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Production

P2 vs. SxS – an Unfair Comparison

P2 vs. SxS – an Unfair Comparison

One of the advantages Sony has been touting for SxS is a lower cost per bit than you’d get with Panasonic’s P2 cards. At B&#038…

PMW-EX1: Update on lens issues

When I looked at a prototype Sony PMW-EX1 camcorder I noted that the lens had some problems. Sony told me that the prototype had a lens element misaligned due…

FreshDV Follow Focus System Reviews

FreshDV’s full review of five popular follow focus units was first printed in the October 2007 issue of DV Magazine. It included reviews of the Chrosziel, Cinetech, Redrock…

Production Jobs and Responsibilities of Crew

After a recent conversation with some fellow filmmakers I was reminded of how mysterious in some ways our industry is, and how many people may not even be clear of…

Shutter Speed vs. Shutter Angle

Have you ever wondered what the difference is between the way a video camera calculates shutter (fractions of a second) and the way a film camera calculates shutter (in degrees…

Nikon lens tests with the SGPro 35mm adapter and HVX200

Matt Garrett and Bruce Allen recently conducted a series of Nikon lens tests with a SGPro 35mm adapter mounted to a Panasonic HVX-200. They tested the 17-35mm f…

The Shape of Things to Come: Shape Layers Introduction

The Shape of Things to Come: Shape Layers Introduction

For motion graphics artists, one of the most significant new features introduced in After Effects CS3 was Shape Layers. This feature brings important components of Adobe Illustrator into After Effects…

35mm Adapter Shootout – Redrock Micro M2, Cinevate Brevis 35 and SGPRO

Accomplished shooter Phillip Bloom has shared a lengthy shootout review comparing three popular 35mm adapters; the Cinevate Brevis, SG PRO, and Redrock M2. Note that shootout isn’t entirely…

35mm Lens Adapter Shootout – Cinevate Brevis vs Redrock M2

35mm camcorder lens adapters are a strange breed. Part science, part art, they allow a shooter to utilize SLR still image and high-end 35mm cinema lenses on a video…

Brighter Whites; Richer Colors Part 2: sRGB

Brighter Whites; Richer Colors Part 2: sRGB

The first image (a digital photo originally saved with an sRGB color profile) has not been corrected; the second image has. Although the difference is subtle, the uncorrected image looks…

Brighter Whites; Richer Colors, Part 1: 16-235

Brighter Whites; Richer Colors, Part 1: 16-235

Footage that imports into After Effects with its internal “601” luminance levels intact (left) looks washed out compared to how it really should look (right). Footage courtesy Isuzu…

Map Exploration

Map Exploration

A common task is navigating around a map-like image. In this column, we’ll discuss three different approaches to this challenge: stroking a line, animating text elements along…

The Hi-Def Checklist

The Hi-Def Checklist

The darker areas to the left and right of these images show what happens when a 16:9 image is “center cut” to create a 4:3 version…

Visual Rhythm, Part 2: Motion & Cinema Tricks

Visual Rhythm, Part 2: Motion & Cinema Tricks

In the previous column, we detailed a number of techniques for animating multiple layers in Adobe After Effects. In this column, we turn our attention to Apple’s Motion…

Visual Rhythm, Part 1: After Effects Tricks

Visual Rhythm, Part 1: After Effects Tricks

Rhythm – repetition, with variation – is the backbone of many pieces of fine art, as well as motion graphic designs. However, it can be tedious to create and animate…

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