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

Final Cut Studio’s Compressor Stands Alone

Apple’s Compressor in Final Cut Studio is being improved in each version of Final Cut.  This is good because HDSLRs are now so popular to shoot video and because of the need to transcode the files into a less compressed and more edit friendly codec.  Up until now, you have been able to use Compressor by itself by bringing in files directly into Compressor.  If you did bring the files in directly, then you were able to work in Final Cut Pro at the same time Compressor was encoding.

But, if you wanted to use compressor to encode your sequence from versions of Final Cut Pro up to 7, you would use Menu directions File>Export>Using Compressor… which was handy because this would open Compressor (if not already open) and place the sequence file in the project window of Compressor.  All one had to do was drag the settings, set the destination and submit to start the encoding.  This was great except for one thing, now Compressor was working inside Final Cut Pro instead of as a stand-alone and you were not able to do anything in final Cut Pro until compressor was finished.  If you had an hour encoding, then you had to wait an hour to start using Final Cut Pro again.

Final Cut Studio 3 has changed all that.  Now you do not Export>Using Compressor but you Send To compressor, which means Compressor, although linked to Final Cut Pro, is a stand-alone application.  Final Cut Pro is still able to send your sequence to Compressor and place it in the project window but since Compressor remains as a stand-alone application, you can now continue to use Final Cut Pro as Compressor encodes the sequence.  This is just one of the huge improvements made in Final Cut Studio 3 in the encode area of the suite.

By the way, I always wondered if the three dots after the old Using Compressor… didn’t used to mean, “Go get lunch, I’m going to be awhile”.  It’s time to upgrade!

Final Cut Studio

Customizable Music with Vocals are here!

News from NAB 2010.  The new “Voxation Series” from SmartSound the royalty free music company I suggest gives a new dimension to customizable music for your video and multimedia productions.  The brand new Voxation Series features lyric-based vocal music from talented bands and musicians.  This lyric-based vocal music is still easily edited in length, arrangement and mix using Sonicfire Pro.

It works by having the instrument tracks and vocals on separate layers, which allows Sonicfire to manipulate the songs to fit the changes in your video.  SmartSound is the only company that can offer this level of adjustability.

These first two albums are one by Brady Harris with melodic tunes and savvy lyrics and the other by Indie Pop/Rock band Steep with more to follow.  SmartSound is going to keep the lyric driven music series growing and is working with a number of bands and musicians in developing more albums.

The pricing is $149.95 for an album and $59.95 for singles from the albums and as in the past are available online or in disk form (at a additional charge).  Visit Smartsound.com for more information and hear samples.

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.

Secrets of Video Production Coming to Seattle

©Lee White

The Secrets of Video Production for Photographers continues on to Seattle this week with two events at the Seattle Pacific University, 3307 3rd Ave W, Seattle, WA.  After having a short break following three intense weeks giving presentations and workshops to hundreds of photographers in New York, Atlanta and Denver I’m ready to go again.

Plus I was not sitting back but rather collecting new equipment to test and show from Zeiss, RedrockMicro, K-tek, Sennhesier, Hoodman and talking with Rawworks about post-production.  I also started instructing the first two weeks of my sixteen week college class in video production for photography students at Santa Monica College.

You will also see some new faces in my sponsors including Agency Access who I have used with  great success to get my still and video work out to potential clients.  Online is the way to best show your latest and greatest in video to potential clients and you need to keep updating them regularly.

If you are in the Seattle area I hope to see you at one of my events this week, please come up and introduce yourself.  The next three series of events are happening in Seattle, Chicago and New Jersey.

For more information on my Seattle events and workshop see www.apanw.org or for just my Seattle workshop  tiny.cc/seamar6.

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.

Tonight is Denver Secrets Night

Tonight’s Secrets of Video Production for Photographers will be at stage 3 next to Denver Pro Photo starting at 6PM.  You can see more details at APA-LA.com blog and, of course, in recent blog entries here.  I’m looking forward to Saturday’s workshop at Stage 3 as well.  Workshops are always fun because I get time to really get into the subject, meet people and hear about what they want to know.   If you’re in Denver I hope to see you there and get a chance to meet you.

5d with 44.1 kHz vs. 7d with 48 kHz sound? What’s the problem?

