Video Editing Software made easy…ish
Latest and greatest news and information in the world of video editing software
Why Everyone Should Use Video Scopes for Color Correction
So let’s stop for a minute and talk about color correction and color grading.
For many amateur editors there is a knowledge that you can do so much to improve the quality of the video images you are getting in your projects.
There is also the knowledge that these days most fully loaded editors will offer color…
Read more…
With a unique improvisational acting style at the heart of the Netflix original film, Paddleton, capturing audio was of paramount concern for Sound Supervisor Daniel S. McCoy CAS, owner and operator of ToneMesa, Inc. Taking into consideration that renowned comedian Ray Romano is in the starring role, McCoy made sure to showcase the actor’s comedic style by integrating two audio powerhouses, DPA Microphones and Wisycom, into his production workflow.
DPA Microphones and Wisycom enabled McCoy to succeed as a one-man sound crew on the set of the Duplass Brothers’ production. In today’s ever-changing landscape of film and cinema, the paradigm has shifted to where many projects, such as Paddleton, have more of a documentary formula and require reliable equipment with a skeleton crew that can work at an efficient pace.
“Sometimes, the team would go off to unplanned locations and I’d have to be ready to follow immediately,” says McCoy. “It was imperative to have microphones, receivers and transmitters that I could trust in situations where I didn’t know exactly what was going to happen next. Using DPA and Wisycom on Paddleton, I never had to stop a take and I’m really proud of that.”
During the production, McCoy used DPA’s d:screet CORE 4061 Miniature Microphone – one of the world’s first film projects to deploy the new CORE by DPA technology – along with d:dicate 4017 and 4018 Shotgun Microphones.
“It’s amazing how the boom mics blend seamlessly with the lavs, not only in the mix on-set, but also in post-production, when you need to blend them together,” adds McCoy. “I like to use some of the bass and proximity from the omni (4061) on the body, blended with the high-audio pickup of the shotgun mic in free space to get better articulation. Using DPA’s 4000 series lavalier microphones together with the 4017 and 4018 boom mics enabled me to create a harmony of vocal and ambient sound. The actors’ dialogue blended seamlessly on top of the sounds of real neighbourhoods, towns and driving. I was able to capture crisp, clean vocal audio over all that background noise and still get incredible fidelities you can hear in the film.”
For wireless, McCoy turned to his trusted Wisycom MTP40/41 Wideband Bodypack Transmitter paired with the MCR42-S2 Dual True Diversity UHF Miniature Camera Receiver. “With Wisycom, I know that the exceptional RF range will ensure a perfect capture every time; it always amazes me how much range I can get with them,” he continues. “For this project, I employed the AES3 output on the mic transmitters to have that feed directly with a digital stream of audio on the receiver. It all stayed digital once it hit Wisycom’s MCR42, which sounded great. Post-production received a huge dynamic range of audio and was able to really carve and shape the sound design throughout the film from the tracks we provided.”
DPA Microphones and Wisycom further proved their reliability during a road trip scene where McCoy arranged monitoring systems in the actors’ car and follow vehicles. “We couldn’t always be within two or three car lengths of the actors’ car, but with Wisycom and DPA, that wasn’t an issue,” adds McCoy. McCoy was able to capture audio from up to a mile of range, while seamlessly mixing sound for the scene – as well as audio for the entirety of the film.
Paddleton, a Duplass Brothers dramedy featuring Romano and Mark Duplass, takes viewers on an emotional journey as an unlikely friendship sparks between two misfit neighbors after the younger man (Duplass) is diagnosed with terminal cancer. The director, Alex Lehmann, decided to utilize an improvisational style much like his past film with Duplass, Blue Jay.
DPA Microphones: www.dpamicrophones.com
Wisycom: wisycom.com
The post NETFLIX FILM PADDLETON TAKES A UNIQUE APPROACH TO SOUND appeared first on Video & Filmmaker magazine.
