. Having the full range of NDs also really takes the pressure off us in terms of putting glass on the front which means John has more time up his sleeve and doesn’t have to compromise on the style, look and feel he wants to achieve. We’ve run the VENICE with every accessory imaginable and it hasn’t skipped a beat. The fast changing between modes means we will see VENICE cameras used to produce a great deal more of this kind of TV in 2019.”

John Stokes concluded, “The images we get are of the highest quality and yet the workflow is so simple and straightforward. There are no problems and the camera is consistent, predictable and reliable. As I said in the beginning, the best thing about the VENICE is the incredible way it works with flesh tones but overall, I just love working with this camera.” 

Bad Mothers will air on Channel 9 in 2019.

Picture credits

John Stokes ACS shooting Bad Mothers with the new Sony VENICE full frame camera system

The post Sony VENICE presses the flesh with Bad Mothers, new Channel 9 series appeared first on Video & Filmmaker magazine.

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Sigma Ships 70-200mm F2.8 DG OS HSM Sports Lens

Sigma Corporation of America, a leading still photo and cinema lens, camera, flash and accessory manufacturer, has announced the pricing and availability of the highly anticipated Sports line addition announced at Photokina – the new flagship large-aperture telephoto zoom Sigma 70-200mm F2.8 DG OS HSM Sports. The new lens to complete the Sigma F2.8 zoom trio, including the award-winning 14-24mm F2.8 DG HSM Art wide-angle zoom and the 24-70mm F2.8 DG OS HSM Art modern workhorse zoom – the essential tools for professional photographers, has begun shipping in Canon mount for $1499.00. The advanced optical formula delivers the renowned Sigma Art image quality inside the rugged, weatherproof build of a Sports lens.

As Jim Koepnick, a leading aviation photographer and a Sigma Pro, states, “There are three lenses a working professional photographer always wants in his or her camera bag – a wide zoom, a medium zoom and a telephoto zoom. All of professional quality and F2.8 brightness. We call it the must-have trio. With those three lenses you can handle just about any job a client throws at you. The trio in my camera bag has just been updated in a most professional way. I’ve just added the new Sigma 70-200 F2.8 Sport lens. For my type of photography, which includes action, commercial and photojournalism, this lens will get the majority of my use. Putting it to work the last few days, the Sigma 70-200 F2.8 Sport lens delivered in every case with professional caliber results.”

Key Features and Benefits

Outstanding Action-Capture Performance

With the strongest possible optical formula, sturdy yet lightweight design and exceptional handling, the Sigma 70-200mm F2.8 Sports lens is a staple for professional photographers and advanced amateurs looking to expand their artistic expression in an action setting. The lens incorporates Intelligent OS with an acceleration sensor and the latest algorithm capable of panning in all directions. This algorithm, alongside high-speed AF and HSM, allows photographers to capture instantaneous photography movement, an absolute necessity for the best sports and action lenses.

10 Exclusive Low-Dispersion Glass Elements

The Sigma 70-200 F2.8 Sports’ optical design delivers excellent correction of color aberration through its 9 FLD (“F” Low Dispersion) glass elements and 1 SLD (Special Low Dispersion) glass elements. This ensures high resolution from the center to the edges of the image, making it suitable for all photography genres, from news to sports to wildlife. It’s even great for portrait photography, with a smooth bokeh effect achieved through 11 rounded diaphragm blades and optimizing spherical aberration.

Strong Build Withstanding the Toughest Weather

Like all other lenses from the Sigma Sports line, the Sigma 70-200mm F2.8 is handcrafted with a dust- and splash-proof structure featuring a water- and oil-repelling coating on the front element. Photographers can take on the most difficult shooting conditions without having to worry about lens safety – instead, they can rest assured they will capture sharp images even in the most challenging situations. Despite its robust structure, this lens stands out with its light weight and high mobility thanks to the magnesium alloy components incorporated into its build. The new state-of-the-art facility located at the Sigma Aizu factory in Fukushima, Japan is now fully operational and solely dedicated to the processing of magnesium alloy. It provides toughness and durability while being lightweight, and minimizes the weight typically associated with a telephoto zoom lens.

Versatility with Multiple Customization Options

Equipped with customization options such as a Focus Limiter and Manual Override, the Sigma 70-200mm F2.8 lens is extremely versatile. An AF Function button is present to allocate various functions. By selecting it from the menu on the camera body, or using the optional Sigma USB Dock, users can locate and manipulate functions other than AF Lock to expand and accommodate their shooting styles. In addition, the tripod socket with 90° click stops, also made with a tough yet lightweight magnesium, is incorporated to ensure easier changes of shooting position from vertical to horizontal and vice versa. It can be attached directly to an Arca Swiss type clamp.

The Third Lens in a Maximum Performance Trio

The 70-200mm F2.8 DG OS HSM Sports, alongside the Sigma 14-24mm F2.8 DG HSM Art and the Sigma 24-70mm F2.8 DG OS HSM Art, completes the lineup of three F2.8 large-aperture zoom lenses capable of covering focal lengths from 14mm to 200mm. The three F2.8 zooms consisting of wide, standard and telephoto, are also known as “The Big Three Zooms,” offer wide coverage of the focal range, F2.8 brightness throughout the zoom range and extreme durability. Together, the lenses produce maximum performance in various scenarios, including scouting filming locations or overseas reporting assignments.

About Sigma Corporation

Craftsmanship. Precision. Dedication. Since 1961, Sigma has been devoted the pursuit of advancing photographic technology. Unique to the industry, the family-owned business produces its high-quality, award-winning still photo and cinema camera lenses, DSLR and mirrorless cameras, flashes, filters and accessories from its state-of-the-art manufacturing facility located in Aizu, Japan.

In 2012, the company introduced the Sigma Global Vision with three distinct lens lines: Art, Contemporary and Sport. Designed for industry camera mount systems including Canon, Nikon, Olympus, Pentax, Sony and Sigma, each lens is handcrafted and tested in Japan to ensure a high-performance, premium product that is purpose-built to last. In 2016, Sigma entered into the world of cinematography lens production. Embodying the core optical DNA that has defined the Sigma benchmark of excellence, the cine lenses meet the needs of advanced 6k and 8k cinema production.

Sigma continues its tradition of imaging excellence with the mirrorless sd Quattro, sd Quattro H and the compact dp Quattro camera line. Leveraging the ultra-high resolution Foveon sensor, the Sigma Quattro cameras are designed to produce the highest quality image with every shot.

For information about Sigma, please visit www.sigmaphoto.com or follow the company on Sigma Blog, Twitter, Instagram and Facebook.

The post Sigma Ships 70-200mm F2.8 DG OS HSM Sports Lens appeared first on Video & Filmmaker magazine.

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