First, what is being referred to is the sample rate or how many times a second sound is being measured. Without getting too deep into the science behind sound,  to have good sound it should be sampled at  least at 40 kHz to capture the higher frequencies.  So the 5d with its 44.1 kHz is sampling at a rate that is high enough to capture the higher frequencies and is considered CD quality often used for music.  Digital video cameras generally use 48 kHz to capture sound, as does the 7d, which is considered one of the professional sample rates.
A warning here is that some DV cameras that offer four tracks of 32 kHz which can lead to compromised sound quality.
To convert  5d’s 44.1 kHz sound to the  DV standard of 48 kHz is easy to do.  You will actually do it when  converting  the 5d H264 files to a more friendly format for FCP editing like one of the Apple ProRes422 formats.  If you are using Compressor from the Final Cut Studio suite, simply make sure to go to the inspector panel and select sound settings.  The settings should be the following:  Format: Linear PCM, Channels Stereo (L,R), Rate: 48,000 kHz, Render Settings: Quality Best, Linear PCM Sample size 16 bit.  This will bring the audio up to the correct sample rate without distorting the sound.

Dates: Secrets of Video Production for Photographers

There will be a copy of Apple’s Final Cut Studio raffled off.

More giveaways from LaCie and Hoodman.

The latest equipment and software by Apple, Panasonic, Zeiss, Redrock Micro, SmartSound, Beachtek, LaCie and Hoodman among others will be at the event for photographers to see.

Los Angeles information for Thursday January 14
6pm-9pm Dinner 6-7 pm Presentation starts 7:15 pm

5th and Sunset Studios,12322 Exposition Blvd, Los Angeles, CA 900064

How much: APA MEMBERS ARE FREE! Full time students $20 with id all others $35 RSVP Call 323-933-1631 or email director@apa-la.com

LA Thursday evening event

Non-member $35.00 Student with ID $20.00

Denver information for Thursday January 28

6pm -9pm Dinner 6-7 pm Presentation starts 7:15 pm

Stage 3 at Denver Pro Photo,235 South Cherokee Street,Denver, CO 80223

How much: APA MEMBERS ARE FREE! Full time students $10 with id all others $25 RSVP Call 323-933-1631 or email director@apa-la.com This e-mail address is being protected from spambots. You need JavaScript enabled to view it

Denver Thursday evening event

Non-member $25.00 Student with ID $10.00

Atlanta information for Thursday February 4

BIG Studio, Suite E, 887 West Marietta Street Northwest, Atlanta, GA 30318
www.bigstudiorental.com

Registration:
$10 for APA members – $15 at the door
$20 for AIGA or ASMP members – $25 at the door
$25 for non-members – $35 at the door
FREE for student & assistant APA members
$5 for students or assistants
Join the APA and your admission is free!
Contact Lindsay Lewis APA Atlanta Director
director@apaatlanta.com

Please check back for New York February 11 and Chicago March 4

Saturday Workshops

10am-5pm

Now is the point in time when photography and video come together. In the last year, the idea of photographers producing video has exploded and photographers are now gearing up to take advantage of this interest.   As advertisers and magazines turn to video on the web, cable and mobile devices to get out their message, there are more opportunities than ever for you to do video in tandem with your photography to capture new clients and sell video services to existing clients.

Producing video creates a fundamental change in your workflow, so you need new tools and techniques to take the step from photography to video.  You need to learn what the new technologies mean to you from a photographer’s point of view.  This is why Lee White has created an intensive all day workshop to help guide you into video. This workshop will go in depth about each step of video production so you can start producing your own video.

The Saturday subjects will include:
- The importance of workflow including recording formats
- Estimating and planning combined photography and video shoots
- Understanding lighting, filming and sound techniques for video
- Camera, lighting and grip equipment demonstrations
- Editing demonstrations

FREE SOFTWARE: SmartSound will give each attendee a free copy of their Sonicfire Pro 5 software along with free royalty-free music.

More giveaways from LaCie and Hoodman.

The latest equipment and software by Apple, Panasonic, Zeiss, Redrock Micro, SmartSound, Beachtek, LaCie and Hoodman will be demonstrated.

Los Angeles information for Saturday January 16

Helms Daylight Studio

3221 Hutchin Ave. #E

Los Angeles, CA 90034

Cost: $149.95 per person, APA members will receive a 10% discount refund* on confirmation of valid membership.

*Please put membership number in special instructions to seller and the discount refund will be given at the workshop as the APA member enters.

Denver information for Saturday  January 30

Stage 3 at Denver Pro Photo,235 South Cherokee Street, Denver, CO 80223

Cost: Early registration until Jan. 8 $99.95 regular registration after Jan. 8 $129.95 APA members 10% discount.

*Please put APA membership number in special instructions to seller, discount refund will be given at the workshop as the APA member enters.

Atlanta information for Saturday February 6

Where: BIG Studio, Suite E, 887 West Marietta Street Northwest, Atlanta, GA 30318, (404) 874-6111 www.bigstudiorental.com

Cost: Early registration until Jan. 22 $129.95 regular registration after Jan. 22 $149.95 per person, APA members will receive a 10% discount refund* on confirmation of valid membership.

*Please put membership number in special instructions to seller and the discount refund will be given at the workshop as the APA member enters.

Please check back for New York February 13 and Chicago March 6