Philips announced two new monitors, 241B7QUBHEB and 272B7QUBHEB, ideally suited for graphic designers, CAD engineers, photographers, and video editors, among others.
The resolution is, apparently, the only thing that separates the two new products from Philips. In fact, the Philips 241B7QUBHEB 24” and 272B7QUBHEB 27” LCD monitors, share the same characteristics, including a USB dock, panels with IPS 
technology and with a 90-degree pivot mode, for maximal viewing ease, besides Philips’ own SmartErgoBase, designed to deliver ergonomic display comfort and provide cable management.
While a SmartErgoBase offers height, swivel, tilt and rotation angle adjustments position the monitor for maximum comfort, cable management is, in these models, made easier through the use of a USB dock. The built-in USB docking station comes equipped with DisplayLink technology that offers the convenience of universal port replication so users can quickly and securely connect their notebook to networks, transfer files, watch videos, and more, thanks to a single dual-mesh USB cable with Type-C and Type-A connectors.
With these monitors, all peripherals, including keyboard, mouse, and RJ-45 Ethernet cable connect to the monitors’ docking station, reducing cable clutter while boosting productivity. And thanks to DisplayPort-out, multiple high-resolution displays can be linked together with just one cable. Finally, USB 3.2 SuperSpeed+ data transfer technology means users can transmit data faster than ever. They can even do it while powering and charging their notebook directly from their monitor.
Both the Philips 241B7QUBHEB and Philips 272B7QUBHEB use panels with IPS technology, which,says Philips, “unlike TN panels, consistently delivers rich, vivid colours whose accuracy and brightness are ideally suited for graphic designers, CAD engineers, photographers, and video editors, among others”. Wide viewing angles of 178/178 degrees mean the screen can be viewed from almost any angle, including when in 90-degree pivot mode, for maximal viewing ease.
The resolution is the most evident difference between the two monitors – 1920 x 1080 on the 24-inch and 2560 x 1440 on the 27-inch –, but the Philips 272B7QUBHEB has features missing in the smaller model; CrystalClear Quad HD resolution as well as Ultra Wide-Color technology for, says Philips, “remarkable brilliance and gorgeous, sparkling colours” are included in the list of specifications for the 27-inch monitor. Ultra Wide-Color Technology delivers a wider spectrum of colours and its “colour gamut” produces more natural-looking greens, vivid reds and deeper blues. The colour gamut on the 27-inch is NTSC 114% and sRGB 132%, while the 24-inch offers NTSC 85% and sRGB 102%.
Filmmakers go-to destination for pre-production, production & post production equipment!
The Philips 241B7QUBHEB and the Philips 272B7QUBHEB both include an array of features to protect users as well as the environment. An innovative, secure Windows Hello pop-up webcam with facial recognition technology can be safely tucked away when not in use, removing the risk of prying eyes. Physical comfort is ensured as well, thanks to such eye-friendly technology as LowBlue Mode. The environment benefits from these monitors too, thanks to technologies such as the energy-saving PowerSensor, as well as 85% post-consumer recycled plastic, PVC/BFR-free housing, no mercury or lead, and 100% recyclable packaging material.
The Philips 241B7QUBHEB and 272B7QUBHEB monitors are available in Europe at a RRP of £319 ($400) and £489 ($612) respectively. No word, yet, when these models will be available in North America.
The post Two new Philips monitors for photographers and video editors appeared first on ProVideo Coalition.
https://www.provideocoalition.com/two-new-philips-monitors-for-photographers-and-video-editors/
Liquid Image
Two methods on applying images to particles in a liquid simulation.
First a note about this past week. As many people know by now, the town of Ridgecrest California has been hit by two major earthquakes back to back. A magnitude 6.4 on July 4th and a 7.1 on the night of the 5th. Since then quite literally 1,000’s of aftershocks have happened since. Many homes and businesses sustained damage and it will be a long road to recovery for the residents of Ridgecrest.
