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Staff Picks From Pro Video Coalition

  • Preview: SLR Magic ANAMORPHOT 2.0x 50 anamorphic adapter
    The 2.0x gives you more of what anamorphics are for.
    by Adam Wilt  |  June 29, 2015
    The SLR Magic ANAMORPHOT 2.0x 50 is an anamorphic adapter with the classic Cinemascope 2:1...
  • Aerial Videography with the DJI Inspire 1: Part 2
    Professional Dual-Operator Controls in a Prosumer Quadcopter
    by Jeff Foster  |  June 29, 2015
  • by Don Starnes  |  June 29, 2015
    You used to hear a whir, the sound of sprockets pulling film from a 15 pound reel at a relentless 90 feet per minute. Then the thpt of a splice going through the gate, then the plunk of the mechanical damper revealing the projector’s diegetic light....
  • EOS 5DS R: A Real World Review
    While there are many “opinions” online about the new 50MP cameras from Canon, photographers aiming to see real world results may have less choice. A video published by Michael Tapes may be a good option.
    by Jose Antunes  |  June 29, 2015
    The 12 minute video available online can be seen as a sales pitch for Michael Tapes Design products like the Lens Align or FocusTune, tools to micro-adjust AF of your lenses and camera, but that’s a simplistic appreciation of it. The author says he...
  • After Effects Hidden Gems: Sequence Layers
    Learn to quickly edit a selection of layers end to end - with or without crossfades
    by Chris and Trish Meyer  |  June 29, 2015
    After Effects is not a video editing program - but it does have a few good editing tricks up its sleeve. One is Sequence Layers, which can take a group of layers - in the order you select them - and quickly arrange them end to end, with or without crossfades:
  • The Smallest Micro Four Thirds 4K Camera for Drones
    There is a new 4K camera in the market, and this one wants to fly with drones. It is the smallest MFT interchangeable lens camera to date, with only 200 g weight, battery included.
    by Jose Antunes  |  June 29, 2015
    Presented as the ideal drone camera, the Z from ImagineVision is built around a 16MP Micro Four Thirds sensor, giving the camera access to a wide range of lenses from Olympus, Panasonic and other brands. This is an asset for a model with which the...
  • by Mark Spencer  |  June 25, 2015
    On this week's Under 5, Steve Martin from Ripple Training shows us how to create some great backgrounds using our free pack of legacy...
  • Fury Rig: From Mad Max Fury Road to Your DSLR
    Up to 10 Canon EOS 5D Mark II were used while filming Mad Max: Fury Road. The new Redrock Fury Rig was born from that experience.
    by Jose Antunes  |  June 26, 2015
    Although many dismiss DSLRs as serious filmmaking tools, producers of movies like Mad Max: Fury Road use DSLRs as part of the production, because they “can really serve a story at any production level”. Redrock Micro provided the special rigs for...
  • Flashpoint LED Panels Best Bang for Your Buck!
    Affordable Quality LED Panel Lighting
    by Jeff Foster  |  June 22, 2015
    Flashpoint CL-1300B LED Panel Light - Bi-Color The Flashpoint CL-1300B is a great...
  • Commercial Filming in Europe: Ask Permission First!
    If you intend to do a documentary or film in Europe, beware of new rules regarding important landmarks in public places. Soon it may be forbidden to film or photograph them without permission! Yes, that’s Europe for you!
    by Jose Antunes  |  June 23, 2015
    Cinematographers, indie videographers or anyone capturing images in Europe must be aware of the new rules that soon may be applied to any use of image capturing devices. If legislation passes, it will be something like this: The...
  • Are you, as an editor, defined by the NLE that you use?
    I'd rather be known as a storyteller than a button-pusher
    by Scott Simmons  |  June 22, 2015
    Are you defined by the NLE you use? If you answered no to that question you can probably stop reading now but if you answered yes then read on. If yes I would ask why? Are you an Avid Editor or a storyteller? Are you an FCPX editor or a craftsman of the moving image. There are still those that define themselves by the tools they...
  • After Effects Hidden Gems: Replace Source
    Try out different sources without losing your edits, effects, or keyframes.
    by Chris and Trish Meyer  |  June 22, 2015
    It’s not uncommon to working on a layer in a composition - including editing its duration, adding effects, or even keyframing an animation - and then decide you might like to see a different source in its place. This may happen for several reasons: The temp footage got color corrected; you’ve been working...
  • by Bronwyn Lewis  |  June 23, 2015
    This post is part of a series where we challenge filmmakers to transform the atmosphere or feel of a short video clip, by using custom Looks created with Adobe Hue CC. Show us what you can do with the same...
  • How to do your audio setup for a live TV studio
    In this three-part series, I cover many things you may have not considered previously for your live TV studio.
    by Allan Tépper  |  June 20, 2015
    Recently, I proposed the topic of how to do the audio setup for a live TV show to our friends at NewTek. It really doesn’t matter whether you are recording Live-to-drive (previously called...