Peaking For Better Focus

Cinematographer Gale Tattersall, DP of the TV show House mentioned the value of Marshall Monitor’s Peaking filter. Focusing with any present HDSLR is an issue. Canon DSLR lenses with their very short focus pulls are problematic which is exaggerated by the very shallow depth of field. Gale used a series of Canon lenses with the assistance of Marshall’s HDMI 7 inch monitor in Peaking Filter mode to keep critical focus. I might have suggested considering the use of either Zeiss’s HDSLR or Cine Lenses with long focus pulls and color matched glass.

Either way, Marshall’s Peaking Filter would have come in handy. A peaking filter is used to help in getting a sharp focus which is especially hard with the tiny LCD on the back of HDSLRs that is normally used. How it works is the picture is turned into Black and White on the Marshall V-LCD70XP HDMI monitor with a red color appearing in the edges of areas where the picture is in focus. Peaking Filters work best after setting the picture to the best exposure and there is good contrast in the areas that need to be focused on.

There is the added benefit of being able to place the camera in positions, such a high or low angles, where focusing with the camera’s LCD would be difficult, by using the appropriate length HDMI cable and being able to continue to pull focus.

Peaking Filter

Is It Time to Throw Your Lightmeter Away?

Cinematographer Gale Tattersall, DP of the TV show House, who was part of Canon’s Cine Expo EOS presentation on using the Canon 5D for the final episode, mentioned using Marshall Monitor for False Color. First, you should know what False Color is and how to use it.

Marshall Electronics describes their False Color Filter in the following way:

The False Color filter is used to aid in the setting of camera exposure. As the camera Iris is adjusted, elements of the image will change color based on the luminance or brightness values. This enables proper exposure to be achieved without the use of costly, complicated external test equipment. To best utilize this feature, you must understand the color chart and have a basic understanding of camera exposure. Normally, when shooting subjects like people, it is common practice to set exposure of faces to the equivalent of approximately 56 IRE. The False Color filter will show this area as the color PINK on the monitor. Therefore, as you increase exposure (open the IRIS), your subject will change color as indicated on the chart: PINK, then GREY, then a few shades of YELLOW. Overexposed subjects (above 101 IRE) on the monitor will be shown as RED. In addition, underexposed subjects will show as DEEP-BLUE to DARK-BLUE, with clipped-blacks indicated with a FUCHSIA-like color. Lastly, the color GREEN is used to indicate elements of the image that are approximately 45 IRE. This represents a “neutral” or “mid-level” exposure commonly used for objects (not people).

If you have come to any of my workshops, you have seen a practical demonstration of Marshall’s HDMI monitor’s False Color Filter in setting exposure. The latest Marshall 7 inch HDMI Monitor is the V-LCD70XP HDMI.

Surprisingly, Gale found Marshall’s False Color filter so useful that he seldom used his handheld meter while shooting with the 5D.

False Color Images

False Color Table

House Finale From the Inside

Any photographer learning video production would have been very interested in the Cine Gear Expo 2010 at  Paramount Studios in Hollywood.   One of the highlights was cinematographer Gale Tattersall,  DP  of the TV show House, part of Canon’s EOS presentation on using the Canon 5D  for the final episode.  I had a chance to chat with Gale for awhile privately before and after the presentation as well, so I was able to get a bit more information on his digital workflow.

Anyone who wants to see top work with a 5D Mark ll should watch the House finale episode.  To keep everything I’m going to write about this  in the right perspective,  we must keep in mind that Gale is the DP for what I hear is the most watched TV show in the world.  He has a team of experienced professionals working with him and the resources of a major network behind him.  These are not unlimited resources, but they will do.  Plus, he was concerned that he and his team only had three weeks of testing to refine the workflow before he started actually using the camera to shoot the episode.

Right off there was some concern about projecting the clips on a full size movie screen at the Expo.  Banding is a problem when you start off with a highly compressed format like the H264 coming out of the 5D Mark ll.  Everyone in the theater was impressed including Gale and moderator Tim Smith of Canon with how well the picture held up.  Remember, they made sure they started with the picture style set at neutral, the exposure was right on (I’ll write about this more later) and the color balance was right where they wanted it.  Plus, (and here is a big tip) a little film grain was added to smooth everything out.

More on this and what else I saw …

Upcoming new Video Production Products from NAB

My first day at NAB in Vegas brought into perspective just how quickly the world of video production has changed.  The number of new and innovative products that deal with making video with HDSLRs has increased dramatically.   At the same time, the video cameras are starting to have advancements that are going to blur the line between video and DSLR cameras.

Litepanels by Manfrotto is bringing out a new hybrid LED with a flash function.  Panasonic has a new 4/3 video camera that accepts a variety of still camera lenses.  RedRock Micro has a number of new products for follow focus and cine lenses.  Carl Zeiss has a whole set of new Compact rime CP.2 cine lenses. Hoodman has a number of new recording cards and focusing assists.