My wife and I live in Glendale California about 105 miles southwest of Ridgecrest. Even with that great distance we clearly felt the foreshock and the main shock as well as many of those after shocks since July 4th. Living on the third floor amplifies the movement a lot too. We are both ok and did not sustain any damage ourselves other than some rattled nerves.
Being the visual effects geek that I am, I had to stabilize footage I had recorded during the quake just to better view the movement of what was shifting in our home. Of course I used my own stabilizer script for After Effects.
I had recorded today’s tutorial two days ago on Saturday the 6th. A few aftershocks were just large enough to be felt that morning, but thankfully no large quakes occurred during recording, so there shouldn’t be any noise on the audio track (as far as I could tell), but if you do hear any deep sounds that will likely be from the aftershocks.
So today’s tutorial focuses on building a simple liquid simulation, and then mapping the color values from an image onto the particles. Not projecting the image colors, which you will also see in the tutorial, but actually assigning each particle a color value from the image at birth.
X-Particles contains a few different methods for applying color to particles, and each way functions very differently. It can be confusing as to which way works best for your situation. There will be two types of animations we’ll make today, and I will show you a couple of these color application variants.
These GIFs show a melting style liquid image that I had done where I was using a noise shader to activate the movement of the particles. The left one shows a harsher break line where each activation area takes place. It has an interesting look, but I was aiming for a smoother melting kinda feel. The right GIF is showing the smoother activation solution and how the surrounding particle interaction blends together better.
The second section of the tutorial will focus on a liquid volume of particles. To swirl them about we will use force modifiers. When applying an image color value to this type of build, it can be bit tricky. I will go over in detail how to approach this hurdle. The swirling effect can be cool looking if you choose a camera angle that’s offset and low like the GIF below.
With particle volumes, you really don’t have a simple surface to apply a texture to like with geometry. The texture application works very differently. For X-Particles it will require using the xpColor shader option and working in shader space. Thankfully we will have a visual to work with as we manipulate the image when applying the color to the particles.
The post Liquid Image appeared first on ProVideo Coalition.
Getting More Views on your Videos- 3 Tips on how to do it!
BEST CINEMATIC GIMBAL MOVES Feat. Daniel Schiffer
The original Star Wars trilogy crosses cultures and stands the test of time. So, what happened with the prequel trilogy? I call it The Lucas Effect.
https://www.premiumbeat.com/blog/when-filmmaking-creativity-goes-unchecked/
Today I have a fun tutorial for you that will show you some quick and easy cinematography techniques. In the video I talk about lighting, camera composition and also set dressing plus how to enhance the shot using some very quick VFX.
Here is the video tutorial
As you can see, I only use 1 practical light as the key light. It happens to be an oil lamp but in your case you can use a candle, torch maybe even a flashlight. Other than that I use 2 lights to show a bit of the environment plus to help separate the actress from the background. Both of those lights happen to be from Aperture but you can use any light really. If you do want to see all the gear I used in this example then follow the links below. One really great addition to any filmmaker these days is to have a solar generator. Especially the larger one I own which is the Inergy Apex. This thing is a monster and will power your lights for hours. I also provide a link to where you can get it plus a 20% discount code.
Gear I used in this video:
➡Blackmagic Pocket Cinema Camera 4K:
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Adorama http://bit.ly/2JNJobr
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➡Aputure Light Storm LS 1c LED Light
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➡Aputure LS C120D II
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➡Aputure Light Dome II
B&H https://bhpho.to/2NuN2fK
Amazon https://amzn.to/2JbuVY9
Adorama https://adorama.rfvk.net/5DDO2
eBay https://ebay.to/2XqKcga
➡Inergy Apex Portable Lithium Solar Generator 1100Wh
https://glnk.io/p5q/tom-antos
Save 20% with discount code: ANTOSFILM
➡400Wh Portable Lithium Solar Generator Power Station
Amazon https://amzn.to/2xpJNLM
B&H has a similar one to the one I use https://bhpho.to/2Nx2vvL
eBay https://ebay.to/2Ji4QW4
I did the fireflies using this After Effects preset https://creationeffects.com/swarms.html
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DISCLAIMERS:
Some of my links have an affiliate code, allowing me to make a small commission at no additional cost to you. Thanks!
The opinions expressed in this video were not influenced by or paid for by any outside individual or company. I use and test lots of products that are sent to me or that I buy myself. In the end, I only talk about the products that I find interesting.
This video was sponsored by Skillshare
#cinematography #filmmaking #nightlight
https://tomantosfilms.com/19092/how-to-light-a-night-scene-quick-and-easy/
Octopus Cinema: First Open Source Camera | Indy News
Stream live footage directly to major online platforms with easy set-up using Simple Live Streaming, an essential tool to connect with audiences using Wi-Fi. The new option will be available late 2019.
Both the PXW-Z90 and the HXR-NX80 offer broadcast quality 4K with advanced features such as high-speed auto focus, Instant HDR workflow, up to 960fps/1000fps super-slow motion and, soon, streaming via Wi-Fi. The palm-sized 4K HDR professional camcorders will receive the free firmware upgrade allowing Simple Live Streaming during 2019, opening a new workflow option for professionals using any of these camcorders.
Sony made the announcement during BroadcastAsia 2019, revealing that the camcorders will receive additional workflow flexibility via the said free firmware upgrade. Introducing a new proposition for users to streamline the process of acquiring live content, the camcorders will be enhanced with Simple Live Streaming, providing opportunities for content creators to shoot wherever and however they want.
“In today’s live environment, video content is evolving quickly as an essential tool to connect with audiences,” said Neal Manowitz, deputy president for Imaging Products and Solutions Americas at Sony Electronics. “The introduction of Simple Live Streaming for HXR-NX80 and PXW-Z90 streamlines the overall workflow, from shooting to live distribution. Equipped with Simple Live Streaming, these camcorders empower content creators to concentrate on what they do best – storytelling on the go.”
Simple Live Streaming ensures, according to Sony, “that ultimate mobility is achieved”. As standalone operations, the easy-to-use camcorders only require Wi-Fi connection without additional gear. Users will be able to conduct live streaming and upload on to major video sharing sites and social media platforms in a straightforward manner anytime, anywhere.
Sony has been actively promoting the “Simple Live Solution” achieved by combining the MCX-500 Multi-camera Live Producer and the RM-30MP remote commander for simple live production using multiple cameras. When a user needs to expand their live streaming to multiple camcorder operation, HXR-NX80 and PXW-Z90 camcorders can be connected to MCX-500 via SDI or HDMI, enabling live streaming on to social media platforms and with rich live features such as tally, title and transition.
The Simple Live Streaming supported by HXR-NX80 and PXW-Z90 offers even simpler operation achieved by single camera, further enhancing the remote delivery of content quickly and without compromising on imaging quality. With the solution Sony invites users to “share the moment now”.
The ultra-lightweight HXR-NX80 and PXW-Z90 camcorders are designed to shoot in any situation, making them well suited for a range of live applications, including events, concerts, seminars, weddings and news reporting. They offer users complete creative control, thanks to Sony’s Fast Hybrid AF system featuring the 1.0-type stacked Exmor RS CMOS image sensor. In addition, the fixed 29mm wide-angle ZEISS Vario-Sonnar T lens is equipped with 12x optical zoom. The optical zoom can be increased to 18x with Clear Image Zoom, maintaining 4K resolution using Super Resolution Technology, or to 24x in HD. On the audio front, the XLR audio input terminal and microphone holder also add to its operability, in addition to sound quality and reliability in connection.
The free firmware upgrade is planned to be available by the end of 2019. For more information, follow the link to Sony’s professional website.
The post Sony HXR-NX80 and PXW-Z90 camcorders to offer Simple Live Streaming appeared first on ProVideo Coalition.