These are just a few of the new products I have seen at NAB that in some way will make producing videos easier or slicker.  I will be reviewing these new products I have been shown as they actually become closer to being available.

Secrets of Video Production Blows into the Windy City, Chicago

Video production for photographers is coming to Chicago on April 16 and 17. I’m looking forward to the windy city right after visiting NAB in Las Vegas for a few days.
Friday night is going to be the APA evening presentation from 6:30pm to 9:00pm where I give a basic outline of the process of video production within a still production and the additional software and equipment needed. Richard Wiser of VMI Broadcast and Professional video said of the evening, “ I found the information accurate and interesting and your presentation top-notch.” See http://midwest.apanational.com for more details.

Saturday’s workshop is always fun and informative as I have more time to really get into video production. In the morning, we look at the basics from a different point of view and then build on those basics including about when to call in a post house like Rawworks to help. In the early afternoon we do some lighting and camera techniques followed by a short commercial shoot with the latest equipment from Manfrotto, Panasonic, Ziess, Marshall Electronics, Redrock Micro, Beachtek, Sennhieser, K-Tek, Hoodman, and LaCie. I then take that video into Final Cut Studio, edit it and output it for various distribution methods. The day gives anyone interested in video production a good outline to follow in their own productions. See www.tiny.cc/chiapr17 for more details.

Video production is changing by the day and can be confusing to photographers just getting into motion. Having a working understanding of the overall picture, helps give the photographer getting into video production a understanding of how to judge what equipment and software to use. Once the photographer is producing video, there are a number of ways to market their new skill set to current and potential clients.

Christopher Lozano www.tlsHollywood.com did this time lapse click (MOVIE) of the LA evening presentation.

Seattle hosts Video Production for Photographers

“I found the information accurate and interesting and your presentation top-notch” – Richard Wieser video professional services for VMI Broadcast and Professional Video.

Seattle’s Secrets of Video Production for Photographers evening presentation and workshop was a blast.  Both events took place at the Seattle Pacific University, a beautiful campus in northern Seattle.  Along with my past sponsors of Apple, Manfrotto, Zeiss, Panasonic, Redrock Micro, Beachtek, Smartsound, Marshall Electronics, Sennheiser, LaCie, Hoodman USA, there were the new and very welcome sponsors of Rawworks, K-tek and Agencyaccess.

I’d like to say a little bit about these new sponsors who along with my other sponsors that help bring photographers across the nation the information photographers are going to need to compete in the new media world.  Rawworks is a post house, which means it finishes the video with editing, audio sweetening, color grading (color correction) and format conversions.  Although Rawworks handles all type of video, it has taken a special interest in HDSLR post-production.  I suggest before embarking on a video project involving serious post-production, consider talking to them.  Check out their website at hdirawworks.com.

K-Tek has also joined in spreading the video production information to photographers.  They added important items to the equipment I have been showing which are a superb shock mount and a combination fuzzy with shock mount.  These improve the sound quality by reducing the unwanted vibrations and wind noise that otherwise would be picked up by the microphone.  Their website is ktekbooms.com.

And, of course, all the right equipment and hard work in producing video means little if you are not letting the world know you have added this new service.   This is where Agencyaccess becomes an important part of your overall plan.  They can help you in getting the word out to potential clients by supplying you an up-to-date database of prospective clients and a wide variety of ways of getting your promotions designed and out to them.  To see more of their services, go to agencyaccess.com.

Friday evening’s group was there to find out what this new convergence of photography and video is going to mean to them and get a glimpse at the new tools and techniques they would need to use.  Richard Wieser of the VMI video, www.vmivideo.com, was there to answer questions for some of my sponsors like Panasonic, Sennheiser, and Marshall Electronics. VMI has stores in California and Washington and is an excellent resource for video gear.

Some of Saturday’s group already had upcoming projects that included a video component and were seriously looking for answers to the many questions shooting video brings up for the photographer.   I gave the group a good overview of how to get started and what to prepare for in video production.  I also had a chance to answer specific questions about individual photographer’s problems concerning their future productions.

Snow Storm Could Not Keep Photogs Away!

One of those historic snowfalls did not deter New York photographers from getting to Secrets of Video Production for Photographers.  Over 170 professionals enjoyed getting in from the snow and ice in the Root studio to see my Secrets of Video Production for Photographers.  New Yorkers, always being right on top of the latest, asked probing questions and took copious notes.

Just that day, The Wall Street Journal broke the front-page news “Google Jolts Telecom Rivals” about Google starting to supply higher speed connection than presently available.  Google stated it was to improve the rapid downloading of video.  I has been saying this is the year photographers will be have to move into supplying video along with photography or begin to lose ground.

I’m is scheduled to continue spreading the latest in tools and techniques of photography/video in upcoming presentations in Seattle, Chicago and New Jersey.

Atlanta “Secrets of Video Production for Photographers”

There was another big turn out for my Atlanta “Secrets of Video Production for Photographers” given for APA Atlanta.  Along with gear I had from my sponsors Apple, Manfrotto, Zeiss, Panasonic, SmartSound, RedRock Micro, Beachtek, Marshall Electronics, Sennheiser, LaCie and Hoodman, Apple was there showing Final Cut Studio and gave away a $1000.00 Final Cut Studio suite of video editing software.  The Zeiss representative showed their special Canon and Nikon mount lenses with long focus barrels and color-matched glass.

Showcase camera store of Atlanta, a beautiful fully stocked professional camera store, also supplied additional gear from the above mentioned sponsors to give attendees a chance to see the various pieces of equipment up close and personal.

Big Studio, 404-874-6111, was a wonderful host of both the Thursday evening event and Saturday workshop.  It is a great studio to work in and Megan the studio manager was both gracious and professional.

Below are pictures Lindsay Lewis the director of APA Atlanta took during my evening presentation.  The first is me talking about the false color filter of Marshall Electronics V-LCD70P-HDMI monitor.  The second is me talking about the Sonicfire Pro program and five royalty-free multi music tracks.   I have arranged for every attendee to either of my events to get the music tracks for free.

Lee White with Marshall Electronic false color filter

The Saturday workshop was especially interesting for me, as I got to really delve into shooting video with stills then editing.   We talked about planning and equipment in the morning and after the lunch I provided from a tasty deli nearby, we got into the gear.

Everyone had a chance to try some hands on using a complete video rig.  I did a couple of lighting demos and shot a short commercial.  The picture below shows me shooting the commercial using a Reckrock Micro rig with a microFollowFocus geared to a Zeiss ZE 50mm F1.4 lens, on Manfrotto  sticks (tripod) and fluid head with a Beachtek 5d audio adapter cabled to a Sennheiser ME66 microphone.  On top of the rig, you can see the Marshall monitor showing the camera feed.  In the foreground is a Litepanels MicroPro LED light and in the background a medium Lastolite Skylite diffuser.

After shooting the video, I took it into Apple’s Final Cut Studio and showed how to transcode the files into a more edit friendly format using Compressor onto a LaCie rugged drive.  A step you can bypass when using video cameras from Panasonic.   Then I show everyone how to get the files into Final cut Pro, edit them into a commercial and output several distribution formats.  I ended the workshop by showing how easy it is to match music from SmartSound’s Sonicfire Pro with video or pictures.

Denver Video Workshop Loads of Fun!

My Saturday’s workshop was a fun and educational experience.  In the morning, there were a few hours of chatting about video in general and the new skill set needed to estimate and shoot video along with stills.   After a quick lunch provided by APA-LA, there was a simple combination photo/video lighting demonstration followed by a hands-on follow focus experience by each attendee.

I then set up a simple commercial spot production and shot clips to be edited into a commercial.  Following the production, I delved into putting the clips together in Final Cut Studio to finish the commercial.  First, I showed them how to transcode the HDSLR files into a more edit friendly format of ProRes422. You can skip this step with video clips from video cameras like the Panasonic.  I brought the clips into Final Cut Pro to edit them into a sequence and did some color correction. I then showed a couple of output options.

Following all that, we had a chance to explore the Sonicfire Pro application and how it creates custom length royalty-free music.

I make sure every attendee to either my Thursday evening presentation or Saturday workshop gets a copy of the Sonicfire Pro application and five free multi-layered music tracks they can use commercially.

Denver’s Video Production for Photographers

Denver had a great turn out for my “Secrets of Video Production for Photographers” an APA-LA event that is a first step in building the APA Denver chapter. One photographer drove six hours through the snow, literally it snowed, I’m here, I saw it, to attend. First let me say the people in Denver are great, especially the folks at Denver Pro Photo who helped put on both last night’s Thursday APA event and the upcoming Saturday workshop.

If you are in Denver and need equipment, supplies or rental, Denver Pro Photo is the place to go. Beyond the well- stocked store, they also have a number of different size stages including a huge one, football field huge, plus a complete grip room.

Some of the sponsors like Zeiss with their long focus pull lenses, Marshall Electronics with their video monitors and SmartSound with royalty music, were there to answer specific questions on their video solutions. I understand a lot of this is completely new to photographers so it is good to have experienced resources to answer the large variety of questions photographers have.

I had a chance to meet some of the attendees and once again heard some unfortunate stories of jobs lost because the video component could not be handled. Some were as simple as snips for the web but it was smart of the photographers not to get into something they knew little about. It is much harder to get a client back after messing up a job than truthfully saying, presently, part of their needs cannot be met.

During the presentation there was lot’sa interaction and after the presentation, I had a chance to answer some questions about challenges some of the photographers were facing with learning video production.

I want to thank the nice lady who won the complete Final Cut Studio program that I personally provided for the raffle for giving me a hug. She was so excited.